An Interview with Margot Wilson


February 2020





HM: Do you believe in magic?

MW: Well, I believe in alchemy, dynamic consciousness, elevation and levitation – which you could say is a form of magic

HM: So, metaphysics? No–
MW: they're probably under the domain of spirituality, but they also exist deeply inside eastern philosophy and practices


HM: Do you think you have to know about the subject, to experience it, for example?


MW: No, absolutely not. So, inside buddhist discipline there is no God – spirituality is just a concept that's been applied to it,
but it's a no-god-practice. You can engage in it without belief because it is a form of biophysics. There’s something called Kundalini
which is represented with a spiral. When you’re still and upright, there is this expansion and contraction going on at once which has to be cultivated -
and it then creates this conduction. Some people are naturally high conductors and they naturally feel quite high. This happens in dance, in ballet, in elevation -
the reason they get the lift is because they place the breath in the diaphragm and then they clamp the abdomen at the right moment –
and then there’s lift.


HM: Have you ever witnessed art where someone was connected in such a way?

MW: Yes. Once the diaphragm is seen to open, there’s this f light across the stage.
In theosophical, metaphysic or cult terms, it opens like wings.
Back in the eighties, Baryshnikov and Nureyev absolutely embodied it





she spreads her arms out and chest up, hands like wings rising 




MW: think of Wim Wenders’ Wings of Desire. There's a whole body of thought that suggests wings and angels
have nothing to do with a hierarchical god, but instead, wings are a part of our physicality.
What an angel is – it actually comes from the form


HM: Do you feel that writing is a spiritual practice? Do you feel that you are connecting to an energy?


MW: The feeling that I get when I write is that it’s an honour
and a privilege. The privilege lies in feeling such an embodied reality. Whatever lands on the page
lands on the page – but it’s while editing that I get all worried and serious. I tend to try and lay something down in one go,
in one breath. It's all an embodiment – but then nobody understands a bloody word I write!


HM: It’s difficult when the language becomes the limitation.
If only you could show people through feeling and touch because language can only do so much





MW: That’s why I've done films with arms flying up by themselves during meditation – like I'm underwater,
and why I have elevation in the sculptures I do, and why I look at elevation in the
metaphysics I research. It’s how I try to show the ideas, and then also tell them.
At one point I nearly did give up trying to write because I thought
nobody understands it, they always come back with the same thing;
“oh, I don't get this, I don't get that”

and I often feel as though I just won't bother















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