The exploration of how art shapes consciousness is exemplified in the painting titled "Body-Mind-Spirit," which traces the progression of human consciousness from the corporeal to the cognitive and ultimately to the transcendental realm. The contemplation of mortality and the potential survival of consciousness beyond bodily demise are quandaries that profoundly preoccupy humanity at large. This is the initial drawing I created at the age of five, depicting a skeleton. It represents a time when children are imbued with fantastical thoughts and imagination. Notably, in this artwork, there is a power animal resting on the shoulder of the skeleton, accompanied by a cheerful gravestone and a small coffin. Five years later, at the age of ten, I produced another portrayal of death, which took on a more archetypal and mythological representation of the Grim Reaper. By the time I reached the age of seventeen, I was enrolled in an art school, where I continued to explore the subject of skeletons. However, my approach now had shifted towards a more rational perspective. I focused on meticulous detail, employing greater discipline and skill in my work. Furthermore, I began to assign names to individual bones, enhancing the precision of my drawings and the accuracy of my grammar. At the age of 20, I had a vivid dream in which I envisioned my hair being partially shaved. Intrigued by this vision, I embarked on a performance ritual, committing to keeping half of my hair shaved for a duration of six months. During this time, I engaged in various artistic performances, capitalizing on my occupation as a billboard painter. One notable act involved placing a self-portrait of myself within an inactive billboard structure, as well as inserting a self-portrait into an advertisement slot within the subway system. This provocative endeavor, known as "Private Subway," aimed to elicit contrasting reactions from passersby, who were invited to either contact me for a shared meal or express their disdain by stepping on my visage. Following the six-month period, I concluded the series with a piece entitled "Brain Sack." In this performance, I consumed a serving of spaghetti and subsequently cut my hair over the plate. Placing the hair-covered plate beneath a replica brain, I ingested a universal antidote syrup called ipecac to induce vomiting, allowing the expelled spaghetti to land upon the brain. Finally, I gathered all the components and sealed them within a sack, thus creating the artwork referred to as "Brain Sack."
I experienced severe depression, which may not have been apparent to you at all. During that time, I found myself earnestly praying to a higher power I previously doubted existed. My prayer was a plea for a sign that could provide me with a purpose to continue living. Surprisingly, within a span of 24 hours, I received an invitation to a social gathering where I was introduced to LSD for the first time. As the effects of the hallucinogenic substance took hold, I closed my eyes and found myself immersed in a pearlescent spiral, traversing a tunnel of profound spiritual significance. In this darkness, I gravitated towards a luminous source, which I perceived as a representation of God. Remarkably, within this transcendent journey, all conflicts and opposing forces found resolution, as if being reborn through a spiritual canal. I came to understand that the color gray possessed the power to reconcile opposing elements. It was at this moment that I made a personal decision to adopt "Grey" as my new name, as an artist committed to the mission of unifying opposites. The current hostess of the party, whom I had only a faint acquaintance with from our time in art school, also indulged in the consumption of LSD. Astonishingly, within a single day, she became the object of my affection and, subsequently, my beloved partner. Allyson and I have been married for 38 years, serving as both life companions and artistic collaborators. Miraculously, in the wake of my fervent prayers, I encountered a revelation and experienced an encounter with divine love in human form. My supplications had been answered, leading me to secure a position at a mortuary in order to delve into the intricacies of anatomical study. My objective was to create artwork centered around consciousness, recognizing the body as the vessel through which consciousness manifests itself. To acquire the necessary comprehension, I dedicated five years to the meticulous study and preparation of cadavers, including the dissection process. In retrospect, this immersion in the shadowy realm of mortuary work proved invaluable, as it guided me towards a profound appreciation for the sanctity of both the physical body and the soul it harbors.
