24 April 2017


In my first entry detailing its genesis, I went over some of the major life events that set the foundations for the core identity and direction of the project.  Now, I would like to discuss how I went about reconciling with some of those events artistically through the realisation of my creative process.

Back in the early days, when I was contemplating the potential directions that I might take the project, only one thing was certain; I was not interested in returning to the casual creative patterns of yesteryear.  This would have to be an execution beyond all previous standards of measurement.  I considered how the effects of that powerful, psycho-transformative experience had forged a new chapter in my life, so anything that I created as an artefact to that evolution would have to be superior in its design and philosophical standard compared to what came before.  In light of these considerations, I was positive that my creative venture should be reflective of the powers and events that had facilitated its existence, imitating the manner that a new organism takes on the characteristics of the parent.  It would have been dishonest to have been affected by such a transformative event only to embody into new arrangements, designs that befitted the qualities of the lead prior to the transition into gold.  Indeed, this experience had not only facilitated a new beginning, it had without any shadow of a doubt, been the singular force that had saved me from a premature end.  The impact of this event had encoded its signature into the tributaries of my thoughts, preoccupying my mind with meditations over various states of change.  It was through these introspections that the essential subject of my creative destiny began to reveal its character to my mind, and with the fertile consequences of my formative initiations seeded in my memory, now surely was the time to act.

The reasons as to why artists create are as legion as the works themselves.  Yet given to my somewhat unusual circumstances, I could not merely address some mundane subject, something that spoke to a perhaps novel, yet ultimately, pedestrian topic.  I had to find a way of representing something more prominent than these things; I had to reach into something beyond the veil of novelty into the very undercurrent aspects of creation itself.  Goaded by instinct and perhaps, by some deeper avenues of potent memory, I was certain that this new art would have to reflect a link between the vitality of the inner world of sensitive presences and the tangible world of forms.  Yet, I initially, had no idea about how I was going to achieve this.  In effect, it seemed as though I was attempting to represent the unrepresentable.

The subject that should underpin this new creative life would have to speak to something deeper and more universal in nature, something that like my psychological experience, possessed no true form of its own, yet seemed to account for the nature of all forms.  There is something that exists beyond the pale of appearances, something that underpins the dynamics of all creative action and informs the currents of one's own life progression.  There is not a single creature that has not been affected by it; it is a force that provokes intrigue and fear in equal amounts and all human acts of creation, no matter their guise or context, were secreted as a consequence of its power.  This force is the ever-changing symphony of life; the very process that informs the spread of the lowest creature to the mightiest movements of cosmic space: the universal and all-encompassing power of metamorphosis.


It was during my early attempts to seek information about altered states of consciousness that I discovered the rudimentary material, initially turning to biology and contemporary psychology for answers.  I regarded these areas to be the most reasonable places to begin considering that, regardless of any alternative or intuitive theories of my own, the vehicle through which that experience had manifested was through my physiological and psychic structures, so it was vital for the formulation of a mature program of research that such material be invested into the foundational architecture of my inquiry.  Likewise, the sheer abundance of modern literature regarding biological or psychological perspectives afforded sound reasoning that if I was going to find anything of primary value, it would most likely be acquired through these topics.  Despite exposure to some incredibly useful information, I initially discovered that data regarding extreme altered states similar to what I had experienced rather lacking.  Looking back in hindsight, I think that my own ignorance of these topics channelled me in the wrong directions.  However, through the endeavour of searching for something specific, we often come across additional aspects of a subject that are nonetheless complimentary to our aims.  One such aspect of this research that influenced the development of my creative process was in the study of adaptive learning through imitation.

In the current cultural period within the Western hemispheres, we are accustomed to associating human understanding with a predominantly intellectual modality.  However, the means through which most organisms, including human beings, reconcile with the world is a complicated and multi-faceted approach, with the brain engineering several methods of obtaining information and reconciliation surrounding experienced phenomena.  One of the most intriguing responses that an organism will employ to reconcile an experience is through the process of mimicry.

