Solar Incense

I love finding new combinations for incense (and perfume...). Here's a new combo I've discovered yesterday while we were trying tidfferent ideas for loose incense. The beauty of this blends that aside from the frankincense, the ingredients are found right in your spice cabinet!
This is a very warm, sweet and cozy formula, that feels as if it cleanses the space but also brings sweetness in (from the cinnamon).

Here's the recipe:
12 Frankincense Tears (pulverized)
1 Bay Leaves (crushed or crumbled by hand)
4 Cinnamon bark (crumbled and pulverized)
Measure and process until all ingredients reach a similar size (not finely powder, but crushed into small pieces). Place on a hot charcoal and burn.
A great way to start a cold winter day. Enjoy!

Incense Course Begins!

Today I began teaching my first incense course - a series of incense classes, covering the main burning styles and incense making techniques. Using natural raw materials only, such as precious resins, gums, woods, spices and herbs, we will pulverize, grind and mix together raw materials that were used in incense making since time immemorial.  I am very excited for this workshop - because it is taught to a very special group of women, and also is giving me the push to improve my incense making skills and learn new techniques!

Here's what's planned for the course:

1. Smudge Wands
Introduction to incense history and raw materials. Forage botanicals for making incense wands/smudge stick from wild and local medicinal herbs.

2. Loose Incense
Spotlight on resins and composition of a loose incense using resins, herbs and spices.

3. Kyphi
Relying on an ancient Egyptian recipe, we'll pulverize and grind various resins, herbs, precious woods and spices in a mixture of wine and raisins, and create small pellets that can be burned on a charcoal or electric incense heater or diffuser. You'll be able to pick up the Kyphi you made after a week (or get it mailed to you).

4. Incense Pastilles
Incense "candy" that is made of various type of resins, with added liquid, rolled into balls and burnt on charcoal or on aromatherapy diffuser).
Very suitable for children, as this type of incense is faster to make and does not require long drying time, and can be taken home the same day.

5. Neirkoh
Japanese incense pastilles - like soft incense caramels that are designed for warming on a hot plate rather than burning. Made from complex aromatics and aged for several months.

6. Incense Trails & Body Incense
Unique Japanese technique for incense burning, as well as perfuming the body or cleansing before entering temples for prayer and meditation. This class also serves as preparation for the most complex form of combustible incense.

7. Incense Cones
More technically advanced, this incense is hand-shaped into little cones that can stand on their base and are self burning - just like the more familiar joss-sticks, once they are ignited, they burn slowly from the tip to the bottom. Preparing them requires fine balancing of the ingredients and meticulous shaping, therefore taking much longer. You'll be able to pick up the cones you made after a week (or get them mailed to you).

Artemisia: Plant of Many Moons

“After the first glass you see things as you wish they were. After the second, you see things as they are not. Finally you see things as they really are, and that is the most horrible thing in the world.” (Oscar Wilde about "The Green Fairy" AKA Absinthe)

Artemisia is a genus of hundreds of species of plants from the compositeae (AKA asteraceae) family. It derives its name from Artemis, the Greek Goddess of the hunt, the woodlands and the moon. In folk medicine, it is considered a feminine plant, with protective powers to guard over witch's gardens, and healing properties especially in relation to the uterus. Hence the connection to Artemis: among the many duties of the virgin Goddess was to assist women in childbirth, and also she is considered the bringer of women ailment and also the one who heals from them.

Overwhelmingly bitter, artemisia is mentioned in the Bible seven times, as a symbol for extreme bitterness and suffering. Artemisia is used to flavour the notorious (and for the longest time, forbidden) Absinthe: due to suspicions about the thujone content being responsible for neurotoxicity and hallucinogenic effects, it was banned in many countries from around 1912-2007 (each country has its own strange relationship with this spirit, and all fingers pointed the blame on the flavouring plant, rather than the unusually high alcohol content, around 70%) . In those who do produce it, the level of artemisia is still often strictly controlled and regulated, despite the fact that scientific data shows that Artemisia absthinthum does not have a dangerous or toxic level of thujone.
Like most members of the compositeae family, it has an intensity that is almost cloying (compare to other species, such as Artemisia dracunculus, AKA tarragon; Artemisia pallens, AKA Davana, immortelle/helicrysum, marigold/tagetes and chamomile) has an intense, cloying medicinal aroma that is overwhelming in large quantities. 