"Meditations on Mortality" was a theatrical performance presented by Alice and myself at Sarah Lawrence. Alice adorned herself in white greasepaint while I applied black greasepaint, and together, we engaged in profound contemplation while positioned beside a skeleton. Upon the culmination of our performance, we purposefully transcended the confines of dualistic perceptions, harmoniously blending our pigments to manifest a shade of gray. This transformative act, symbolically known as "The Beast," involved my donning a military uniform and marking the hands of entering individuals with the number associated with this metaphorical creature. By doing so, I sought to acknowledge the malevolence inherent in the military-industrial complex and recognize my own involvement in the machinery of death. Within the overall installation, a monumental nuclear crucifixion painting measuring approximately ten feet wide conveyed a sense of blind brutality akin to that which would inflict harm upon a saint, while simultaneously being accountable for the potential worldwide devastation leading to a desolate wasteland. Mr. and Mrs. X, fictional characters within the artwork, were caught off guard by a nuclear explosion on their way to a dinner engagement. They found themselves in a hellish realm, seated at a table abundant with money, signifying the central focus of their feast. As a representation of this metaphorical act, we ingested currency, drank symbolic blood, and then regurgitated it onto the table surface. Such artistic endeavors function as a form of provocative therapy, intended to jolt and rouse individuals from their complacency, catalyzing awareness and response. Another significant piece entitled "Prayer Wheel" featured Alice and me adorned in golden greasepaint, tethered to a skeleton, and cradling a baby doll. During this performance, we engaged in 60 rotations around a prayer wheel, rhythmically chanting the sacred mantra "Omani paid me home living cross." Subsequently, while lying motionless and encircled by a cross formed by apples and roses, we directed our gaze heavenward toward the Angel of Death. In the heart of a goddess sculpted from 5500 apples, Alison nurtured our daughter Zena, while I undertook a hundred prostrations at the foot of the goddess. This particular performance took place at Lincoln Center out of doors. Following its conclusion, we gathered and donated the apples used in the artwork to a shelter supporting homeless families, symbolizing a compassionate gesture of unity. Lastly, the piece known as "Hartnett" was showcased at the American Visionary Art Museum. Its physical structure featured a world map on its reverse side, exhibited for an entire year. We invited museum visitors to inscribe prayers dedicated to the well-being of the Earth, resulting in the accumulation of approximately 10,000 written pleas suspended throughout the exhibition space. The immense response from the community generated a deeply moving demonstration of shared concern and a newly envisioned world.
Alison, Xena, and I actively participated in an event known as World Spirit, wherein we collaborated with musicians and various performers. The primary objective of this endeavor was to create an immersive experience fostering unity and healing. Approximately one thousand individuals attended this event in the Bay Area to partake in this transformative journey. The same underlying motivation that drove us to organize World Spirit also served as the impetus behind the creation of a series entitled "The Sacred Mirrors." This series originated with a performance called "Life Energy," during which Allison and I, along with a group of individuals, engaged in exercises aimed at attuning ourselves to our life force. For this performance, I crafted two charts: one depicting the nervous system and the other illustrating a subtle energy map. Allison astutely observed the audience's profound enjoyment of this experience within the gallery, leading her to propose the idea of expanding upon this concept through an entire series. Thus, "The Sacred Mirrors" was conceived, with Allison herself bestowing its name. The framed example of this series can be seen here, alongside a photograph of Allison and me assembling the frames in our basement back in 1985. We personally sculpted and cast a total of 21 mirrors in our basement, providing a philosophical framework that explores the biological and technological evolution of humanity as it ascends towards a state of God consciousness. When one engages with "The Sacred Mirrors," they embark on a journey of deep introspection, meditating upon each individual painting and attuning themselves to the intricate systems within. It becomes an opportunity to contemplate one's own sympathies and prejudices, ultimately aiming to establish a profound connection with others, viewing each person as a sacred mirror. The exploration of the series delves into the realm of subtle energetic forces, where the psychic energy system is portrayed. This system intertwines x-ray anatomy with acupuncture meridians, points, and the chakras, all suspended within a pranic psychoenergetic essence. The spiritual energy system within the mirrors unveils the progressive dissolution of the physical identity into the ethereal light body, melding with the universal mind lattice. This aspect of the series attempts to convey an experience that Allison and I shared on June 3rd, 1976, during which we consumed a potent dose of LSD and found ourselves immersed in an infinite expanse of toroidal fountains and luminous drains. It was as if every entity in the cosmos manifested as one of these radiant spheres, akin to cells within the divine body. It revealed a profound truth that lay beyond the veil of the material world—everything was constructed of love, with light serving as its conduit, interconnecting us all.