Mimicry can only occur through the immersive acquisition of sensory material that can then be assimilated at the unconscious level by the brain's deep-body systems, and then subsequently, re-articulated as a conscientious creative expression of its own body-instrument.  The aims and consequences of mimicry in the natural world are many, but the one uniting factor is that that are all predicated upon the brains' fundamental necessity to seek new information about the sensory world.  For example, an organism could employ a mimicking strategy to conceal itself within a particular environment.  The organism must be conscientiously perceptive of its own body and the dynamics of its environment in order to translate an adaptive result from that understanding.  Internal and external nature must be reconciled with to forge an inventive solution, and this can only be achieved through acute attention, sensory immersion and a creative retranslation of its own evolutionary talents to reflect the subject in question.  Predators will often employ an imitation stratagem as a prerequisite to the act of capturing their prey.  As the predator is preparing for the moment of attack, they can sometimes spend extended periods of time 'sizing up' a potential candidate.  This speaks to the ability of these organisms to empathise with the respective characteristics of other life forms than its own, albeit through the peculiar architecture of their own arrangement.

Through the process of empathic observation and unconscious synthesis, the predatory organism interiorises its prey, taking sense data into its own physical structure to synthesise and rearticulate the dynamics of the host subject, thereby enabling the adaptive modification of its own relationship and strategies towards it.  Certain species of insectoid and big cat have been observed leaning and contorting their bodies in unison with the movements of their oblivious subject; then at other times, raising and lowering legs in unison with the animal that is about to be violently approached.  It is reasoned that through the process of mimicry, the brain is able to assimilate and reconcile with important information faster and more effectively than if it were merely performing a 'cold' observation (a reading without immersive empathy).

The greatest example of inventive mimicry in the animal kingdom bar human execution has to be found in the suitably titled Pacific Mimic Octopus.  This organism has intuitive control, not only of its wider body movements but also its own skin tone, colour and patterning variations.  The mimic octopus, a usually secretive and private animal, will contort its own body into an array of shapes and manipulate its own skin tone to match features in the environment and even into the image of other organisms.  It has been observed imitating the sinuous length and patterning of poisonous sea snakes (most likely as a measure to avoid violent approach by other predator groups) and even succeeds in replicating the complicated features of the similarly venomous Lionfish.  We can take from this that the octopus has probably spent a great deal of time observing and interiorising the forms of these creatures before it has found a way to recast their details through its own flexible architecture.

Not only are these inventive survivalist methods so impressive at the casual level of observation, they are, more significantly, indicative of the underlying implications regarding this organism's relationship towards its complex environment.  Though much is still to be discovered regarding cephalopod intelligence, we can determine from what we already understand about our own behaviour, that the ability to invoke imitational responses to the environment, let alone a species type other than our own, depends on our innate abilities of perceptual and empathic intelligence.  The mimic octopus must not only have acute visual-cortical faculties but also a strong empathic sensitivity and interior conceptual life to be able to perceive external subjects with enough complex detail and then, to be able to restructure its own organic type to embody similar complications of form.  This creature is not merely in its habitat as we would consider it in the abstractions of our own thinking, it is in a deep communion with its environment at a sensitive enough level to have evolved the necessary talents to be able to intuitively translate the characteristics of its own biomass into a living replicant of that ecosystem.  If there was ever an organism fitting enough to symbolically represent the dynamic relationship between the mind and flesh it would be these creatures.  As artists, we can acquire familiarity with such brilliant systems of Nature if we are to realise the fulfilment of similar talents within our own intelligent system.

Mimicry is a creative act, and animal creativity rests on being able to empathically relate to the conditions of an environmental setting and sensitively recast that understanding through the dexterities of the flesh-life.

