Although I got a lot out of attending university and doing a BA in Fine Art, there is a tremendous freedom in the fact that I am no longer answerable to tutors now that I have finished my course. Nowhere does this apply more than in the case of my work based upon the Mystical Qabala, which most tutors did not “get” as they were not experienced in that field and explaining years of study in a 20 minute presentation was never going to be a practical endeavour.
The more I thought about this, the more I realised that it was a major problem for me on the course that we were not expected merely to produce individual art but that any work we produced had to be contextualised in terms of contemporary artists.
Given that the art world has so many Marxists, feminists and afficionados of whatever other “woke” nonsense happens to be the flavour of the day, how was I supposed to contextualise my work with people I regarded as a bunch of toxic, moronic, spiritually myopic cripples? Marxists have a lot of suffering to answer for and in studying art theory I realised that artists – to their great shame – contributed to the spread of Communism in the 20th Century (the catastrophic Russian Revolution in particular.) The more I studied art theory, the more I could see that the art world is impoverished by its rejection of the mystical and the spiritual and I found myself rejecting pretty much all of it and resolved to go my own way as soon as I had attained my degree. This painting, “Ascension Chalices” is the result, a mystical work based on the Ten of Cups Tarot, the colours of the 10 Sephiroth of the Mystical Qabala and the illustration of chalices as seen in my virtual reality, Qabalistic Temple of Malkuth.
The ten spheres or “Sephiroth” represent a map of human consciousness from the material world up to the Godhead and beyond. The higher one goes, the more abstract the correspondences and this is reflected in the painting with the uppermost chalice, corresponding to the sphere of Kether, being almost unrecognisable were it not for its being seen within the context of the other spheres.
The colours of the chalices viewed right to left from top to bottom correspond to the lightning flash order as the emanations from the Godhead percolate down to the material plane.
On a technical note, the painting sees a return to my favourite technique of cross-hatching in such a way that one colour is bordered by another in broad, clearly visible brushstrokes. A digital photograph does not do the original justice as the brush strokes are three dimensional.
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