art – Page 5 – Mitchell Pluto

the altar that occupies the god

P.D. Newman

Internationally recognized author and lecturer specializing in the use of entheogenic compounds in magico-religious settings. P. D. Newman has been immersed in the study and practice of alchemy and theurgy for more than two decades. A member of the Masonic Fraternity, the Society of Rosicrucians, and the Martinist Order, he lectures internationally and has published articles in many esoteric journals, including The Scottish Rite Journal, The Masonic Society Journal, and Invisible College. The author of Alchemically Stoned and Angels in Vermilion, he lives in Tupelo, Mississippi.

An altar constitutes a sacred space insofar as it is a deliberately constructed liminal space. A space is made sacred first and foremost through the creation and maintenance of a vacuum within it—it is the mystical act of reverting an area back to its natural, chaotic state. What is then invited to fill this void constitutes the divine FIAT—the magic “word” whose essence will thenceforth inform that space and all that transpires in it. Ergo, nothing is permitted to penetrate that void which is not in harmony with essence of the god. Those things that are harmonious with a given essence are termed ‘symbols’ and ‘tokens’ of that essence. These do not simply represent or correspond to the god, but rather constitute the deity himself in miniature form—a fractal-like manifestation of that essence which recapitulates and reiterates the totality of the god upon the microcosmic plane.

The Neoplatonist, Proclus, once stated that Soul “contains images of [things] and detailed, essential [seed forms] which are like statues of things themselves.” Even the names of things, therefore, arise from Soul and amount to veritable ‘statues in sound’ that really are the things described. If the name of the god is a presence of said deity, how much more an actual image? The profane view is that the worshipper believes the god to reside within the statue gracing the altar. This is absurd. No, the statue is in the god, as are all the symbols and tokens descending from his essence. Indeed, gods are beyond space. In reality, it is the altar that occupies the god.

**Image courtesy with the kind permission from** **P.D. Newman**

Claudia Isabel Vila Molina

born in Viña del Mar, Chile. Professor of language and communication at PUCV, poet and literary critic. In 2012, she published her first book, The Invisible Eyes of the Wind. She has published in renowned Chilean and foreign digital media: Babelia (Spain), Letras de Chile (Chile), Triplov and Athena de Portugal, among others. During the year 2017 she participates in the Xaleshem group with poetic texts for the surrealist anthologies: “Composing the illusion” in honor of Ludwig Zeller and “Full Moon”, in honor of Susana Wald. In 2018, she integrates the feminist anthology IXQUIC released both in Europe and in Latin America. In 2020 she participates reviewing the conversation book “Shuffle poetry, Surrealism in Latin America” by Alfonso Peña (Costa Rica), also writes a poetic prose text for the book “Arcano 16, La torre“, by the same author. Likewise, she participates in the book “120 notes of Eros. Written portraits of surrealist women” by Floriano Martins (Brazilian surrealist poet, writer, visual artist and cultural manager). In this year (2021) she publishes her second poetry book Poética de la erotica, amores y desamores by Marciano editores, Santiago.

Rituales poéticos

El corazón me sabe a pañuelos mojados
Hoy escucho la canción de los océanos
Y alguien más viene a mirarme
Las algas suben por mis pies hacia las últimas rocas
En este elemento volví a imitar los arrecifes
Ellos callaban
Me miraban tiernamente
Como solo miran quienes están en estado perpetuo
Y quise salir fuera de mi nombre
Quise volar desde las ataduras de mi cuerpo
La noche no halló sus otros puñales
Y me concedió un nuevo deseo.
Del poemario inédito Solsticio de invierno, derechos reservados.

**Image courtesy with the kind permission from Claudia Isabel Vila Molina**

Olesya Volk

Born in Baku, Azerbajan, lived in Moscow from age 16 and moved to Los Angeles in 1992. She holds a M.F.A. in Film &TV, majoring in Animation from UCLA; and is involved in painting, writing, illustrating, cartooning, mixed media, paper theatre and small size dioramas.

My altar: The inspiration for me always comes from the area deep inside my memory, it is connected to my childhood.

That is why my personal altar reminds of a little village that existed on a shelf in the cupboard at our place when I was a child. That village had a pond and a mill, woods and little houses. It had fishermen, singers. musicians, dancers, witches and sages, and a couple of hooligans. it had the place for games and the place for meditation and talking to spirits. Me and my sister and my mother were in charge of the village, and the villagers were protecting us and granting our daily wishes. The inhabitants of that village are still living with me! some of them are seen in the altar, the others have settled around in different corners…they continue to protect and manage the ties with the other worlds. My altar tries to copy visually that village from our cupboard, only there are much more pebbles now, and the lucky holey stones , they tell me of my walks on the beaches which I also held as sacred when a child…And above the village, there are spirits or gods overseeing it, in the shape of the Indian and Turkish shadow puppets ( one of the puppets, Beberuhi, I made myself; he is a nosier , he is curios about the essence of everything. ) And there are there the photos of the loved ones as well, photos from the past.

May the love last! may the protection and the belief in my vocation last! may the blessings stay!

