A: Getting into
the mediumistic method a bit more, one soon recognizes this metaphysical
philosophy demands a congruent redefinition of art Itself in this late great
20th Century of ours. Idea Game Players
employing the method of Metapsychological Art primarily use round or perfectly
square canvas because it is the most primitive symbol of the SELF. To start the
process the canvas can be broken down through a stained glass effect using
primary colors, or can be broken down through the use of primary colors in
relation to symbols or sentences of symbols, which produces a very powerful
result, very, very powerful, and the surprising thing is that it works, and it
is rather easy to initiate. The
issue is understanding the depth at
which one operates with a medium that deserves the title master class medium.
One of the best techniques is very
similar to hypnosis or unconscious drawing in a state of perception very
similar, if not identical, to that forwarded by Tantric Hinduism, Buddhism or
Tibetan Yoga. Meditating on the symbols or blank white canvas causes certain
shapes and colors to appear. The
individual creates the Rorschachian Mosaic
thusly and draws further and further
into the Self as one carries this alchemical process further. This is so
simple in many senses that I passed it off as absurd the first time I heard of
it. I just could not pass off the individuals who were using it though. They
were/are Real Artists and these individuals were and are producing. They
were driven. When I first used this method with the medium I was amazed. I
painted a series of symbols in white paint, meditated on the canvas and
gradually my hand became like a magnetized limb of a power that spoke through
my body with a force. In conjunction with this field of white appeared images
as if being pushed through a water line towards me, swimming in a sea of oils.
I began copying them as fast as I could. It is physically exhausting if nothing
else, but when I stepped away I could not believe how reflective of my being
the mosaic of shapes had become. It reflected a primitive portrait of my self
and it just kept going. It is hard to get accustomed to this technique is
called "left-handed drawing," but it can yield incredible results. I
have taught people this technique, and I have never seen anybody use it for
more than a year, and not get something very significant out of it. Most people
I have taught this technique to take right off with it. Many have improved my
art immensely with their insights. You
really ought to try it.
I: From what I
have seen in the art world, at least the majority of shows, teaching, and
writing....
A: It is
decorative trash...And if it is allowed to pass for a master class art...
I: I want to have
you make a comment on Modern Art made in Jung's book about Pollock and Abstract
Expressionism. You claim Metapsychological Art to be a new school of art, and I
believe the reader deserves some clarification of how Metapsychological Art has
taken a step forward in this field of The Idea Game.
A: This ought to
be good. Fire away.
I: This quote
comes from pages 308 and 309, the paperback, Part IV, "Symbolism in the Visual Arts," by Aniela Jaffe, and
refers to Jackson Pollock, in
particular, and Abstract Expressionism, in general. Please elaborate on this in
a precise manner.[1]
A: Go ahead.
I: Well here is
the quote I have selected. Regarding the "unconscious spirit" that
inhabits painters in particular, and artists, in general, Jaffe states:
"In My Painting, Jackson Pollock revealed that he
painted in a kind of trance: 'When I am painting I am not aware of what
I am doing. It is only after a sort of "get acquainted" period that I
see what I have been about. I have no fears about making changes, destroying
the image, etc., because the painting has a life of its own. I try to let it
come through. It is only when I lose contact with the painting that the result
is a mess. Otherwise there is pure harmony, an easy give and take, and the
painting comes out well.'...Pollock's pictures, which were painted
practically unconsciously, are charged with boundless emotional vehemence. In
their lack of structure they are almost chaotic, a glowing lava stream of
colors, lines, planes, and points. They may be regarded as what the alchemists
called the massa confusia, the prima materia, or chaos-all ways of
defining the precious prime matter of the alchemical process, the starting
point of the quest for the essence of being. Pollock's glyphs represent the
nothing that is everything-that is, the unconscious Itself. They seem to live
in a time before the emergence of consciousness and being, or to be fantastic landscapes
of a time after the extinction of consciousness and being."
I: Let's stick to Pollock, Rothko, and Abstract
Expressionism, your family or school of artists and Metapsychological Art...similarities and differences.
A: We are on an
alchemical theme in both cases. We are using a very similar technique,
unconscious drawing, left-handed painting and deriving images from the medium,
as opposed to beginning with preconceived shapes, or shapes from three
dimensional space. I also have to continually acquaint myself with the
paintings, even after seeing what I have done. I am always trying to find out
what I have been about, viewing the past and synchronizing these shapes with
the present, symbolically. This is not always the case though. Not as often as I
would like it to be the case. We are clarifying the images, the empirical egos
and jivas that account for reason and order in existence; Pollock and Rothko
could not make these visible, they could not clarify them and this in itself is
a dramatic step forward, plus the creation of a new school of art equally valid
both East and West. Asamprajanatah and Samprajanatah Samadhi applied to the
medium of oils and canvas.
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