Empathic mimicry as a learning mechanism is also the most effective manner of translating information from one party to another.  Children learn language through immersion more than any other style of information acquisition.  Their developing brains are primed to mimic the articulated responses of their parents, and the parent, at the intuitive level, knows this.  When a father is trying to teach his son their first words, something simple that is easy to rearticulate, he is depositing sensory signals directly into the brain of the infant in the anticipation that eventually, that child will capture the essentials of that sensory information and mimic its parents actions with a response that has been learned through immersive imitation.  That the juvenile intelligence has not yet discovered the appropriate context of the language is not important at this stage of its development, what matters is that the brain is being exercised in the act of re-expressing the behaviours of the mature organism it will eventually become.

When we mimic, we become.  Becoming is accomplished by a state between states, a mutation highway into new ways of reconciling and interpreting reality.  It is part of the living symphony of metamorphosis.  Becoming is an essential aspect of our development and conscious experience of life, but becoming through empathic mimicry is also a method employed by the creative organism to acquire new information about the nature of the world so that it might influence the nature of its own reality.  In order to inform the nature of reality, we need to acquire new information about the thing that we are trying to influence.  All human propaganda and advertising are predicated upon this fundamental response.  We cannot influence what we do not understand.  Since acquiring information about the world is one of the fundamental aspects of the brains' utility, an aspect of our evolutionary stratagem hinges on the ability to experience and interpret multiple states of being.  A huge component of our adaptive power as higher organisms is derived from our ability to creatively extrapolate our mental algorithms into new models for potential action.  The more models of reality that an organism is able to experience, the greater its dexterity at the meta level of existence, potentially translating into an unfathomable array of strategic mental models.

Empathic mimicry is the brains' immersive power of interface in order to enable the simulation of the natural world within its own psychic structure, internally 'becoming' other 'things' so that it can familiarise and learn from them, thereby expanding its repertoire of information and range of potential action in the living world of action.

This information correlated very strongly with what I was attempting to achieve in my creative practice: to reconcile with an experience that had deep psychological and existential significance to my life but could not be satisfactorily cordoned by the powers of language alone.  Through empathically associating with the qualities of this experience (or as close as I could manage) such as its apparent voidness and qualities of reconfiguration and existential metamorphosis, it would then be a problem of discovering how these qualities could be translated at the studio level.  The successful invention of such a process might yield from its qualitative filter, the artefacts of a visionary subject that could lend insight into the undercurrent nature of my deep mind.  It seems even more pronounced now, reflecting upon these experiments and ponderings, that I was in essence, seeking to use the intelligent systems of my own organism for the construction of a practical filter in the creative process (a form of technology) that would capture and seal the internal imagery of the body into an aesthetic solution and then use that imagery as a reflective lens directed towards the internal systems that produced them.  These crystallised expressions of art could then be seen as extensions of the life of the deep body, its memory, and perhaps even the extended evolutionary memory of the race.

Another more exotic example of mimicry that was instructive in the formation of the creative process was in the study of primitive ritual.  Ritual can be seen on one level, as an immersive mode of learning via creative mimicry.  The human brain has developed a highly sophisticated matrix of responses to its environment that aims to reconcile its powers to the phenomena that it is seeking to negotiate with.  One such expression of this behaviour is in the formation of ritual ceremony involving masks and props that symbolically associate to natural phenomena.  By adorning these created costumes, the wearer seeks to immersively interface with the subject via empathic mimicry, with the expressed aim of interacting with/and/or influencing via remote access, the forces of nature.  A shamanic mind might seek to empathically commune with the heavens, and so by adorning a 'rain dress' with a corresponding 'rain mask,' he can temporarily forget he is a man and become the phenomenon at the meta-conceptual level.  He is not merely pretending to be the rain metaphorically, he is the rain by invoking its feature analogically at the conceptual level of his experience.

Contemporary method actors invoke exactly the same manner of interface in their discipline by immersing themselves within a meta-conceptual simulation of another human personality than their own: its unique nature, its history, its dress, its habits and mannerisms; then through consistently obsessing into the experience that has been generated via their brain's simulation, they can make the conscious slip into dissociation and appear to 'become' to themselves, and to others, a new identity.
That the 'new' identity is still a contortion/amplification/mitigation of their own core personality is not the central item of concern, what is important to recognise are the underlying evolutionary talents of our organism that are at play in this creative communion.  The actor, which may as well be an alternative description of a mask-maker, is appealing to the same fundamental talents for empathy, immersion, and obsession as the shamanic ritualist.  They renounce their own world to create new potentials within their own meta-conceptual systems, and all this is facilitated by the agency of our organism to seek new and inventive ways to commune with phenomenal reality.