**Image courtesy with the kind permission from Olesya Volk**

Jaime Alfaro Ngwazi

born in Coquimbo, Chile in October 17th, 1971. He studied at the University of La Serena and his degree is Bachelor in Education and Visual Arts. He has carried out different worshops about graphic expression. One of them is called Vivir el Afiche given by Mieczyslaw Gorowski. Apart from this, we can also mention Lo Esencial Significa given by Mieczyslaw Wassilewski and, finally, a seminar given by Lech Majewski at the University of La Serena.

El altar como centro mágico del mundo/ una trama de hilos multicolores de lana cruzan su centro/ se cuelgan a las orejas de las llamas del altiplano /brotan teléfonos con líneas como nervios-cuerdas de charangos, algunos trozos de carne seca y latidos de corazones emulando a Boltanski, en un centro magnético que conecta espectros de cristal, pantallas de celular y el sonido del viento/ en el desierto,seco ,que disecciona el paisaje salino, entre talleres líticos y mega fauna fantasma. Todos convocados a este espacio, reproducción en artefactos de madera del gran imperio / las cabezas de jaguar rugen a las estrellas de la lejana vía láctea ‚el frío es el ruego en la amplitud de la noche, mientras un vinilo con voces raspadas gira sin fin al compás de una danza metafísica las aristas del rombo raspan la piel suave/ el centro de todo es un valle seco ‚púrpura, apastelado en colores carne.

**Image courtesy with the kind permission from Jaime Alfaro Ngwazi**

Tony Kail

Ethnographer and writer. Tony holds a degree in cultural anthropology and has researched ethnic cultures for more than twenty-five years. His work has taken him from voodoo ceremonies in New Orleans to Haitian Botanicas in Harlem and Spiritual Churches in East Africa. He has lectured at more than one hundred universities, hospitals and public safety agencies. Kail has been featured on CNN Online, the History Channel and numerous radio, television and print outlets. A resident of Humboldt, Tennessee, Kail was raised in Memphis and calls it his second home.

During ceremonies various events would occur that involved participants seeking reactions from the spiritual realm. On one occasion trance possession occurred and a participant was given information regarding a health issue that they had not shared with the possessed individual. Spontaneous deaths of animals would occur during rituals used to combat witchcraft. In the daily life of practitioners, physical evidence would manifest as a result of supernatural activity. Miraculous healings occurred where images of scars and skin disorders would appear on fruit and vegetables that were used in offerings to ask for healing. Subsequently practitioners would obtain healing and their wounds would disappear. Offerings to the Orishas would frequently disappear such as cups of coffee and wilting flowers would appear revived after being placed on specific altars.

From my upcoming book ‘Fieldwork with the Saints: An Ethnographic Journey into Santería in the American South

**Image courtesy with the kind permission from Tony Kail**

Duncan Neganigwane Pheasant

M’Chigeeng First Nation artist Duncan Neganigwane Pheasant is from Manitoulin Island. Duncan started painting in high school using colours and techniques inspired by Norval Morrisseau and other Woodland style artists. His grandfather, Ambrose Pheasant, told stories that were also a great influence on his artwork. Duncan uses his images to interpret Ojibwe legends and stories that surround the history of his ancestors and Manitoulin Island.

The Mohawk Warrior Flag design has been flown all over the world, serving as a symbol of the unity of Indigenous peoples in our common struggle, becoming a beacon of hope, and illuminating the discordant relationship between the dominant society and Indigenous peoples.
The deer’s antlers are one of the characteristics that have made it the figure of a spiritual superiority, according to the Ojibwe. Like a crown, the antlers grow beyond its body, bringing it closer to the sky and making it sacred. In many tribes the deer is a symbol of spiritual authority. During a deer’s life the antlers fall off and grow again and the animal is also a symbol of regeneration.

Regeneration is the key to my shrine,, I burn sacred tobacco and recite the welcoming prayer..
The flag is also a symbol of regeneration,, fighting for what’s right, bringing the people back from the brink of disappearance and destruction
when you enter it you travel through the eastern doorway…like when you were born…behind the warrior flag is another door…the western doorway…this is where you travel through when your journey is finished .but it is on the other side of the flag…this represents the fight ,the journey is to be done first…then you can travel through the western door…

Overall, having this home altar can be another way to remind myself of things I love or intentions I have for the future. If any of these rules are throwing me off, just trust my gut. You know what is best for you and your intentions. As long as you are in touch with your true desires, you’ll be fine to design your home altar anyway you like.

**Image courtesy with the kind permission from Duncan Neganigwane Pheasant**

Jay Blackwood

makes assemblages, boxes, totem dolls and other three dimensional pieces using found objects and materials. He has been involved with Surrealism, both as a practice and as a creative/revolutionary current, since the early 1990s. His work straddles the border between dream and consensus reality, the everyday and the numinous. Jay lives in Bristol, England.

The presiding spirit in my studio is a wonderful stone lithograph by Rikki Ducornet, Histoire Naturelle I, kindly given to me by Guy Ducornet some years ago. Beneath it are a number of pieces I made between 2001 and 2015. They are the product of chance finds, dreams and fleeting inspirations. All relate in some way to the natural world, and to archaic notions of male/female energies.

