Hexhammer wrote:
Very beautiful paintings! There's few of my personal favourites in here already... I love cubism, always had... The style tickels something in my inmost.
I've also done cubistic paintings myself. I haven't touched a brush in many years now. Seeing all this great art sometimes makes me bit sad, I had a dream of becoming a decent painter. It never happened, I left out of artschool in 2006, never touched a brush since.
Oh, I love Gigers art also. For some strange reason, heavy metal people and sci-fi fans usually like his stuff. It's dark and twisted, there's days when I really do not want to see any of his stuff. The atmosphere in some of his works is... How could I put it, except dark and twisted? But his talent and vision is outstanding! And the amount of detail, it nears photorealism.
I have never understood how some people are able to paint or draw at that level of detail. I never could, if I try, it looks like shit, not fluid any more... Not living at all. That's one of the reasons I left pictorial art behind... I can not paint human figure for example, it just never lookd right. Anything cubistic, surreal, dreamlike, is just fine.
This is really a fantastic thread, keep on posting.
It is never too late to pick up a brush and paint.
It is interesting that you also like Gigers. I remember when on DI forum on Your Favorite Artist thread a member posted his art. He also posted more disturbing paintings and as I suspected he was occultist.
I didn't have a chance to post it on DI form as I was stopped by getting a virus again. A good warning to stay clear from any disturbing art.
Giordano was magician and oculist.
Images are powerful tools that help to access our unconsciousness. It doesn’t matter if it is a photo or a painting as a result is the same.Carl Jung knew it as he used art in therapeutic sessions. But the best explanation of how images and sound affect us was done by Giordano Bruno and Ficino, a renaissance magicians.
The spirit is also bonded through vision, as has been said frequently above, when various forms are observed by the eyes. As a result, active and passive items of interest pass out from the eyes and enter into the eyes. As the adage says, ‘I do not know whose eyes make lambs tender for me’.
Beautiful sights arouse feelings of love, and contrary sights bring feelings of disgrace and hate. And the emotions of the soul and spirit bring something additional to the body itself, which exists under the control of the soul and the direction of the spirit. There are also other types of feelings which come through the eyes and immediately affect the body for some reason: sad expressions in other people make us sad and compassionate and sorry for obvious reasons.
There are also worse impressions which enter the soul and the body, but it is not evident how this happens and we are unable to judge the issue. Nevertheless, they act very powerfully through various things which are in us, that is, through a multitude of spirits and souls. Although one soul lives in the whole body, and all the body’s members are controlled by one soul, still the whole body and the whole soul and the parts of the universe are vivified by a certain total spirit.
Hence, the explanation of many spiritual feelings must be found in something else which lives and is conscious in us, and which is affcted and disturbed by things which do not affect or disturb us. And sometimes we are touched and injured more significantly by those things whose assaults we are not aware of than we are by things which we do perceive.
As a result, many things which are seen, and forms which are absorbed through the eyes, do not arouse any consciousness in our direct and external sensory powers. Nevertheless, they do penetrate more deeply and lethally, so that the internal spirit is immediately conscious of them, as if it were a foreign sense or living thing. Thus, it would not be easy to refute some of the Platonists and all of the Pythagoreans, who believe that one human person of himself lives in many animals, and when one of these animals dies, even the most important one, the others survive for a long time.
Hence, it would obviously be stupid to think that we are affcted and injured only by those visible forms which generate clear awareness in the senses and the soul. That would not be much different from someone who thinks that he is injured more or less only by blows of which he is more or less conscious. However, we experience more discomfort and suffering by being pricked by a needle or by a thorn irritating the skin than we do by a sword thrust through from one side of the body to the other, whose effect is later felt a great deal more, but at the time we are unaware of the injury caused by its penetration of parts of the body.
So, indeed, there are many things which stealthily pass through the eyes and capture and continuously intrude upon the spirit up to the point of the death of the soul, even though they do not cause as much awareness as do less significant things.For example, seeing certain gestures or emotions or actions can move us to tears. And the souls of some faint at the sight of the spilling of another’s blood or in observing the dissection of a cadaver. There is no other cause of this than a feeling which binds through vision.
Giordano Bruono, Cause, Principle and Unity, And Essays on Magic. p. 137-138
According to Walker, the magic of Ficino used the human spiritus as its medium through which it worked. The spirit was the link between body and soul, and the human functions of sense-perception, imagination, and motor activity were connected to the spiritus. The human spiritus was made up of the four elements, and it formed a corporeal vapor that flowed from the brain, where it had its center, through the nervous system. Furthermore, the human spirit was connected to the spiritus mundi, which mostly consisted of the fifth element quinta essential or ether.
Ficino considered music as especially connected to the human spiritus, since it used the same element as its medium – air. But more important than that, the sound consisted of movements where visionary impressions merely transmitted static images. These two reasons caused sound to affect the spirit more effectively than sight, and since it is in the spiritus that magic works, sounds were considered more potent than visual impressions. What the magician saw or felt was thus secondary to what he heard.Ficino used music in his magical workings. He composed hymns or put music to such texts as the Orphic Hymns.
Western Esotericism and Rituals of Initiation by Henrik Bogdan