Communion with reality is the bridge to greater understanding and understanding leads to influence. The brain cannot influence what it does not understand, and so via the role play of the ritual act, it can seek to access the essential character of that system it is seeking to harness, finally re-expressing that understanding as an extension of its own will to power.  In simulating the natural phenomena via creative role play, the shaman/method actor unconsciously seeds his own intent into the idealised system of mental imagery, thus believing in rational hindsight that the natural system he is attempting to influence will modulate in conformity with their will.
The human organism is interiorising external reality within its own nature, a reflex of its own evolutionary aspirations to acquire new information and influence the systems of nature that it has organised to contend with.  By bringing hard reality into the analogue reality of the mind is to synthesise both hard and soft space, allowing for the dexterities of the brain to filter and shape the dynamics of that experience into new maps of potential.

As artists, we are always engaged in an empathic communion with our own nature and the nature of the world.  Through the creative process, we are like ritualists evoking visionary artefacts from the deep body that yield new information about the world and by extension, modulate the sensory-conceptual systems of lives other than our own.  I consider the association neither inaccurate nor unreasonably flattering to suggest that artists are no different than shaman in this regard.

Ritual systems are an extension of the human brains' ability to facilitate an interactive communion with the phenomenal world, and a by-product of one of the underlying aspirations of brain activity to always seek new information about its environment.  I believe that the creative process can be perceived as running parallel to the characteristics and aims of the ritual process.  Both are systemised attempts to commune between internal and external reality, both are facilitated by the powers of empathic intelligence and immersion, and both are evolutionarily facilitated vehicles to access new information about the living world.  We must denounce the modern cultural pessimism surrounding such archaic subjects if we are to successfully achieve a mature and comprehensive understanding of our own intelligent systems and I would also include that it is often within subjects that are considered 'distasteful' by the contemporary standards of an age where valuable insights can more often be uncovered.  I would certainly consider ritual and creative practice to belong to the same species group of human activity.  Both ritual and artistic action are creative acts that serve as evolutionary extensions of the brains' quest for new information about external reality, and can likewise, can also establish the formation of a lens into our own inner life via the same empathic and evolutionary highways.

When I now recollect, even going back to the early days of my youth, my artistic disposition has always persuaded that the power of man-made images lies far beyond mere aesthetics and as cultural items of novel curiosity.  They are emminated artefacts of the energetic life of the human body, the most sophisticated system in all of Nature, and can, as an extended consequence of its internal dexterities, be harnessed as a portal into the hidden life of that same system.  Before my project even had a name, this intuited perspective was its guiding light and still remains to this day, one of the prominent voices that communicate beneath the aesthetic surface.

My creative process was predicated upon the dual aspiration to commune with my inner life at a more profound level of interaction and to aesthetically extract the approximate result of that conveyance.  Provoked by the memories of the potent past still reverberating within my structure, I would seek to capture and retranslate those internal signals through the qualitative filter, leaking onto the page as a creative crystallisation of what was held within, thus establishing a visionary 'mirror' that could be reflected upon repeatedly.  Many depth psychologists value visual art as a portal into the invisible life of the unconscious mind and what I have just expressed runs complimentary to those aims.


Reconciliation with the power of the past through creativity was the basis upon which this project was realised.  By meditating upon the nature of my altered state experience, I was able to ascribe core characteristics and then associate them over to corresponding informers from my research that led me to the realisation of a new creative process, imitating in effect, some of the characteristics and the effects of that prior experience.  I sought to reconcile and understand the past through designing a creative process that was aligned as obediently as it possibly could be to the nature of that transformative phenomenon in the attempts to secure the essential mandate for the transmission of new material that would act as the ambassador and embodiment of its metamorphic force.