**Image courtesy with the kind permission from Jay Blackwood**

CLAUDIO RODRIGUEZ LANFRANCO

born in Valparaíso in 1968. After living in Patagonia and in United States product of a scholarship, his first painting exhibitions were date back to the nineties in Valdivia. Later he moved to Santiago and the Fifth Region, where his visual and literary work materializes in a body of work that addresses different forms of expression, such as painting and drawing, experimental and documentary video, visual poetry and muralism, with public art projects installed in Santiago, Valparaíso. As a visual artist he has exhibited his paintings in 15 solo shows and in more than 60 group shows in Chile, Europe and the United States, and his poetic texts have been published in regional, national and international poetry collections, his work being awarded in different state funds for artistic creation such as Fondart, Cntv, Fondo Carnavales Cultural Centers of Valparaíso, among others. Currently the painter lives and works between Valparaíso, Santiago and Concón, where he develops his artistic projects and teacher training, being in charge of university graduates, painting and mural workshops, becoming a teacher for generations of students and artists who have worked with him.

SELK’NAM FORCE. AS AN EXERCISE OF CREATION ON TRAVEL, CARRIED OUT DURING MY TEMPORARY TRANSIT THROUGH DIFFERENT PLACES IN CHILE SUCH AS THE ANDES MOUNTAINS, THE SOUTHERN CANALS, PATAGONIA AND THE ROUGH ARIDITY OF THE NORTH COASTS. A GLANCE OF THE BODY VALUE THAT THE ANCIENT CULTURES OF THE SOUTH OF THE PLANET GAVE THEIR CEREMONIAL REPRESENTATIONS, WHERE WITCHES AND SHAMANS DRESSED WITH BARK OR LEATHER MASKS COVERED WITH MUD AND MINERAL PIGMENTS SUCH AS WHITE, BLACK OR RED ON WHICH THEY THEN DRAWED FRAGMENTS OF THE SKY, THE PATH OF THE CONSTELLATIONS, SIGNS OF ANIMALS OR IMPORTANT NATURAL EVENTS – THE MOVEMENT OF THE SUN OR THE MOON – USING THE BODY AS A SUPPORT, AS A MAP, AS A GEOGRAPHICAL LANDMARK.

**Image courtesy with the kind permission from Claudio Rodriguez Lanfranco**

Doug Campbell

works primarily in collage, enjoying the immediacy of cutting through the detritus of the spectacle to the marvellous. He was born in Edinburgh, Scotland, where he still lives. Asking about the word ‘surrealist’ after finding it in a science fiction novel as a child, he was given a small book of Surrealist paintings. This was the first step on an adventure that continues until this day. His first encounter with living Surrealism was a second-hand copy of the Chicago Group’s ‘ARSENAL 4’ in the mid 1990’s. In response to a letter, Franklin Rosemont directed him to the recently-formed Leeds Surrealist group. This led to an on-going engagement with the international Surrealist movement through correspondence, collective games and contributions to publications and group shows. In 2017, he took part in the ‘Archaeology of Hope’ a large-scale Surrealist game concluding with a show and solstice ritual on the Isle of Wight. This was a significant transformative experience for everyone involved. Since then he has published a continuing series of collage novels in weekly instalments online at ‘The Cabinet of Major Weir’.

This is the biggest shrine in the house, and in the main living space, so probably the best organised. A mix of heirloom items, curios and pop culture junk. Framed artwork on the wall is by (l to r) Janice Hathaway, Tim White and Peter Overton. The boxed object at upper left is a magic bottle that belonged to my grandfather, an amateur conjurer.

**Image courtesy with the kind permission from Doug Campbell**

Mitchell Pluto

Artist, Jewelry Maker, Art Editor

I began collecting objects for our altar in 2020 during the Covid pandemic. I selected figures that embody different archetypical aspects of growth and limitation. The process of recovery is sincerely magical. These mysterious qualities remain a focus on the altar. They play a vital role in the background as well as influencing the subconscious in healthy ways. Constructing an altar helped me be attentive to the belief needed for healing.

During the pandemic complimentary rum and coffee were supplied as part of a thoughtful routine and ritual. The other side of our altar is a shelf for salts, herbs and spices.

Wifredo Lam

Cuban artist who sought to portray and revive the enduring Afro-Cuban spirit and culture.

About the Featured Photo

The Hair of Falmer, an altar created by Claude Tarnaud, Michel Hertz and Francis Bouvet following a design sent by Wifredo Lam from Havana for Le Surrealisme en 1947 exhibition held at Galerie Maeght, Paris, 7 July-30 September 1947 original photo Denise Bellon. Expert from The EY Exhibition: Wifredo Lam. Tate Publishing figure 33, page 211 used and intended for educational purpose only

Carlos Alberto Lizama Peña Un AutoRetrato II

AUTORRETRATO II

Contemplo la carne cruda
de mi invalido rostro
ligamentos de agua
se transforman en
quebradas ramas
que vibran desde la medula
del corazón atormentado

Aparecen mis desorbitados ojos rojos
arañándome con mi bisturí pictórico
reflejo invertido del otro lugar
crecen mis quemadas pestañas
desfigurando mi sonrisa que llora

Cosen mi apariencia
con hilo de barro
la espátula alisa mi superficie
de arena disuelta
las orejas de cobre
son moldeadas en ácido nítrico

Escucho a los pájaros
que salen de mi boca descocida
desde mi roca cabelluda
aumentan los hilos de seda
enredándose en tormentosos
vientos de remordimientos

Grito un silencio palido
mis dientes amarillos
se purifican con el cristalino cielo
me veo completo
en esta plancha de metal
retratado por la luz que me engaña

Me cubro de mis despojos
mi cuerpo me delata
el renacimiento de mis cenizas.

