ritual art in Brazil 2

Jani-Petteri working together with Eero-Tapio Vuori (Ritual Art Renaissance) in Sao Paulo in Reality Research Center’s Sexlab/Cave Ritual research process. The project is an exploration of the roots of theatre and ritual. Video by Jani-Petteri.



ritual art in Brazil 1

Jani-Petteri working together with Eero-Tapio Vuori (Ritual Art Renaissance) in Sao Paulo and Cuiaba in Reality Research Center’s Sexlab/Cave Ritual research process. The project is an exploration of the roots of theatre and ritual.Video by Jani-Petteri.

Wyrd Ritual art Collective is involved in Reality Research Center’s Sexlab research project, working together with Ritual Art Renaissance.


Holy / mystery Working Group is looking for ways to create a ritual that is approaching sexuality from the perspective of the sacred, the mystery and ecstasy. Our aim is to re-evaluate the archaic and classical ritual practices and their use today. The research question: What should be updated and the presentation of artistic version Eleysian mysteries.

Cave Ritual will be completed in the fall of 2017.

reality research center/sexlab
ritual art renaissance

Wyrd ritual art performance: Völuspá / Prophecy of the Seeress

Voluspa is a boundary-dissolving ritual performance based on interconnecting trance-work between music and visual art. It explores occulture as a cultural current and a framework that can contextualize personal mythology and spiritual work in a postmodern world.

The ritual performance consists of three main elements: rhythm, movement and vision. The elements are explored through two actions done simultaneously:

  1. Drumming

The drumming uses three or sometimes four types of ritual drums. The shaman drum is the core drum, and a vessel for spiritual travelling and vision journeying. In our practice it is referred to as the boat: it is the originating pulse of creation as a cosmic dance. The cajon is a box drum from Peru that is used in afro-Peruvian music traditions. For the cajon we use the term “horse”, as it creates the riding rhythm focusing the trance work. It also gives structure to the process of manifestation. The third drum is the balinese kendang, which is traditionally used in the ceremonial music gambelan. We call this drum the lizard or two-headed serpent, for it climbs and hunts around the sound texture to create vortexes that make the creation (and dissolving) work possible. Being a double-headed drum, it also manifests the union of the opposing principles in the ritual.

The rhythmic patterns used in the trance-work are based on the styles that these drums are traditionally played, as well as on sacred geometry and the visionary shapes connected to the alchemical process of transformation through dissolving the boundaries between archetypal opposites. In esoteric traditions this ritual is generally called the great rite, or Hieros Gamos.

  1. Drawing

The drawing is made in trance created by the drumming and bodily work. It appears on a large white paper laid to cover the floor or ground, depending on where the ritual performance is done.

The act or event of drawing is essentially a trance-dance resulting in shapes and forms on paper, a vision of unity created by something beyond the frame of the ritual itself. It is a channelling.

The material we use in drawing is charcoal. It is not widely used as a medium in occult and esoteric art, but the transformation through fire makes it a natural choice for us. Charcoal binds inside it the spirit of fire that is raised through the agitation of archaic rhythm and sexual energy. Harnessing and directing the spirit of fire makes it possible to connect to ancient memory and knowledge of the cosmos that consequently in trance appears on paper as occult constellations of shapes and symbols hidden and revealed by intertwining snakes, roots and threads. Thus the emerging images create each time a new doorway to move through.

Reading these drawings is like interpreting Tarot and therefore we understand charcoal as a Seer (Völva). Adversely to divination as we has learned to understand it we don’t interpret our drawings but leave them open for different readings.

sound and drawing ritual at cottage

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drawing ritual in Turku


Drawing rituals are based on shamanistic trance-work. The first rituals (July 2016) were done on two separate nights in an atelier, both lasting for several hours. The floor was covered with drawing paper and different mediums, such as charcoal and ink, were put aside. Both rituals resulted large scale charcoal drawings (ritual work).

As further result, more drawings and paintings have been and will be created to contemplate the experience. Also, from what came out of the rituals was reflections on rhythm, movement patterns, breathing and experience of the body as an essential part of drawing and painting in general, and especially drawing and painting in a trance-ritual context.


Wyrd, exhibition in B-gallery, Turku

WYRD at B-Gallery, Turku Finland, from 20th to 22nd of June, was our first actual work together. For two days we were working inside the gallery weaving our destinies together and inviting people to follow the act.

Wyrd is a net that is woven inside gallery during two days.
It is a ritual, a performance and an installation.

Wyrd is a myth, a method and landscape. It is water, blood, and light.
Wyrd is also a dream, act and time – one, two and three tied together.
Wyrd is past, present, and future. It is January, June and the rest of life.

Wyrd is a work about our love.
It is woven of things that we have experienced together, and of things that we have found together.

Wyrd is two rituals, which get plaited together.


filming Wyrd movie Ukonvakka

We are currently editing a Wyrd Ritual Art movie

Ukonvakka/Midsummer ritual

The concept/idea of cycle is central in our work it being cycle of year, cycles in nature, DNA-chains and snakes rotating around themselves, labyrinths closing us inside, themes of arguments: all that can simply be called stream of life – inexorable and unassailable, molecular level of life itself.

Our interest to cycles makes it natural that one part of our work is to create rituals that are in connection to the cycle of the year. Midsummer, the summer solstice, is one of the most important celebrations in Finnish mythology, which originally was to celebrate the Finnish god Ukko.

Walk, performance in Viljandi

We made a walking ritual together in Viljandi, Estonia 8th of June 2016.

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Walk was a walkabout, a ritual, a place for contemplation and discovery.

I had intended to walk by myself but many things had happened since I first came up with the idea of the art-piece. On Tuesday 7th of June I asked my fiancé to make the walk together with me; the walk had become something else that I had expected.

The route was drawn on a map that was provided to people as invitations to join the walk or see us go and return. We walked about 20km and collected evidence of the places and experiences that we came across with. We picked flowers and I carried the growing bucket on my hands.

On the installation the walk can be experienced.
The installation is a map of Viljandi the 8th of June.
It is also a map of beginning of summer, ecstasy and dreams.

It is an altar.


workshops on shamanism