By Alex Grey
This specified sequence of work takes the viewer on a image, visionary trip throughout the actual, metaphysical, and religious anatomy of the self. From anatomically right rendering of the physique structures, gray strikes to the spiritual/energetic platforms with such photos as "Universal brain Lattice," envisioning the sacred and esoteric symbolism of the physique and the forces that outline its residing box of power.
Includes essays at the value of Grey's paintings by means of Ken Wilber, the eminent transpersonal psychologist, and by means of the famous ny paintings critic, Carlo McCormick.
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Sample text
In order to see (let alone artistically convey) Spirit, the eye of contemplation must first be opened, and this opening—Kandinsky's "revelation of Spirit illumined as if by a flash of lightning"12—discloses newer, higher, and wider dimensions of existence. In the artist's own spiritual growth and development, ever subtler experiences, emotions, and perceptions would come into view, and it was the artist's duty to portray these subtler experiences (transcendelia), and thus to evoke them and encourage them in those who witness with care the finished work.
Is it Realist? Surrealist? Minimalist? Maximalist? Post-Modern?
The media would still be sensibilia, but the depicted object no longer would be bound by the rules or perspectives of matter; it would not follow the contours of matter, but of mind. No longer Nature, but Psyche. No longer realistic, but abstract. Not things, but thoughts. Not Euclidean, but Surrealistic. Not representational, but impressionistic or expressionistic. Not literal and concrete, but figurative and symbolic. ) With Kandinsky, arguably the father of abstract art, we see the full emergence, if not perfection, of intelligibilia over sensibilia; of the condensed potency of the abstract over the mere imitation of Nature's forms.