It was important that the creative process should reflect the powerful nature of what informed its gestation in those prior years, believing that this phenomenon, more than any other article of personal taste or fancy, to be the ultimate genesis of my new found vitality and a great opportunity to evolve beyond the states that had typified my previous years.  But in order for the aesthetic transmission to seep through respective of that seeding force, it was necessary to ensure that the creative process embodied it through its filter.

My intellectual inquiry had succeeded in shaping my understanding of some of the fundamentals of evolutionary brain activity and given context to subjects that would continue to direct my interest over why and how we are so interwoven with our sensory reality.  Still, as much as the investigation yielded some interesting fruits, there was nothing here that could access in a secular and clinical language what I had been affected by.  The investigations into the descriptions of human psychology were replete with the accounts of psychotic and delusionary phenomena, yet with regard to such radical states of consciousness approaching what I had experienced, there were none that could offer satisfaction.

Certain items of interest were discovered from the more mythic and esoteric systems, of whose latter adherents specialised in achieving altered conscious states of their own volition via the direct manipulation of the own conceptual and nervous systems or through the ingestion of psychotropic compounds that could invoke such states.  The writings of esoteric philosophy yielded great interest to me, especially surrounding the concepts of 'ego death' and the various Platonic and Gnostic writings concerning the mythic concepts of emanated creation.  Up to this point in life, my interest in the esoteric fields had been directed purely through the magnetism of exotica, however, at this level of deeper inquiry, though still remaining intriguing and engaging in their own right, these systems delivered an imagistic style of reference that complimented the nature of the phenomenon that I was attempting to understand, offering me encouragement for further investigation.  Often it is necessary for the mind to harness multiple standards of truth which complement the wider subject that it is attempting to reconcile with, and in my situation, I was not under any pretences to turn down anything that might prove insightful.

In regards to the more occult variants of my research, I was especially drawn to the post-modern systems of occult literature whose 'back-to-basics' approach and highly evocative thought experiments helped me to make sense of these systems at the practical level.  It was most interesting to discover that when reading about some of the case studies related to the fields of perceptual and belief modulation, that their findings ran somewhat parallel to the effects of certain psychological states that I had already experienced myself.  Whereas I had been thrust into these peculiar states, not of my own volition, the esotericists seemed to be responding to the mind as clay and sought to actively pioneer beyond the territories of casual mentation in the name of an investigation into the many alternative modes of being.  Whether it be dream landscapes, astral projection or through otherwise self-induced techniques of mental mercuriality, they all seemed to suggest that here, I was dealing with a species of thinker that respected and understood the innate malleability of the human condition at a far more intuitive and pragmatic level of understanding than the layman, who more so wields his organic talents with an oblivious grace.  I was deeply impressed by the esoteric attitude towards practical psychology, whilst their tolerance for alternative theory and learning via immersion encouraged me that these subjects could offer some reward for the artistic ambitions I was pursuing in my own discipline.

I could not care less for the cultural aversion towards the occult, what mattered to me at this time, was that I was rapidly encountering new information systems that offered their own solution to my aims at multiple levels of understanding.  It was always my intention to forge a multi-disciplinary understanding of creative dynamics, so the inclusion of any, and all, material that complimented that ambition was welcomed regardless of its cultural acceptability.
These new systems provided an intriguing practical compliment to my aims, and in addition, offered a potent symbolic language that spoke effectively to the human agency to manipulate its own perceptions of the world via creative immersion.  Of an initiation into the wider dynamic ranges of the human psyche beyond the casual flux, I had no need, yet with regard to the opportunity to filter this new understanding within a conceptually provocative and experimental system cemented my view that consciousness alteration practices should be an inclusion within my creative system.  This was made even more affirmative considering that it was an altered state that had marked the beginning of this whole new affair.

