By Joshua B. Good

It doesn't matter that Hindu temples and ancient texts are adorned with sensual images of Indian deities.

A group of Hindus living in Edmonton, Canada, didn't like it when they saw a breast and vagina adorned a pillar next to an infant version of the god Ganesha.

So over 700 people signed a petition asking that the sculptures by artist Ryan McCourt be removed from public display in front of Edmonton's Shaw Convention Center. The petition was delivered to Edmonton's mayor, Stephen Mandel, on Tuesday, Sept. 18, 2007.

In response to the controversy, the city plans to remove the sculptures earlier than originally planned. The artwork has been on display for 10 months.

Ironically, Ganesha is considered the "remover of obstacles." And now it will be removed so as not to offend.

I emailed McCourt to ask him about the censorship. Here's his response, uncensored:

Good: Why do you use religious symbolism in your artwork?

McCourt: To some, the ongoing focus on Hindu iconography in my sculpture may seem strange, coming, as it does, from a white atheist prairie boy like myself. As a human being, there is nothing within human culture that is alien. To refuse to appreciate and learn from diverse sources of human experience is to be willfully ignorant. As a sculptor, the whole of human history's artistic production; indeed, all the physical objects; real and imagined; are all part of my visual 'culture'. The Greeks are my culture, as surely as are the Africans, as much as the Indians... at least as much as the Albertans. I don't think I actually "choose" what I'm inspired by, and it's impossible for me to say for sure why I might be so inspired (or even that it's Hinduism, per se, that is the effective inspiration). There are many factors that influence the directions of my work, and all may be active, consciously or unconsciously, at the same time; however, I can say that I try to take advantage of whatever inspiration comes my way, regardless of the source of the influence.

Good: Have you ever been censored before?

McCourt: Misquoted maybe, but censored: no. I've shown some of these works in other venues, without hearing of any complaints.

Good: Did any of the people who complained about your artwork contact you?

McCourt: Yes, with this exhibition I had a few gentlemen from the Hindu Society of Alberta call me at home, and ask to meet with me to discuss the works, back in January 2007. I met with four of them, who told me that they thought I should be compelled to cover the 'naughty bits' on the works. I thanked them for their comments, though I told them I disagreed, and did not plan on altering the works for them. I wished them a good day, to which they ominously replied that "This will not be the end of this". They were true to their words.

Good: Have any Hindus come out in support of your artwork?

McCourt: Yes, I also received a call from the Honorary Priest of the Hindu Society, a Mr. Kalia. He told me that, although he had heard other Hindus discuss their offense at the works, he has been a fan of my sculptures for years. He suggested that the people complaining were perhaps ignorant of the traditional forms of Ganesha, and did not understand that depicting Ganehsa nude, or holding a trident, etc. are all acceptable within Hindu artistic traditions. Another Indian immigrant to Alberta wrote to the Shaw Conference Centre (the venue of the exhibition) and indicated he was pleased to see a beloved Indian deity celebrated "with such clarity and dignity." "As an Indian both working and living in this city, it is a wonderful feeling to know that Edmonton embraces my culture," his letter said.

Good: Do the statues "Destroyer of Obstacles" and "The Reawakening of Ganesha" have spiritual meaning for you?

McCourt: Indeed. I think all good art carries what could be described as 'spiritual' significance, as it exists for no other reason than the delight of the viewer.

Good: How do your religious beliefs fit in with your work?

McCourt: My work could be seen as an expression of my beliefs, or they could be viewed entirely separately from me as an individual, I think.

Good: Do you see any parallels between what happened with your sculptures in Edmonton and the censorship of Cosimo Cavallaro's life-size chocolate sculpture of Jesus called "My Sweet Lord," Andres Serrano's "Piss Christ," or Renee Cox's " Yo Mama's Last Supper"?

McCourt: I'm not familiar with the Cox work, and I think it could be argued that Serrano's photo of a crucifix in urine was designed with shock in mind. Conceptually, I think there is some parallel between the incident surrounding my work and that of Cavallaro's, as with both works the purported "offense" is entirely imagined by those so offended. Sculpturally, I don't think "My Sweet Lord" is very interesting, though... I think I'd rather eat it than look at it, myself.

Good: Can public art convey a message or must it be devoid of meaning so as not to offend anyone in the public?

McCourt: Art without meaning is art without quality (and vice versa). Art without quality is the single most useless, and offensive, thing in the world. Art's only justification for existence is the delivery of aesthetic experience.

Good: Tell bannedmagazine.com readers a little about yourself, such as where you grew up, how old you are, how you make your living as an artist and anything else you may want to add.

McCourt: Born in Edmonton in 1975, Ryan McCourt, in spite of his travel over the years to many foreign destinations, has remained a lifelong Edmontonian. McCourt earned his BFA in 1997, and MFA in 1999, both from the University of Alberta. In addition to his work as a sculptor, he has been involved broadly within the art community: as a photographer, curator, writer, exhibition organizer, competition juror, university instructor, and founder of the North Edmonton Sculpture Workshop. McCourt is the recipient of a number of awards for his art, and his work is included in various public and private collections in Canada and abroad. For additional information, please visit www.ryanmccourt.ca.