Illustrations/written by ©Carlos Alberto Lizama Peña

Carlos Alberto Lizama Peña is a prominent Chilean Visual Artist has stood out in various national and international exhibitions, currently works and develops his work as a cultural and educational manager in the House of Culture of the Commune of El Bosque.Co-executor in the FONDART Project “Open Sky Gallery South Zone Cultural Corridor “Work Production Workshop Coordinator”. March – September 2008
Mosaic Art Mural Program, El Bosque, Artistic Director, December 2006-February 2007
Murals Program on Facades of Villa la Pradera and Villa San Fernando, Quilicura, December 2006-January 2007
Painting classes, Anselmo Cádiz Cultural Center, Commune of El Bosque, 1998 to date
La Familia Foundation, Huechuraba, Painting Classes, 2002,2003,2004
Trigal Special School, Huechuraba Plastic Arts Classes, 2003
Painting workshop, Cristo Vive, Huechuraba April-December 2002-2004
Drawing and painting classes, Mun. from Huechuraba
Oct-December 2002
Painting workshop, Municipality of Huechuraba
October 1997Oil painting classes, Mun. of Quilicura October and December 1997
Muralism Workshop, Millahue Foundation
May 1996
Extracurricular Painting Classes, Sta Teresa High School, Mun. of Independence, November 1995 – January 1996
Mural Art Project Paint your Paint, Mun. of Conchalí, June – August 1996
Paint Your Neighborhood Mural Project, New Orleans, USA
October – December 1995
Painting Classes, Youth Development Program, Conchalí, September and October 1995
Artistic Workshop, PRODEMU Foundation, Commune of La Granja
Esane Professional Institute, Graduate Assistantship in Advertising Graphic Design in Drawing and Color Branches, 1988Curatorship of the Local Gestures I, II and III Exhibition, Art Gallery, 2005, 2006, and 2007
Guillermo Nuñez Art GalleryLocal Gestures I and II Exhibition at Contemporary Art Gallery, Quilicura, 2006 and 2007
December 1998 Work “Cantata de Santa María de Iquique,” Fondart Project, El Bosque Cultural House
November 1999 Play “Nemesio Pelao, What has happened to you”, directed by Andrés Pérez
October 2000 “Chañarcillo,” directed by Andrés Pérez, Antonio Varas Theater
April 2000 “The Exodus,” Chinese shadow play of his own creation
October 2001 Chinese shadows for the play “El Golpe,” directed by Eduardo Saez, Teatro Novedades (selected for Teatro a Mil 2002)
August-September 2004
Work ”1907 The year of the black flower’‘, La Pato Gallina theater company, pictorial work of curtains.

The Witches Assistant Art by Chrystal Dawn

*To Give and Give and Give*. Acrylic on panel.

Being comfortable with calling myself an artist happened very recently. I have been drawing and painting since I was old enough to hold a crayon, but never considered myself an artist. It may have been imposter syndrome, but only in the past couple years have I fully embraced the title of artist, that I am one, and allowed myself to really lean into that. I feel like accepting that title has allowed me to break past some barriers I had unknowingly placed onto myself.

I love history, folklore and nature. I go on hikes to be inspired and try to paint this unwritten language that is inside each of us. The one that connects us to our core and our roots with Mother Earth, and shows that every living creature is connected.

My greatest love is oil, but I’m very eclectic in my studio. Some things can only be brought to life in oil, some in acrylic, some in ink and some in relief printing or clay.

I’m constantly inspired by other artists and there are so many great ones. The very first artist that made me believe I could do this was Brian Froud. My family couldn’t afford his amazing books when I was a kid, so my grandma would take me to the bookstore and I would sit in the aisle and pour over them. As an adult I’ve collected almost all of his work and he is a huge inspiration for me. He makes magic seem possible.

I grew up on fantasy and historical fiction. Middle Earth and Hogwarts were my safe places as a kid. I still read Tolkien over and over. Edgar Allen Poe shows beauty in darkness, which is a theme I explore a lot in my work. Susanna Kearsley and Simone St. James are both incredible historical fiction authors. I collect books about mythology, spirits, history, Paganism and folklore; much of the symbolism I find in them ends up in my work. I would have a full library at my house if I could.

written by ©Chrystal Dawn

CHRYSTAL DAWN
nature inspired art

Featured photo: Echolocation. Acrylic on panel.

JoLu Amaringo on Vegetal Ceremonies

My visionary artworks are based on the two plants needed to prepare the ayahuasca brew. A snake emerges from the ayahuasca vine, surrounded by fuchsia flowers. There is also another snake, the chacruna snake, green in color with its luminous leaves. Radiation comes out of his mouth. The chacruna snake penetrates the ayahuasca snake, producing the visionary effect of these two magical plants.

In an Ayahuasca ceremony, the master and his disciples are covered by rainbow-colored radiation emanating from the ayahuasca and chacruna plants. The combined effect of these plants is esoteric: due to their supernatural properties, psychic bodies are created that the eyes have never perceived before, so that one is overwhelmed by this strange new dimension. This world penetrates the top of the head so that the aura stimulates a gland between the eyebrows and activates the third eye.

