In my earlier and more abstract work, I liked to explore notions of the spiritual sublime. There is some truth to be mined there. I like the notion of Zen Buddhist attitudes in art, that the very act of creating, as well as contemplation on the end result, can bring mental calm, enlightenment. So it is with Sufism, a mystical sect within Islam. Whiling Dervishes spinning until there is a total loss of all conscious thought, only union with the divine, and their music inspiring us to transcendence. I am also indebted to Gnostic and mystic Christian beliefs for deepening the mystery.
It was all there at the beginning with me. When I was 19 I had a powerful dream. It took place during my first bout of deepest, darkest, soul shattering, black howling depression. I was taken away to a dark place, my body surrounded by spirits. They took apart my body, piece by piece, and examined each part, arm and leg, flesh and bone, head and heart. I was scared and in a lot of pain. But these same spirits later put me back together again, only I was different in some way. I had somehow changed. I felt I was in possession of a powerful secret, that I could use this secret to access hidden corridors in my mind to produce meaningful works of art, and that this art would always be true.
Soon after, I was reading a book on Shamanism by Piers Vitebsky. I was shocked to learn that this dream is very common, and it signals an initiation rite by the spirits for newly minted Shamans throughout the world, but especially among those peoples found in Inner Mongolia and the steppes of Asia. But that dream was a long time ago. I don’t have magic powers and my art can not heal people (at least not literally). Over the years my art has become more about this world than any alternative reality or vision.
Perhaps one day I will return to it. I still believe there is some magic involved in making art, and that the artist is somehow special, different from most people who are only pedestrians when compared to artists, with their ability to take spiritual leaps and find ecstatic truths, especially when tapping into the Jungian notion of the collective unconscious.
Ah, but it is a double edged sword for those with this ability to conjure up ecstatic truths. Modern societies do not have room for magic anymore. This is even true in the contemporary, post modern art world, where there is a favoring of conceptual conceit over anything that smacks of spirituality, or anything divined from the heart. Such work is deemed anachronistic and not worthy of investigation. Maybe one day this will all change. . . .
“The job of the artist is always to deepen the mystery.” Francis Bacon