Several closely related species such as A. alba, A. vulgaris, A. absinthium, A. arborescens all have the characteristic bitter flavour and intense aroma, silvery fronds and similar uses. Mugwort or Armoise, which is really the French word for Artemisia - both usually refer to Artemisia vulgaris.  Artemisias have a potent, herbaceous and bitter presence. In very minute quantities, it can have a surprising effect in perfumes, especially when paired with very sweet florals and sweet balsamic bases. Its use in perfume is mainly in Fougère compositions, where it works beautifully with the lavender, oakmoss and coumarin, adding another layer of bitter herbaceous quality.

Artemisia in Magic and Folk Medicine:

Wormwood (Artemisia arborescens) is one of the important monastery herbs, and is found wild in Israel near ancient Crusaders' forts, i.e. the Monforte (a Hospiteral fort by Kziv creek in Israel). Therefore it is believed that the crusaders brought it with them to plant in their own "monastery gardens" by these fortresses. Curiously, it is now one of the fragrant herbs planted in Muslim cemeteries, because it is believed that a good scent would be pleasing to the angels that judge the souls of the deceased.

Artemisia herb-alba is native to the Negev in Israel, and the bedouins in the desert used it as a general antiseptic, vermifuge, and antispasmodic. Also, it was used to treat diabetics, because its intense bitterness was believed to balance the excess of sugar and stimulate the liver and pancreas (much like other bitter herbs, such as germander, sage, etc.).

Mugwort (Artemisia vulgaris), AKA cronewort is a nerve tonic and a digestive tonic (stimulated bile production), increases menstrual bleeding, and to deal with pulmonary diseases and disturbances.

Mugwort is regarded as a plant with protective powers, and was planted in witch's gardens to guard them - as well as to announce them as medicine women and midwives - either as a plant in the garden, or in a planted pot or even painting on the door of urban witches. Mugwort and lavender are used together in dream pillows to balance their opposing actions of alertness/relaxation. This particular plant has broader leaves that are green on top and have a silvery underside (not all silver like the wormwood or absinthe plants). This silveriness alludes to the connection to the moon, and also wisdom of the crone.

Coastal mugwort (Artemisia suksdorfii) and Sagebrush (Artemisia tridentata) are used by First Nations in British Columbia (and the West Coast in general) to cleanse and purify the space in smudging ceremonies. It is interesting to note that cedar leaf, which has a very high thujone content, is used in the same manner. It was used as a prevent infections in wounds, for athlete's foot, as a headache remedy, and to stop internal bleeding. A. tridentata has most camphor, terpionoids and tannins, and its smoke was used to tan hides by the Okanagan's first nations people. Another type of mugwort, Coastal Sagebrush, AKA California Sagebrush (A. californica), is used in very similar ways to mugwort (A. vulgaris), to treat respiratory complaints (including coughs, colds and asthma), for pain relief (sprains, reumatism, muscle pain and more), to ease menstrual cramps, and assist during child birth. Its pain relief properties are powerful - applied as a liniment, it is much more effective and safer than opioid painkillers, and can even relief the intense pain from broken bones. 

Chinese medicine uses Moxibustion during acupuncture treatment, in which the practitioner would burn A. moxa as well as A. argyi on top of the needles which warms them up, and is supposed to activate the qi and strengthen the body. It is considered to help improve blood supply to the pelvic area, and also promote fertility. Chinese mugwort (A. argyi) is used by traditional Chinese medicine doctors mostly to treat women - to stop bleeding during mensuration, pregnagney or postpartum; but also to promote mensuration (many types of artemisias are used as emmenagogues). The essential oil is used to treat asthma, coughs and other respiratory issues via spraying at the back of the throat. The essential oil was proven to have antiseptic properties against several bacteria. 

