Burning Art for Light
This article was published in a Spanish art magazine in print in conjunction with one of my art show openings. The tone is revolutionary..
Burning Art for Light
I like to play, with my art, to delight, to tickle, to surprise, to haunt, to
deepen, to envelope, to lick, to turn on, to shine the viewers into pure golden
Joy. To create a kind of excitement, integrated with the truth of the world
rather than escaping from it. To help us all get in touch with the power within
that arises from the core of the spirit, as orgasmically gorgeous as it is. And
when that happens without ignoring what is going on in the world, that is the
best revolution of all.
The art of the revolution never dies, but it does burn, does writhe, does ache,
does bleed intensely red red red. It takes us deeper into the reality we know
is there, pulsating intimately somewhere beyond this agreed on surface illusion.
It affirms that we have the power to create our own reality, can have our own
perceptions that vibrate at a different frequency from that of the mind
controlling formulas moving through the airwaves and scrambling the heartwaves.
Those pictures burned with with scorchvision show the burning of my heart upon
the art. It is burning the frames of reality.
Sending my these pieces across customs is a risk, because they are incendiary
works, and the United States
is not in the mood for freedom of expression these days.
While there are portrayals of happiness, playfulness, and pure beauty, these
giclee prints do hold together as an emotionally intense statement. You will
find here a soulful saint, a sexy outlaw, and a veteran whom i had just watched
as he put on his artificial legs. There is a strong antiwar message within
these images, many of which are portrayed by a beautiful young activist who
drew his own blood for some of these pictures, and allowed me to tar and
feather him for art.
I bled on one such picture when the United States went to war on terrorism, and
held it and another in that set in a storm in Seattle during a protest at the
Federal Building, and my art caught great attention by the press. In one
picture from that photo shoot, one of the politicians is telling the usual lies
on television during the State of the Union Address, and his nose has grown
like Pinnochio's, and pierces the side of the crucified activist like the spear
of Longinus pierced the side of Christ, according to legend.
The most revolutionary of the pictures go into the causes behind such lies,
such wars, and suggest the vampiric forces at work behind the scenes. One
contains the Shield of the House of Rothschild, amongst symbolic portrayals of
their nature and involvement. And beyond that even, we have the one entitled
"Sacrifice Gods". This one shows a statue placed masonically at the
eye of the pyramid of architectural structures, as shown glaringly in the
diagram by it in Olympia, Washington. Ths sculpture shows an angel pushing
the soldiers to do battle for Yahwey. The angels have been linked to the
Annunakis who came to earth as deceitful conquerors making humans do their work
for them, worship them, and go to battle for them, sacrificing to them with
blood and the emotional energy of pain. The image explores that theme with the
snake, as the Brotherhood of the Snake has carried on that tradition, as have
the other secret societies which are all related to this theme. George
Washington, who was the head of the Freemasons, has a statue in this picture,
in the same pose as Baphomet, worshipped by the Freemasons as well. Such images
rely on extensive and irrefutable research.
The images float in the whole emotional tone of the works, which is raw, not
quiet and submissive, but flagrant, rebellious, unrelentingly colorful. Being
fully alive, not afraid to look reality square in the nuts, allows us to see
and feel what is really going on.
It takes us deeper into the reality we know is there, pulsating intimately
somewhere beyond this agreed on surface illusion. It affirms that we have the
power to create our own reality, can have our own perceptions that vibrate at a
different frequency from that of the mind controlling formulas moving through
the airwaves and scrambling the heartwaves.
I like to play, with my art, to delight, to tickle, to surprise, to haunt, to
deepen, to envelope, to lick, to turn on, to shine the viewers into pure golden
Joy. To create a kind of excitement, integrated with the truth of the world
rather than escaping from it. To help us all get in touch with the power within
that arises from the core of the spirit, as orgasmically gorgeous as it is. And
when that happens without ignoring what is going on in the world, that is the
best revolution of all.
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