My artwork and writing explores the realm of dreams, which has many layers; the first of which is a miasmic veil of surreal imagery, whose domain has inspired many a surrealist artist who have explored their own inner reality. When to go ever deeper, you then enter into more occult realms, which of symbolism has informed the magical arts. I do not see a division between the practices of art and sorcery, they are one and the same of practice, which can be termed as being shamanism.
The practice of art has since lost its connection with the inner reality the shaman to know. Yet, the creative processes and techniques employed by an artist and a shaman are none too dissimilar to each other. For example, both an artist and a shaman seek to hone their visualisation skills, as well as conjuring up visions, who to also create images or sculptured icons of meditative creativity, and likewise with that of an occultist, whose employed symbolism the surrealist and symbolist artists explored in their works.
Wherefore, In my works, I deconstruct the symbolism of the occult, which in the West in particular has an overriding focus upon the male principle, whose symbolic paradigm of God, angels and demons, etc, permeates all levels of Western culture, you could term as an ‘Animus’ fixation; hence I am otherwise exploring the rebellious symbolic expression of the feminine, ‘Anima.’
This also involves an anarchic imaginative deconstruction of various mythologies from around the globe, including folktales, fairy tales and even ribald nursery rhymes, etc; these symbolic influences have greatly influenced our childhood and adult culture via the now popular genres of fantasy, sword and sorcery and science fiction, let alone that of urban legends and conspiracy theories, which I explore in my work, to further fuse with present, social, political and cultural issues.
My work also engages various influences, which are as diverse as the ninth-art of comics, Manga, Anime, video games, film and music, etc, which I then reproduce as familiar symbolic stimuli, arranging them into new conceptually layered pieces.
Often these themes are erotic of nature, featuring fetish symbolism, which are then combined into photomontage works. The fetish symbolism of the hedonic is otherwise symbolically transmuted into the spiritual domain of the dream.
One example being, the fetish of the pony-girl, who is transmuted into a Succubus; her associated ‘Anima’ office is the inducement of Out Of Body Experiences; in other words, she enables the dreamer to ride her as his conjured Night-Mare.
My photomontage works also feature popular images from varying genres, which are juxtaposed with occult themes; these works are further embellished with arcane sigils, or otherwise created as computer generated imagery, which are used to illustrate what I write about.
The juxtaposition of popular imagery establishes a dream-like surreal quality, which suggests notions of a crossover into the dreaming domain of the occult, as well as formally unifying the disparate objects in each artwork into a whole. The employed sigils, are derived from the classical Grimoires, such as the Goetia in particular, which provide clues as to their content and further interpretation.
The photomontage works and computer generated imagery I sometimes translate into drawings or to use as colour studies for potential oil paintings. However, my preference is the traditional arts of drawing, painting as well as sculpture.
The usage of photomontage and computer generated imagery can be rather constrictive, which I to have primarily indulged in, so as to complete a project involving my writing, by a self determined date. The project has since been completed, which has led to my books.
While I use a variety of materials and processes in each project my methodology is usually consistent. Although there may not always be material similarities between my different projects they are linked by a recurring interest in the shamanic exploration of dreams, whether the subject matter involves fantasy or science fiction themes, etc.
For example, my artwork can be seen by the audience as being just a fantasy painting, but at another level it goes far deeper. However, I am aware that many in the audience find my interest in the occult to be rather disconcerting, if not quite mad, due their particular bias, whether it be religious or atheist of nature, who far prefer a strict division between fantasy and the occult realm of dreams. But should they look into the works of the surrealists or even many a comic artist they will find numerous artists who do not see a division between the two.
This does not mean that these artists are in anyway insane; they have just come to an objective observation that the nigh meditative process of creating a two-dimensional painting upon a cave wall of a canvas can become a three-dimensional interactive reality within a cavernous lucid dream, which can also lead to the observation of concordant synchronicities. Hence, deserving further artistic exploration, which can be termed as sorcery practice.
Wherefore, my sorcery practice of art will determine the materials and the forms of my work, which of an ongoing experiential reality since a child, involves the experience of inducing lucid dreams via my art, and the ensuing observation of synchronicities.
Each of my projects may consist of multiple works, often in a range of different media, which are grouped around specific themes and meanings. During the research phase and production, new areas of interest arise, leading to the next body of a Faustian work, which are inspired by my Succubae Muses, who I have conjured up within my lucid dreams via a Grimoire painting.
As the sorcerer adage goes: “you are only limited by the extent of your imagination.” I far prefer to let rip with my imagination, thinking outside of a ring-pass-not box!
NOTE: Should you be interested, my other website is a bit more interactive, which includes some associated flash games, of possible interest, along with videos etc.