Ayahuasca reveals its deepest secrets when the visionary dizziness is strongest. They show that human beings need to create a balance between their good and bad sides.

Through ayahuasca you learn to express in thoughts, feelings and words that “I am” and “I exist”. If a person thinks or says, “I am nothing and I have nothing,” she is extinguishing his spiritual strength and is doomed to failure. It is important to think inspired thoughts and say empowering words about yourself and others, rather than complain about the negative aspects of a person, as we all embody both positive and negative qualities.

Ikaros

This work represents all the magic songs that shamans use to cure various diseases, these magic songs are called Ikaros. The ikaros or magic songs are taught by spiritual beings especially by animal spirits, that is why in this painting I have captured various animals with different powers.

The Eagle is considered the supreme emblem of the gods, rulers and warriors. It is a symbol of majesty, bravery and spiritual inspiration. Being seen as the lord of the air personifies power and speed.

The personality of the snake means wisdom, power and health, it is an animal that represents strength and unsurpassed superiority.

Some attributes of the Wolf are: intelligence, cunning, communication, friendship, loyalty, generosity and compassion.

In the realm of spirit animals, the tiger places a special emphasis on raw feelings and emotions. The tiger spirit symbolizes primal instincts, unpredictability and the ability to trust yourself. By affinity with this spirit animal, you can enjoy dealing with life issues spontaneously, relying on your intuition and acting quickly when necessary.

Finally the heron and the butterfly represent self-sufficiency, stability, tact and careful foresight. In other words, you will achieve great success through your efforts. Visioning with these animals signifies your ability to explore and delve into your subconscious.

Arcanes of the Ayahuasca Star

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the orange color, known as “Ayahuasca Star”, a color that shines in this visionary work of art.

The “Arcanes” are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the left side of the work you can see two arcana presented by a tiger and an owl. This is a vision that surprises shamans, because they emerge from the ayahuasca rope. The spiritual tiger contains the almost impenetrable depth of the science of ayahuasca and the spiritual owl represents the ayahuasca vine. These spirits are concerned with the esoteric force of ayahuasca. In these animals, the sense of smell and the eyes are full of hypnotism that are sharpened through rhythmic movements, when these animals prepare to act on something. The masters, who acquire the strength, the cunning and the sharp eye that hypnotizes these spiritual animals, become expert healers of both natural and artificial cures, because the shaman has learned from the intelligence and powerful and intelligent minds of these animals.

In the upper central part of the painting we distinguish a face with a yellow halo; this is the reflection of the mind. It is there that a master healer perceives and feels the rhythmic formation of life, with its forms and motifs that intermingle with its vibrant colors and sounds. There, the teacher is filled with knowledge, when he knows the value of colors; Color reflects human behavior, whether people are good or bad based on dark or light colors. This is also true for the sounds that we carry inside our bodies and external sounds.

In this painting you can see a master shaman, with the degree of “Sumi-Runa” (a man of much knowledge and hidden wisdom), he feels the astral ether very strong, something that is unknown to humans who do not know spiritual things , only with their physical eyes they see the matter that is the deformed space. The Sumi-Rune, Bank-Sumi, Murayas and others who have these high esoteric degrees were for the most part illiterate and naive Aborigines in what is modern culture, but they were integral human beings; a great Sumi-Runa teacher, or any other spiritual degree, seems like an innocent, that when one sees him, it appears that this person knows nothing, yet he covers the infinite knowledge of millions and millions of years, managing to know the kingdoms spiritual of sublime purity. When these great masters travel in time and infinite space they unite spiritual corpuscles to their bodies that form dimensional aureoles that encompass incalculable spaces in the universe, in the process of these trips they see present things where they understand that the past and the future is within the present. For these spiritual beings everything is present, there is no past or future.

Behind the master shaman “Sumi-Runa”, there is the Situlle plant, a plant that grows vines and bitter herbs. Then we see the hawk called “Tive-Mama”. The teacher uses this bird as a guardian who watches the depths of the rivers. The hummingbirds and yellow toad help people to be confident, diligent, active, prepared, optimistic and self-confident.

In the lower left part of the work, a blue snake with a pink aura is seen. The pink color represents Altruism, Philanthropy and Generosity. The blue color represents confidence and tranquility.

Ayahuasca offers a lot of spiritual teaching and physical, mental and moral health. Human wisdom produces various pleasures, such as the experience necessary to obtain material wealth, but not to bring true happiness or lasting satisfaction as spiritual knowledge and spiritual wisdom do. Whoever uses the ayahuasca drink must know how to diet to receive the cure; This is the basis for strengthening the health and proper functioning of the body. It is very, very good to meditate while looking at this painting; In this way you will hear the roidash (spiritual message).

Arcane of the Ayahuasca Bell

There are different types of ayahuasca in the Amazon. These lianas go to the infinity of the universe and meander in many colors, including Campana Ayahuasca green, a color that shines in this visionary work of art.

The arcana are protective spirits of the shaman and the magic liana Ayahuasca, who are represented as people, animals and plants.