A. apiaceae is another species that grows in China and when dried is used to treat vertigo, cold sweats and high fever. The flowers are used for treating headaches and for joint pain relief.

In Japan, yomogi heating pads filled with Japanese mugwort are used to keep the crotch area warm and cozy (I'm still trying to figure out when would that be actually comfortable), and yomogi water bottles are used for warming the pelvis in general and ease pelvic pain.  

Artemisia in Medicine:

The two main species that have known in the West for their medicinal value are the A. herba-alba (native to North Africa, and also grows wild in the deserts of Israel) and A. arborescens (also grows wild in Israel). Their high santonin content makes them especially effective against intestinal worms. They are also used to treat other digestive complaints such as stomach ache and nauseae, as well as colds, coughs, etc. 

Artemisia arborescens (Sheeba in Arabic) is native to the Mediterranean region and is enjoyed with black tea, especially in the wintertime, throughout North Africa and in Israel. derives its synonym wormwood from its ability to chase away worms from the digestive system. 

A. absinthium is a European artemisia, used in folk medicine to strengthen the body, ease digestion, reduce fever and remove intestinal worms. 

A. annua contains artemisinin, is the current most effective drug to treat Plasmodium falciparum malaria. 

A. capillaris has sedative-hypnotic effects, some say as strong as that of cannabis. Newer discoveries regarding artemisia show that thujone affects GABA levels and uptake in the brain, and acts very much like THC in cannabis does. 

Artemisia in Food and Flavour:

Artemisia has a strong medicinal flavour, and is mostly drank as a medicinal or warming and energizing winter tea in North Africa and among the Moroccan Jews in Israel. It is also drank as a beneficial tea with the name Yomogi and Ssuk in Japan and Korea respectively.
Kusa mochi (literally means "grass mochi") is a seasonal Japanese pastry for spring, which is flavoured with mugwort (it is softened with baking soda to remove some of the bitterness). Yomogi mochi is a sweet rice pastry flavoured with mugwort and filled with sweet red bean paste. Another type of Japanese pastry featuring mugwort is Hanami Dango, a trio of white, pink and green balls of mochiko served on a sewer, which symbolize the cherry blossom in its green leaf, bud and flower state.
Spirits and Liquors:
Artemisia absthuinthium was used to spice mead in Medieval times. In 18th Centruy England, it was used to make beer much like hops (whose bitterness - or more accurately, the chemicals that are responsible for it - is effective in preventing spoilage of the barley during the fermentation process.

Artemisia is used to flavour various spirits and wines, chief among them being bitters, in which it takes the role of a battering agent; in the bitter liquor pelinkovac (from former Yugoslavia); and is a key ingredient in two important and equally famous alcoholic beverages, which both were used originally for medicinal purposes: absinthe and vermouth. Artemisia absinthium in combination with fennel and aniseed, is used to flavour the green-coloured Absinthe spirit, giving it a distinctive anise flavour. Other elements, such as melissa (lemon balm), angelica, peppermint, coriander, veronica or star anise may also be used. Absinthe is traditionally served diluted with water, which is poured over a sugar cube through an ornate spoon. Once diluted, it takes on a milky appearance (due to the high content of essential oils within the alcohol). Sazerac, New Orleans' famous whiskey cocktail, is delicately flavoured with absinthe, by swishing or spraying the glass with the spirit before serving. I wonder if we'd need to wait a 100 years for the draconian restrictions on oak moss to lift.

Turns out that the dangerous reputation regarding absinthe (hallucinations, violence and seizures) is mostly a myth - and that although thujone can be a neurotoxin in high quantities, none of the absinthe of the past nor present presents such a threat, and the negative effects of "absinthism" are in fact to blame on alcoholism: absinthe was traditionally a very high in alcohol content (68-72%); and unfortunately, not infrequently it as made with poor alcohol contains the toxic methanol, and at times even with a toxic green dye. 