The remembrance of that fateful day when the darkness was reversed and a new future began to unfold became the nucleal memory that orientated my thoughts and actions.  Even today, after many years since its passing, there is not a month that goes by that I am not stirred by the memory of it.  It still serves as the gravitational locus of my artistic life and informs the symbolic aspect around which those designs orbit.  When I stare into the aesthetics of my work, I am reminded of its residual presence in the system as if it were some personal photograph of a long deceased relative, evoking moving memories to bloom within the deep roots of the body.

So, now we have observed the experiential powers to the past beginning to calcify into symbolic associations and systems of experimental mimicry.  The experiences and sensitive consequences from the past, if left to dwell in the ether of mutating thoughts, are like cells in the pond-life of our habitual states.  They catalyse and grow beyond the body when we find practical avenues for these cells to take shape and find their way out from the vessel and into the expressive fields of human activity where they become catalysts in the mind-spaces of other men.


At the studio level, I began experimenting with automatic drawing techniques in the effort to acquire alternative algorithms of linework that might provide the basis for an aesthetic subject to emerge.  As I said at the beginning of this diary, going back to my previous standards of creating from reference or purely from my own imagination would not suit this time; I was only interested in achieving something radically different that what had been realised before.

With regards to so-called 'traditional' drawing practice, I already had some experience.  Aside from figure drawings and my preference for prehistorical renderings during my early years, I rejected a fine art option and instead chose to study graphic design and visual communication in my education which involved precision renderings drawn to scale and manufactured in conformity with the predestined laws of a client brief.  These classes also instructed me in the consideration of aesthetic subjects with regards to how they interacted on the page: their size, critical placement and relationship to each other.  This instructed me in the importance of good composition, not merely from an anatomically obedient sense as would be the case in fine art, but in the manner that all visual elements, no matter how seemingly insignificant, communicated with each other, and the art here was how to intelligently create bespoke solutions where the elements not only conformed to the predestined client requirements but also worked harmoniously together.

Whilst this exercise in harmonics and submission to predestination was an interesting vacation from the free-form standards of image creation that I was already familiar with, I knew that I was never ultimately destined for this style of creation.  I had chosen this path as a rebellion against art, or as I now understand it, as a rejection of the academic handling of it.  Both the gated corridors of fine art and technical design placed too heavy a filter upon my burgeoning artistic impulse.  Their systems were counter-intuitive to an as-yet unripened style of transmission that demanded a more intuitive and dynamic approach, which I now seemed to have discovered in a new style of drawing.  I had always preferred to work directly from my own innate sensibility as opposed to the frozen frames of reference, so upon discovering a new technique that complemented and capitalised upon that procedure, there was no resistance to the suggestion that it should be incorporated into my new program.

Ever since my altered state experience I had been struck by an uncanny number of synchronicities.  My discovery of automatic drawing by happenchance, and so early on in the pre-production stages of the project was certainly one of them.  It seemed as if the fates were working in my favour, or I was merely working in cooperation with my instinctive direction to engender such events to arise.  The only thing that mattered was that things were happening in favour of my advance, and even though creative growth was still embryonic at this stage, the shape of a certain organism could none the less be deciphered.

Automatic drawing was a technique that was realised by the Surrealists in the early 20th century.  There are historical accounts of creative techniques from other time periods that run somewhat parallel in their architecture and intent such as zen painting, which similarly aims to modulate the temperament of the mind to influence the result committed by action.  The European model of automatic drawing was predicated upon the theory that by deliberately mitigating conscious attention over the habitual distractions and concerns that naturally arise in the creative process, that a more raw and unfiltered manner of execution might result.  Some went even further, viewing this system as a way of bridging the way into the artists' unconscious mind and the influence of dream imagery and visionary states were investigated in the attempt to penetrate beyond the renderings of the habitual world into the deep fields of the bodies' visionary life.  For centuries art in the West had been systemised into a formal and brilliant discipline that whilst undergoing various shifts of interest and concern was still ligamented to familiar representations of form.  Outbreaks of modernism and its subsequent offshoots were indications that the Western program was undergoing a radical, new development.  Art was becoming shamanistic at this point, a vehicle to facilitate communion with something irrational and primordial within the visionary systems of the body.  This titanic dive into the incredible landscape of the deep mind was in my opinion, a reactive expression of a cultural intelligence severed from its abstract fulfilment with reality.  The potent visionary icons and myths of high Christian tradition had been wounded under the onslaught of the rationalist-mechanical age, and let us not forget the traumatising psychological effects generated by the world's first industrial scale world war, soon to be greeted with a second round of dismemberment.