At the top and bottom left of the work are the faces of two female spirits with healing abilities, the female spirits take care of the vegetation and the water. These spirits are called “Sacha – Huarmi”, which means “wild woman”; Therefore, plants and flowers together as “Toé”, the “Toé” flower can be seen at the top next to the spiritual face and in the central part of the work, this flower represents the strength that it has. The Floripondio The plant full of electromagnetism, that of The use of shamans for defense is also used for harmful and contagious diseases and for the relief of blood.

In the upper middle part of the work you can see the eye of an owl, these birds that the Master’s healing shaman uses to defend himself from his enemies that attack him from the ground.

We also observe a spiritually named tiger called “Puyo – Puma” in the upper right part of the work, which means “tiger in the cloud”. One of its characteristics is knowing the movement of the earth and making each enemy inactive. . He is very brave in his attacks, but he is very careful. These tigers go through the session or ceremony and give the shaman great healing power for vibrations and powers to fend off the evil of a magician acting against him and his disciples.

The dolphins or bufeos that can be seen in the lower right part of the work are spiritually present in the Ayahuasca ceremony or ritual to allow better vision and meditation. There are the spiritual powers of the gods and goddesses, these energies are conjectures.

“Looking at the spiritual world means seeing another latent world”.

Arcanes of Heaven Ayahuasca

In the Amazon there are several types of ayahuasca, these lianas go to the infinity of the universe, meandering many colors, among them the color blue, known as Cielo Ayahuasca, a color that shines in this visionary work of art.

The Arcanes, are protection spirits of the shaman, and of the magic liana Ayahuasca, these are presented as people, animals and plants.

On the upper left side of the work, you can see the monumental “Celestial Towers”, which serves as an angular protector for the earth. From there come the white zigzags of cosmic energy that in their magnitude can control many other moving energies that serve to develop more life. A little further down you can see the face of the visionary shaman teacher along with her two protectors known as arcana presented as hawk and jaguar.

This visionary shaman teacher is called “Sinchi Muscui Huarmi”, which means “Strong Woman”; This master shaman practices the science of curanderismo, and is much stronger than a male shaman, because the spirits sharpen more with women than with men, because the woman contains the ovule that can make a being fertilize, while with the male does not happen that way, a woman can more easily defeat sorcerers and sorcerers. Her protectors (hawk, jaguar and owl), who are next to her, know how to hypnotize perfectly and can neutralize the Icarus of the enemies and paralyze any damage.

In this session the shaman teacher in her concentration with her power can bring trees, plants, shrubs, plant parasites, waterfalls and all kinds of animals such as birds, snakes, among other animals in a spiritual way, as can be seen in all the work; then the physical practically disappears only the spiritual can be seen, in such a way the vibratory waves of the ayahuasca appear, surrounding the master shaman, where one feels a very high concentration, that one almost feels like being a spirit and not a Being physical with ailments and mental disturbances, one leaves everything physical aside and feels like a super man, full of knowledge, wisdom and intelligence with the intention of living not for centuries but forever, at this moment the person greatly appreciates and values life, because it sees that each one fulfills its function fully, it is something very nice and fair, to see plants that fulfill their function of generating healing forces and food oxygen, to preserve living beings on planet earth where life Physics is in stock.

In the lower right part there is a woman’s face, called “Chuya Huarmi”, which means “Clean Woman”, this woman is an expert in the use of floral aromas. She indicates the invisible force of life present in all the forms found in the universe. In these free-flowing circles, as they accumulate there is abundant and lasting health embodying the art of curing chronic disease.

The flower that is observed in the lower central part of the work, carries the perfumes that symbolize the reproductive organs, because each petal indicates: root, leaf, flower, fruit and seed, and this does its work through the spirit, which works through the mind. One has to better learn the knowledge that ayahuasca gives us, remake the mind to introduce the new knowledge that the sacred plant gives us without being stubborn with what it teaches and shows us.

Everything is valid in life; you just need to know how to use it at the right time and in the right place.

Sanctuary of Onaya

In this visionary artwork we can see the shrine of the sublime master Onaya in this temple we can find the path to heavenly wisdom. The spirits encountered by the vegetalist in this journey are his masters, and from them he gets the entrance to the spiritual temple, which is composed of living pearls and precious gems. The columns of this sanctuary are made of flawless diamonds that can never be defiled.
Only the pure of heart enlightened by love, humility and wisdom can enter the magnificent and sacrosanct temple. In the water of the waterfall we see on the right side of the temple are the anguilamamas, who discharge electromagnetic rays that protect the sanctity of the temple. Also visible are the indigenous warriors who also act as guardians. The extraterrestrial ships at the top are from another galaxy and have traveled for thousands of years and visited many worlds to extract minerals and reach the Amazon jungle to receive vital energy.
The green patiquina in the lower right is used to represent a person’s lungs; the different shades of green from the edge of the leaf to its center indicate the state of the person’s lungs.
The hummingbird we see in this visionary work acts as a messenger. Its sweet trills are the most delicate and sublime icaros to sing to people seeking new strength or suffering from dreadful diseases. However, they must be sung with the utmost precision. These celestial spirits inhabit the palaces and temples at the top, where they gather to sing songs of worship.
Finally below is the sachamama (mother of the forest). She projects an electromagnetic rainbow symbolizing the elements that fertilize the plants. The healers in the ceremony are chanting the icaro of the sachamama to prevent the sorcerers from thwarting their work.