Vermouth began as a German wormwood wine Wermut is German for wormwood, and the word got bastardized as it travelled form Germany to Italy and from there to the rest of Europe and eventually the UK. Aside from wormwood, vermouths may be flavoured with herbs such as marjoram and hyssop, spices such as cloves, cinnamon, cardamom, coriander and ginger; as well as with citrus peel, chamomile, and with juniper and quinine.

Artemisia in Perfumery:
Artemisia herba-alba essential oil is green in colour, and I have not had the honour to smell it in person. Artemisia vulgaris essential oil is a clear yellow mobile liquid, and has an herbaceous, bitter, intense, offensive and aggressive even scent, reminiscent of cedar-leaf and sage. It is also lightly berry-like and musky with woody undertones. Hints of marigold and chamomile undertones as well. Waxy like candle and becomes more sweet and honeyed, floral after a while. Hints of peach stone. Artemisia's green, fresh, herbaceous qualities make it the perfect conspirator in Fougère and Chypre compositions, as well as foresty fragrances. Last but not least - tobacco and leather fragrances, to which it contributes an almost palpable bitterness that creates an illusion of chewing tobacco. It also finds its way into soap fragrances and is also a popular scent for Japanese bath salts and an addition to hot springs "spa". The key to using it is creativity and imagination: Do not use it as a main theme but in combination with other notes, where it will act as an accessory note to create a surprising effect.

I have tinctured fresh leaves of Artemisia arborescens and the result is a very clean, fresh and green aroma which I am now curious to work with both as a flavouring agent (in bitters) and in fragrance compositions.

Here is a very partial list of perfumes that contain artemisia/absinthe:
Bandit
Biche Dans l'Absinthe 

Bowling Green
Chrysalis
Coriolan
Cuir de Russie
Derby
Devin
Douce Amère
Feuilles de Tabac
Gaucho
Kouros

Polo

Without Words

Wrappings
Yatagan
Yerbamate

Narcissus Enfleurage

My narcissi finally bloomed but there are very few of them (still better than last year, when there were non!).
Here is a handful of pics to show you the process of my single-charge Narcissus tazetta (Chinese Sacred Lily) vegan enfleurage process. Wish me luck!

Artistic Collaboration with Sanaz Mazinani - Exhibit Opens Today!

I'm excited to announce an unusual collaboration with visual artist Sanaz Mazinani, whose exhibit opens today and will feature other senses besides sight. There will be sound and smell as well, and I was chosen to create the latter. Below is more info about the show:  

SANAZ MAZINANI

Light Times

Opening Reception: Saturday, January 12, 2-5pm

Guided Tour of the Exhibition with Sanaz Mazinani: Saturday, January 12, 3pm

Exhibition Dates: January 12 – February 23, 2019

“Light Times” is Sanaz Mazinani's third solo exhibition at Stephen Bulger Gallery in Toronto. It explores a technical history of photography in an effort to analyse visual language, perception, and the contemporary consumption of images. The studies depart from a set of unique light exposures on photosensitive paper which become the material subjects of each investigation. Throughout the exhibition, the camera-less photographs reappear across different media - unmade, reconstituted and recontextualized as sculpture, scent, sound, or technical print. These physical iterations come together to construct a consideration of the discipline's material capacity to register and document while drawing attention to new realities that form when the recorded information is aestheticised.

Mazinani’s source material is intentionally pre-image, inviting the viewer to focus on the photographic information in the form of simple abstractions made by the artist in the darkroom with light and photographic paper. Her manipulations, and those made in collaboration with technical experts, mimic the strategies of contemporary media circulation: redaction, decontextualisation, and repetition - processes with roots in photography. The works are process driven and utilise a range of methodologies and photographic tools from early photographic history to today. Further investigations offer poetic reflections on loss, time, event, and memory, core to the conceptual dimensions of photography.

“Light Times” looks at the transformation of the three dimensional into the photographic plane, while emphasizing visual shifts that occur through media specificity. The studies work to assemble a map of photographic language, highlighting the processes of photography and situating photograpically captured events, the documentation of the ephemeral/visible, as a relationship to reality created and constructed by the photographer.

