How do you put yourself into a trance or into a place that’s receptive to the subconsciousness?
I find the act of drawing in itself to be trance inducing. I first became obsessed with automatic drawing in high school because it felt like it would light up my brain and smooth out all of my anxious energy. It would literally feel like I was drawing my way out of a stupor and waking up to the strangeness of my own mind.
Drawing helps me reach that valuable state where I can feel awake and alert, yet simultaneously relaxed. I find that my breathing slows down when I’m drawing and time feels more fluid. It helps to have a quiet studio where I can go and disappear for hours at a time. I think of the imagination as a living thing that I have an ever evolving relationship with. If I…
organize the snakes pluck strings divide the wave to the pedal point a step, a diesis, a key signature target a center ignition arrow bow lyre fabulist the dirty gods she had a nice base associative process with dials from point to point seamlessly one to the other and then Sigmund Freud’s rings hello utterance udder rants a scale rave turning things into words a jewelers hammer striking the strings kinetic parenthesis circle intersection drawing back waxing links undone wading octaves and moonlight the face on a corpuscule Saint Teresa melts the robot into a full bodied universe
Every culture has experienced cannibalism, headhunting and parasites. This intrusive painting is about those things but thankfully it’s all metaphorical. In this painting I use figures of speech to convey malignant narcissism and greedy tendencies as a psychic virus. While no specific group or person is targeted it is important to be aware of the dangers of being egocentric and that it puts everybody at risk.
An ancient parasite has been interfering with our optimum self moderating programing since the beginning of time. This is not an original idea and can be found as a theme through many Science fiction and horror stories. One specific example is The Mind Parasites by Colin Wilson worth checking out. However there are more real life examples. I found details in Sigmund Freud’s Totem and Taboo: Resemblances Between the Mental Lives of Savages and Neurotics that offered a general outline on taboo as a psychic contagion.
Anyone who has violated a taboo becomes taboo himself because he possesses the dangerous quality of tempting others to follow his example: why should he be allowed to do what is forbidden to others? Thus he is truly contagious in that every example encourages imitation, and for that reason he himself must be shunned.
Freuds statement makes me think of the origin of the scapegoat and the spiritual cleanse that shares a polarity with transgressions of the community. An organized ritual allows a contamination of an object to later be sacrificed.
How did the Wendigo archetype institute and set in motion such a horrible malware on the consciousness of humanity?
First and foremost the Wendigo represents a defense against becoming selfish. An example not to follow. It is no one’s ambition to become cannibalistic or maladaptive but abrupt experience overwhelms an unactualized mind. This is usually caused by trauma experience. An experience by all accounts that leaves a brain feeling abandoned. With no one else around to understand. While left defenseless against the brains own intense fear, a sudden disconnection occurs.
By looking in a mirror day after day one moves more progressively towards a reduplicative hallucination. An elaborate state where one see themselves as an apparition. This double tells the vulnerable self a story about how much stronger and more valuable it is than the other. it tells the other self it is the reflection that is important. Across this imbalanced relationship the double forever feeds off of one traumatic moment. As a kind of psychic parasitic disease, the reflection commandeers the entire body while holding the suffering self hostage. This painful body tries to fight but not being fully rehabilitated to control it’s own operations, instead seeks to control other brains.
Robert A. Brightman an American anthropologist describes the Wendigo as
“The wendigo (/ˈwɛndɪɡoʊ/)(also wetiko) Ojibwa wintikö. Cree wihtiköw is a mythological man-eating creature or evil spirit from the folklore of the First Nations Algonquian tribes based in the northern forests of Nova Scotia, the East Coast of Canada, and Great Lakes Region of Canada and the United States. The wendigo is described as a monster with some characteristics of a human or as a spirit who has possessed a human being and made them become monstrous. Its influence is said to invoke acts of murder, insatiable greed, cannibalism and the cultural taboos against such behaviors”
From Brightman’s statement we get a profile of a very unrelenting and maladaptive personality who is controlled by a psychotic spirit whose strategy relates to a person in the same parasitic mode a protozoa relates to a host. There is an invisible influence.
At the very top of my painting is an example of the Woodland Style. Inside the face is a very filtered cosmogram that offers a limited preview of a Peyote ceremony I was invited too. I choose the Bidu and moon cipher to act on behalf of an meaningful experience. The full night ceremony continues to make a deep impression on me. This impression is similar to my discussion inAstrology and Cosmograms. I review the root Loa as comparable to a strong radio signal filled with intelligent information and the brain as land-based radio station. In the painting this Loa voice scrolls from the lips to a wireless phone. This sudden illumination is delivered by a lightening bolt brightening a picture tube with a whirling log message. The subliminal effects directly communicates with the Mooladhara Chakra, the chair where the Kundalini sits. At it’s immature stage the Mooladhara is completely egotistical, security driven and possessive. These traits when pressed by scarcity and megalomania create a Wendigo.
“I am a big believer that projects need to bloom in their own time. This was true for my photo exhibition, Dark Goddess, which has been living in my bones for about 6 years. However, the true age of the project is much older. At the age of 19 years old, I came in contact with Dr. Clarissa Pinkola Estéss book, Women Who Run With the Wolves: Myths and Stories of the Wild Woman Archetype, along with other histories about the role of the sacred feminine in the world.
Dark Goddess is a mix of ethnography, cultural anthropology, an exploration of the sacred feminine, and a co-creation with each of the individuals featured.
The women featured either created their own deities, or pulled from the pantheon of goddesses from different cultures.
I am still learning from this exhibition as it is instructing me on how it wants to be seen…
“Yes, there is a structure … but it is a structure made of silences, of hanging threads, of cut scenes, where everything occurs in a simultaneous time which is a no-time.”
-Juan Rulfo, 1983
The paintings’ content reflect this ambiguity of form: the figures are both personal and archetypal, representing dramatic relationships that are at once familiar to us through fictional conventions yet at the same time surreal.
The characters drift through the paintings, as does the presence of the artist, as sleepwalkers, allowing elements to materialize, come into relation with one another and then to shift into other forms or states of being.
Canadian artist Erik Volet combines figuration and theatrical space to create imaginative scenes that recall the urban environment,while evoking a…
I am currently interested in exploring digital methods as a way of creating surrealist art. Digital art allows for explorations in painting, photography, collage, and mixed media incorporating painting and photography.
Surrealism is for me a way of meaningfully integrating my interests in Libertarian Socialist politics, and Esoteric Thought while liberating the powers of the imagination.
Since 2003 Richard Burkehas participated in Surrealist shows in Bowling Green Ohio (2003); Spencer Iowa(2006); St. Louis (2011-12); and Paris (2013); as well as having contributed work to Peculiar Mormyrid (2020)
My goal with my up-close & personal urban decay shots is: How do I make the old, ugly, and the discarded look beautiful, strong, and colorful again? And why do I see faces everywhere I look? Who is always watching me?
My mission with art photography is to reveal to the world that even in death & decay, there is still beauty, as well as a new source of energy/life that wants to be born into this world, just in another way.
We just need to look at it from a different light, a different perspective. Life truly never ends! It just gets reborn into this world again & again as another essence, another beautiful being. Just like how a caterpillar gruesomely transforms into a butterfly!
Always attracted to the darker side of life, Dave Vescio quickly found his passion for playing the antagonist & villain and has performed in…