I am Jose Luis Vasquez Gonzales, known as JoLu Amaringo, I was born in the cradle of art on December 5, 1991, in the city of Pucallpa_ Peru, when my famous grandfather, the Peruvian painter International Amazonian Visionary Pablo Amaringo Shuña, flew to Japan to present one of his famous exhibitions on visionary and neo-Amazon art.

During my life in my grandfather Pablo Amaringo’s house with my father Juan Vasquez Amaringo and my mother Lidia Gonzales Laulate, I drank countless stories that I heard in frequent meetings around a table. I also drank the vocation for the art of painting.

I am very thankful to God for making me spiritual brothers and sisters, and that my paintings convey my love, energy and healing to each of you. Many blessings, peace, love and good health to all.

written by ©JoLu Amaringo

**JoLu Amaringo and family** **of healers**

Ayahuasca_Visions_Pablo_Amaringo Download

JoLu Amaringo Art Gallery

ALL RIGHTS RESERVED. ALL ARTWORK IN THIS POST IS A COPYRIGHT OF JOLU AMARINGO
THIS AN AUTHORIZED DUPLICATION WITH PERMISSION AND EXPRESSED CONSENT

World of Primitive Art with David Norden

African art has been a part of my childhood. My mother, Nadya Levi, was a sculptor who collected African art, and my father, Herman Norden, was an antique dealer who had a room in his house filled with African art, books, and stuffed birds. As a child, I went to London many times with my mother for auctions, where we met interesting people like Patricia Withofs and Gaston de Havenon. I also remember Mrs. Huguette van Geluwe in Brussels, where we went to seek her opinion on Congolese pieces, or Willy Mestach. And there were Simpson, Charles Raton, and Baron Rollin, who would visit us in Antwerp, and as a little boy, I had to serve coffee and help clean the display cases.

The Salampasu mask is steeped in cultural significance and is traditionally used in tribal ceremonies and rituals. It is believed to represent ancestral spirits and is used for various purposes, such as warding off evil spirits, promoting fertility, and celebrating harvest festivals.

My mother’s collection of Bassa and Dan masks, all hung side by side, many of which were acquired from Paolo Morigi. My first purchase was a small miniature Etruscan stone tablet depicting a lion.

Gelede Mask Yoruba Nigeria. This sect is devoted to the mother of all orisha, the matriarchal head of the universe.

I am always looking for an object that evokes emotions in me. I would love to acquire a beautiful object that belonged to Henry Pareyn, the first collector dealer in Antwerp around 1910. I have always derived more pleasure from acquiring objects than from selling them, but I am not a fetishist who cannot part with them.

Ogoni ‘Elu’ mask with articulated jaw, Nigeria.The Ogboni ( also spelled Ogoni) people are an ancient and secretive society that has existed in Nigeria for centuries. Their religion is centered around the worship of various deities and the use of masks in religious rituals and ceremonies. The Ogboni mask being described is a prime example of this tradition.

What determines the value of the works? The value of an object often depends on the buyer. I could say that it is the beauty and antiquity associated with the provenance, but in reality, it is the emotion that an object evokes in you that is important, and sometimes the place your imagination gives it.

A 19th century Bakongo Nkisi Figure. The figure is known as a nkondi, which means “hunter” or “hunter of wrongs,” and it is believed to have the power to track down and punish wrongdoers. The mirror in its belly is said to allow it to see into the hearts of people and to reveal any evil or malicious intentions they may have. The eyes of the figure are made of mirror, and they are thought to help the nkondi to see clearly in the spiritual realm.

There are so many personalities in this field who have inspired me that I can’t name them all, but first and foremost, it is people with a deep passion and those who recognize the beauty and importance of African art for humanity that inspire me the most. African art has had a tremendous impact and great influence on Western art after World War I, and it is only natural to recognize the importance of this art and its artists.

Kuyu Crest Head. The two lizards on the head of the Kuyu sculpture could represent spiritual guardians or protective spirits, as lizards are frequently associated with protective powers in many African cultures

The African art market represents only 0.8% of the overall antique market.
It is flooded with fakes, and verifying authenticity is reserved for a very small experienced elite with a network of knowledgeable friends. Determining the value is equally unpredictable due to the market’s volatility, as it is too small. However, this provides many opportunities for knowledgeable buyers to make good purchases. The price of African art has declined in recent years for mid-range pieces due to the disappearance of wealthy collectors and the abundance of supply in the market. Only exceptional objects still command high prices.

A 1967 published and museum exhibited Dogon Figure Hermaphroditic figure on a seat, which is supported by four female figures with raised arms. Yellow-brown patinated, heavy, hard wood. The published Meulendijk Dogon Figure was also exhibited in the ” Museum voor Land- en Volkenkunde” in Rotterdam, Nederland in december 1967

I do see many small collectors entering the market, but they rarely “invest” more than a few thousand euros. The recognition of contemporary African art over the past decade is very encouraging, as it could attract new audiences to African primitive art as well. The role of museums and cultural institutions is crucial in recognizing these cultures. In this regard, the Musée du quai Branly is doing excellent work by offering beautiful exhibitions that attract new audiences. However, the recent demands for repatriation create some discomfort in the market in the short term. But with the recognition of the importance of their own art, in the long term, it should allow an African market to develop in Africa. I also look forward to the creation of museums on the African continent, especially with the opening of the Museum of Black Civilizations in Dakar.