When the symbols of a Man's life have fallen away, he will return his gaze instinctively towards the place where they first emerged even though he may not fully understand where or why he is looking.  As Kafka stated: "man cannot live without a permanent trust in something indestructible in himself."
The cardinal problem for Western Man ever since the disconnect from his own authentic sensibilities and into the sterilising mechanisms of an emergent global economy has been characterised by a desperate quest to rediscover the prime authentic, wherever it may be, and by whatever manner it might be procured.

Now, it was during my own familiarisation with this technique, that I encountered a flaw in the system itself.  If the aim was to foster a raw manner of transmission through the mitigation of conscious attachment to thought, then there appeared to be a distinct contradiction in the very practice of it.  We cannot silence the activity of thoughts, only modulate our conscious tension away or into it.  Yet in the deliberate process of attuning conscious attention away from thinking we are indiscriminately augmenting the powers of the very filter we are seeking to escape!  By making the attempt to intensely steer our conscious attention away from thought, we embolden the tension between our desired attachments and the activity of it; thereby, we succeed only in reconstituting our efforts into a new conclusion, which we then mistakenly interepret as a state of transitory liberation from thought.

Despite recognising the inherent value in the automatic drawing technique, this flaw would have to be overcome or another method of experiment considered.  It was then that I received an epiphany.  Calling on my research into methods of achieving altered states, I suddenly noticed patterns relating to the intended methodology of automatic drawing and various occult systems, realising the potential of these two systems working in tandem.  By utilising the techniques of entering into lucid trance, I could obtain a more effective deviation from the habitual states than the conventional method proposed by the Surrealists; then, by invoking the practice of automatic drawing in that altered state would the merits of the technique become realised in better conformity to the original ideals it pursued.

Not only did the altered state techniques remedy the inherent problem of this creative one, their inherent attributes, in respect to a feeling of cognitive numbness and a 'narrowing' of conscious activity, fed into the memory of my psycho-transformative experience, further affirming its candidacy as an ingredient in my burgeoning creative process.
In trance, we lose some grip on the habitual anchors of our conscious life- time dissolves, memory terminates and the whole dynamic procession of life tunnels down into a singular purpose, delivering Man from the competing states of its habitual flux into the mode of a semi-conscious automata where action, now liberated from the distractions of the psychic flux, now flows impulsively and intuitively in unison with the bodies' primal, sensuous voice.  A ripe style of transmission, if there ever was, for the evocation of those deep signals that would seal the foundations for this new, authentic art.


I will say in conclusion to this initial chapter, that I believe it is in the interest of every artist to find a way of working that is complimentary to their own idiosyncracies and nature.  Spending the time and effort to realise a creative system out of an interactive discovery with what is personal and vital to the individual artist will separate the necessary from the unnecessary, and secure the elements that are psychoactively powerful enough to determine from their own unique arrangement, the new designs that are reflective of that authentic inner life.  An artist has to work from their own locus, lest all they create are interesting chimaeras.

With an ongoing investigation underway yielding greater context and new perspectives surrounding the nature of altered states and Mans' relationship to the sensory kingdoms, the intellectual horizons of the project were expanding, and intuitive premonitions were gradually beginning to crystallise into mature constructs.  Guided by instinct towards subjects and practices that would garner my understanding of the creative organism, I harnessed the essential elements that would generate from their life the creative system that I would still use to this day, thereby establishing the visual foundations of the XELASOMA aesthetic.

This entry has been a primer detailing some of the original informers that contributed to the development of the creative process.  In Part II, I will compliment this entry by revealing the step-by-step sequence by which the art was generated, from the first slips into a self-induced trance to the final transmission of the aesthetic overlay.


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