Sanaz Mazinani collaborated with Mani Mazinani on Shift, a sound composition that will play from a vinyl record  on a turntable in the gallery formingthe sound component for this exhibition, the Shift LP will be released on Aerophone Recordings in late February. This sound piece addresses the shifts that take place in sight, memory and perception over time and space. Mazinani also worked with perfumer Ayala Moriel to create a unique fragrance ILLUME to conceptually respond to the unique photographic function of registration of light and its simultaneous loss of original meaning. The environmental fragrance ILLUME is a poetic response to the experience of the photographic moment and the function of time’s erasure of that original experience. Furthermore, the artist would like to acknowledge the work and creative labour of the other technicians and artists who used their craft to make a selection of the other pieces in this exhibition, namely Mary Hogan, Mike Robinson, Bob Carnie, Taimaz Moslemian, Noami Dodds, and Jacob Horwood.

An artist and educator, Sanaz Mazinani is based between San Francisco and Toronto. Her work explores how repetition and pattern make information legible, transform seeing into knowing, with the possibility of altering people’s worldview. Working across the disciplines of photography, social sculpture, and large-scale multimedia installations, Mazinani creates informational objects that invite a rethinking of how we see, suspending the viewer between observation and knowledge. Informed by the visual rhetoric and confounding presence of contemporary media circulation, her multidisciplinary practice aims to politicise the proliferation and distribution of images and introduce critical reflection. Mazinani’s works study forms of state control and consider how re-visualizing embedded power structures might interrupt them. In aestheticising informational systems, the artist attempts to contribute to a larger understanding of how conflicting realities are constructed and imagine the communicative possibilities of visual language.

Mazinani holds an undergraduate degree from Ontario College of Art & Design and a master’s degree in fine arts from Stanford University. Her work has appeared in solo exhibitions at institutions including the Asian Art Museum in San Francisco and the West Vancouver Museum. She has participated in worldwide exhibitions in institutions such as the Art Museum at the University of Toronto; the Southern Alberta Art Gallery, Lethbridge; the di Rosa Museum, Napa, California; the Fotografie Forum Frankfurt; and the Museum Bärengasse, Zürich. Mazinani’s artwork has been written about in Artforum, artnet News, Border Crossings, Canadian Art, San Francisco Chronicle, Washington Post, among others. Her work was recently featured in Universe: Exploring the Astronomical World published by Phaidon. She was recently awarded the Zellerbach Family Foundation Grant and National Endowment for the Arts grant programs, and her work is held in public collections including the Canada Council Art Bank, the Cleveland Museum of Art, and the San Francisco International Airport. She currently teaches in the photography department at the San Francisco Art Institute.

Additional information about ILLUME: 

Ambient fragrance designed to complement and complete “Light Times” - Sanaz Mazinani’s solo exhibition that explores the technical history of photography and its implication on this art form.

ILLUME sheds light on the concept through the sense of smell, which is subconsciously influential in our formation and retrieval of deeply rooted and emotionally charged memories. Being an environmental fragrance and part of an art show makes it public, perhaps even invasive, unlike the intimate and personal memories often elicited by perfume. Therefore, it was important to keep the scent simultaneously vague and familiar. It is immediately noticeable upon entering the space, yet not easily recognizable and identifiable. 

Wherever there is light, there is also shadow. ILLUME explores this interplay of light with the shadows it casts, both in our collective memories and personal ones. The scent is agreeable yet abstract, with disturbing elements hidden in the background. Its design draws on chemical and technical themes such as minerals and acids, to create a reference to the dark room. These dominant acidic and mineral notes are light and sharp, but are only a mask to conceal the dark secrets and hidden memories - embodied with wet, mushroomy woods and smokey notes. Taken outside of their context, these familiar, mundane smells loose their meaning, or perhaps take on a new shape and identity. 

The scent will be "played" during the exhibit and also sold as limited edition room spray for gallery patrons during the time of the show. 

Chai Incense

Chai incense spices

Chai incense resins

Trail testing phase

Chai incense sticks (first experiment!). They are not offered for sale yet but I hope that with some practice I will be able to add these to my incense offering very soon.

Chai incense cones (now back in stock in the online boutique).