The divine archetypes of Buddha, Christ, and Sophia are regarded as sacred reflections of our future enlightenment, following the profound experience of the universal mind lattice. Allison and I have dedicated ourselves to creating art that explores the interconnectedness of the sacred. Thus, we present this painting, which serves as a symbol of prayer, directing our attention towards the fundamental essence found in all wisdom traditions. Within the halo, the expressions and prayers of seven diverse world wisdom traditions converge, symbolizing the infinite bonds of love that transcend the transient nature of our physical existence. The depiction of the Holy Family signifies a vision of a hopeful future, wherein a planetary civilization emerges, characterized by unity among its inhabitants. It emphasizes the idea of "one world, one people." Indeed, the Holy Child depicted here represents any individual who carries the spirit of the world within their hearts, aligning themselves with the celestial realm, and seeking to share their revelations with others. The figure of Gaia represents a personal vision I had on the day our daughter was born. It symbolizes the precarious state of our world and the critical choice we face: either progress through evolution or succumb to self-destruction. In our minds, we hold the Earth as sacred, and through planetary prayers, we beseech for the healing of the intricate web of life, and the harmonious integration of human and divine consciousness. This union weaves the fabric of space and time, encompassing both the individual self and its interconnected surroundings. The artist's hand wields a spiritual instrument of visionary evolution, and each creative endeavor bestows empowerment upon others. By examining the enchanting, mythical, rational, integral, and transcendental essence of art history, we can discern the overarching trajectory of evolutionary consciousness. Reflecting upon our collective past, we acknowledge that the painter serves as a conduit for the creative force, infusing it into the artwork, which then assumes the role of a reservoir, capable of enlightening observers and transforming their perception of the world. Returning to the theme of mortality, we encounter a painting portraying the final moments of life, wherein a spectral essence departs the body, traversing towards an ethereal luminosity. Thus, we can now discern from my previous remarks the harmonious interplay of magical, mythical, rational, integral, and transcendental reflections pertaining to the same subject.
The oversoul's planetary consciousness evolves into cosmic consciousness through human consciousness. When we engage in a profound gaze into the eyes of our beloved, we find ourselves gazing into a sacred reflection, recognizing our inherent unity. The concept of the net of being originated from an ayahuasca experience, revealing a vast panorama of interconnected divine entities, each serving as a node of anthropocosmic awareness. This intricate web symbolizes the godly essence within each node, illustrating an infinitely interconnected network of selves. Notably, the rock band Tool adopted this imagery of the net of being, prominently featuring it on their Grammy award-winning album "Ten Thousand Days," as well as incorporating it into their stage design. Consequently, this visual representation has transcended mere artwork to become an emblem of the inseparable bond between music and art. A vivid example of its influence can be observed through our daughter, Xena, who proudly adorns a dress adorned with the net of being pattern, while net of being tattoos are prevalent worldwide. Now, Ken Wilbur's Integral Map of the Four Quadrants provides valuable insights into how art influences consciousness. In the Upper Left Quadrant, we encounter the genesis of art within the inner realm of the artist or individual. Moving to the Upper Right Quadrant, we witness the individual's active role in creating artistic artifacts. Transitioning to the Third Quadrant, the Lower Right, we observe the intricate systems involved in integrating the artwork into the wider world. Finally, in the Fourth Quadrant, the Lower Left, we delve into the collective's inner realm, representing our culture and zeitgeist. This quadrant serves as the interpretive framework for understanding the artwork's significance. Consequently, when we embrace novel perspectives, a new reality takes shape, enabling individuals to conceive visionary ideas within this emerging paradigm. Thus, the cyclical process of art perpetuates and evolves.
Painting serves as our vocation, leading us to travel extensively across the globe to participate in various festivals. The festival culture, through its emphasis on art, music, and love, strives to foster peace in the world by creating a transient realm of global civilization. The Chapel of Sacred Mirrors originated from a visionary concept envisioned by Allison and myself in 1985, and it was ultimately realized in 2004. Commencing our operations in New York City's Chelsea district, we established a significant hub for visionary culture in Manhattan over a span of five years. In 2009, we relocated to the Hudson Valley, driven by our aspiration to construct a temple that would serve as an experiment in the realms of art, spirituality, and communal living. Our collaborative endeavors with numerous visionary artists have flourished, reflecting the surge of such artists worldwide. These collaborations, in essence, warrant celebration. Presently, our ongoing venture bears the name "Entheon," signifying a haven for exploring the divine essence within oneself. Entheon will manifest as a sanctuary dedicated to visionary art, situated in Kazem. The significance of visionary art resides in its profound connection to the divine through the visionary mystical experience. All sacred art and religious traditions are fundamentally rooted in this mystical state. Presently, the most effective means of conveying the mystic visionary experience is through meticulously crafted artistic renderings by firsthand witnesses. Creativity, therefore, serves as our spiritual path. At Kazem and Entheon, our objective is to act as an impartial catalyst for spiritual individuals, facilitating their unity with the human family and the imperiled life web. This endeavor involves the utilization of 3D modeling and printing, introducing a novel method for creating ornamental sculptural architecture. Each phase of God represents a distinct world religion, symbolized by the forehead, emphasizing both unity and diversity. Art serves as an intermediary, pointing us towards the cosmic creativity that birthed galaxies, and remains an echo of the creative force itself. Through creativity, the cosmos evolves and engages in self-communication. The transformative elevation of humanity, surpassing its potential for self-destruction, constitutes the arts’ mission to redeem humans everywhere. Thank you for your art patronage.
See also: https://mygodsentangels.com/