“Immolation,” October 2015
I could have titled this essay sensationally –as, “Art & Witchcraft.” And the meat of the message would remain unchanged.
In these rigid times, playful thinking is discouraged in theory discourse– and if it were to emerge, the fun of it is choked out by citations — citations of ideas that already exist, filtered through generations of scrutiny to the point of sterility. That is why this essay is unprocessed — not filtered through the conceited lens of human judgment — derived only from the mind of the author, acting momentarily as an antenna for the Divine Life Force. An unpopular style of theorizing about the human experience that some may find incorrect, & some may find dangerous, but to which practiced artists will undoubtedly relate, and which curious onlookers might find amusing and enlightening.
Alex Graham, age 22, with “Automobuito,” 2010.
For the purpose of this essay I will be referencing my own experiences in the art of painting, as I have been fully immersed in the art form for 15 years, though these theories apply to all acts of creativity.
Reality Projection – Conscious and Unconscious
The body emits waves of electricity, commonly known as vibrations. These vibrations have a direct effect on your immediate environment, but also continue out into space until they reach the end of the galaxy. As such, they contribute to a constant, ever-changing magnetic force that moves in a firelike pattern around the planet Earth.
Zooming back in on the Individual, these vibrations can carry a conscious, or an unconscious force of will, that can move destructively outward (as destruction is a creative force). As these vibrations have an effect on the material world, they can summon situations, events, objects, and other beings. This is referred to as magnetism.
One must be aware of this life force before they are able to acknowledge it, communicate with it, or have any awareness of its effect on the course of one’s life.
Many walk among us who, for one reason or another, refuse to acknowledge the intrinsic life force within and without each living being, and its effect on their life.
These types of beings may act in learned patterns, have a difficult time deviating from a set path or tradition, behave without conscience, have expressionless faces and speak in monotone, try to exert control other peoples’ lives, and make calculated mathematical choices devoid of artistry or imagination. They may be whipped around by circumstance and easily manipulated by those who can harness the life source with selfish intentions
These ‘Stone People’ are no less capable of connecting to this divine lifesource, but their inability to acknowledge it leaves them more vulnerable to its chaotic whims.
Yes, the life force is chaotic, and cannot be contained. It is not an instrument for the individual to use — rather, it will ‘play’ the Individual as an instrument — a collaboration flesh and spirit.
Effective art is the kind that reaches out and continues to ‘play’ the emotions of the viewer, as an instrument of sensations and emotions.
The Value of Art, by a Different Measure
When one learns to acknowledge this life force, they can practice and measure oneself as an antenna, with radio reception that waxes and wanes depending on a variety of factors presented by the physical form. In my experience, the ability to connect to this life force depends on my level of health and deep connection to the molecular aspects of my “animal vehicle” or “body”. It also depends, strangely enough, on ‘endearing myself’ to this life force, with quiet acts of artistry, kindness, good will, and strength. The experiences of falling in love, connecting strongly with a piece of artwork, or connecting strongly with another being also create an immediate, strong magnetic pull connected with this divine lifesource.
When I am at the height of connection to this life force, combined with the intention of my presence of mind, I find that I can turn my ego completely off, and my body becomes an instrument through which the divine life force will ‘play’. “I” – my “id” – walks to the back of my brain and takes a seat, as an observer. And the divine life force becomes the driver of my animal vehicle.
In this state, my lines are effortless, and image concepts are plucked down from the collective conscience (ever seen multiple artists conceive similar themes at the same time? Sometimes mistaken for plagiarism, these artists were all connected to the Divine Life Source at the same moment in time.) Oftentimes, at the height of this state, I will finish one or several paintings at a time, sometimes in one session.
When I am in a low vibrational state, attempting to create can feel like drudgery — because I am relying almost completely on my mortal vehicle to complete tasks that are measured against acts of divinity.
Even a layman unaware of the metaphysical aspects of art will unconsciously feel the emptiness and meaninglessness and superficiality in a piece of artwork derived purely from flesh and bone, and filtered through the lens of the ego, until it is sterilized of all life.
The value of art can be measured by the volume of spirit that exists within its elements, and whether or not it is ‘alive’. But, who can know? And how is it measured? In this way the value of art remains subjective.
“The Opening Act,” 2019
Why do we cry when great artifacts are destroyed? When an artwork is heavily affected by the ‘hand’ of the Divine Life Force, like all other living things it is ‘born’ into the material world and deposited into a vehicle, in the same way that other beings are ‘born’. Like all other living things it contains a singular self, and emits an energy. Great artworks can emit vibrations and magnetism, just like other living beings.
Like the humble Human Being, this invisible life force simply wants to be acknowledged.
Reality Creation Through Art
After many years of practice and experience, an artist will begin to see the patterns of this life force emerging in their work — but also in serendipitous life events. For example, if one is channeling the grand life force of the universe into a painting of togetherness, a situation may arise in which the message of the painting is subsequently ‘lived’ by the artist.
On December 22nd, 2015, I committed my second-to-last work of art of the year – a spontaneous live portrait (marker on paper) of my friend, A. — a regular at the Jazz bar where I was a waitress. I walked up to him, asked if I could draw his portrait, and he posed for me at the bar. (Unfortunately I did not photograph this portrait.)
Days after that, on December 29th, 2015, I painted a live portrait of my cat, Leche, who kindly, lovingly and intentionally posed for me for 30 minutes or more.
These portraits were the last two acts of creativity I had committed in the year of 2015.
Almost a year later, in early December of 2016, both of these beings passed away unexpectedly (to my knowledge), of natural causes — their dates of death were separated by the same number of days that had occurred between the portraits, but in the reverse order that they were painted. Leche died on December 1, 2016, and A. died on December 7, 2016.
Yes, they are only anecdotes, coincidences from the life of one artist. But I doubt very much, that I am the only practicing artist who has experienced these serendipitous, tangible, mystical effects of creation.
Another mysterious act of reality creation is the story behind my two Serpent paintings, unwittingly conceived right in the same moment that my neighbor was being murdered 20 yards away from where I sat. To read this story in full, click here.
In these instances of creative intention affecting reality, I can only hope that my creative acts had not somehow caused or contributed to these tragic events, but rather foretold, or were transmitted from the energies of my subjects. It stands that I will never truly know the answer.
Signed, Alex Graham