Throughout his journey, Norden has found inspiration in numerous figures within the primitive art field. He admires those who possess a deep passion for African art and recognize its significance in the broader context of humanity. The profound impact of African art on Western artistic movements following World War I further fuels his admiration for the art form and its artists. Looking ahead, Norden’s enthusiasm for primitive art shows no signs of waning. With an ongoing book project awaiting completion, he is dedicated to sharing his extensive knowledge and experiences with a wider audience.

Norden places great importance on the role of museums and cultural institutions in recognizing and promoting the significance of African art and its associated cultures. He commends the Musée du quai Branly for its remarkable exhibitions, which attract new audiences and foster appreciation for African primitive art. Norden also expresses anticipation for the emergence of museums on the African continent, with the Museum of Black Civilizations in Dakar serving as a beacon of hope.

David Norden’s lifelong dedication to primitive art has solidified his position as a respected figure in the field. His unwavering passion, discerning eye, and commitment to preserving the legacy of African art continue to shape his remarkable journey. As he eagerly shares his knowledge and explores new horizons, Norden’s contributions play an invaluable role in promoting the beauty and significance of primitive art to a global audience.

Sint Katelijnevest 27/B2000 Antwerpen/Belgium+32 3 227.35.40/david.norden@telenet.be

website where people can browse for available pieces in the shop https://buyafricanantiques.com/

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Mohsen L Belasy the Wolf of Cairo

Listen to the mysterious, revealing and fierce voices within you.

And if you are caught up by fear of doing so, remember that it is wrong for the senses to belong to the everyday, lived world.

For me any discovery that changes the nature or direction or a phenomenon constitutes

of something or is a surrealist /poetic truth.

Objective chance , the subtlety of the intuition of the expectation, and the constant search for its flash .

Going without a destination, the poet has an unknown encounter with the word, freed from any linguistic logic.

In poetry the mind blows out of the mind. It aims at the spontaneous reclassification of things into a deeper and freer order, which is impossible to explain by the means of the ordinary mind.

The poet alternately is a deadwood pruner, a transformer, and a thunderbolt.

Silence is a complete poetic and surrealist work.

The word must be left in suspense for a moment before it is transferred to a physical state on paper. At dawn or dusk, we walk down the road and sometimes come across the silhouette of a silent fairy woman, whose silence is the most comprehensive concept of poetry, and surrealism.

an absolutely possessed throat, echoing between howls and silence.

the secrets of the world created, within the poetic mystery, darkness unfolds while questioning is stripped.

Earthly legend and mystery doors open to infinity.

The poet is an enemy of the Sufist .

The poet is not bound by a vision or a superior authority.

Poetry is a momentary extraction of the unknown from the veins of every language.

If the poem does not have a chaotic body that smells of demolition, negation and destruction of all existing literary forms, genres,

Then what is living poetry?

Poetry should be the color of dried blood

The poem is the beginning and end of the world, it revives the world and its death, dismantles all self- and collective censorship, esoteric and physical, and drops every daily living dictionary.

The poem is an arena for the execution of all linguistic paralysis by burning with the napalm of the lust.

Poetry is not a linguistic expression, but a visual, physical and perhaps biological expression as well.

Real poetry employs itself to monitor a waking dream which is resentful of its fate, re-sculpting it with dough baked by chaos inside the bone furnace called the human head.

I believe that enhancing poetic esoteric awareness does not come only by enhancing the possession of language or general cognitive awareness, but by developing and training the eye on scenes of logic disintegration always, whether they are daily or artistic works.

Even with everyday mind games

Thus, the magnetic linguistic ability self-develops and expands not only through the subconscious mind, but also through the nerves of the eye’s practice of strenuous imaginative sports to extract the faculties of impossible earthy miracles in all its forms and templates.

I treat the Arabic language rules as a relationship between oppression and freedom; understand it

As a repressive social specter that must be removed and rebuilt anew every moment with vast doors to spend the free desire.

Poetry is the chaotic condensation of the inner momentary realization, but the seer poet must tame the tools of this condensation towards a permanent quest for the human interior, a quest fertilized by doubts in everything outside the individual.

Every human being has a poetic companion who lives behind his eye, the cunning poet who makes him constantly jump like a kangaroo and always seeks to protect this kangaroo from drowning in the prior cement lakes and to teach this kangaroo that there is no limit to what is called verbal maturity,

poetry is a permanent electrical revolution inside the mind It is not controlled by something imaginary or even social.

The chief function of poetry is to impart sharp disturbances to language and to overthrow every possible holiness it bears. For me grammarians and academics of language are the social police of the imagination.

I despise even the inherited Arab aspirations to rebel against the Arabic language, except of course à few poets I see the deceptive horizon of most Arab poets now that they throw themselves in the recycling factories of closed poetic ambitions.

Surrealism relates to expressing «the real functioning of thought […] in the absence of any control exercised by reason and apart from any aesthetic or moral concern ».

– We think that not only language, but the whole world in all its aspects, was given to humanity to make surrealist use of it.

“All things are called to other uses than those generally attributed to them.” – André Breton, Le Point du Jour.

– We think that surrealists should make use of whatever materials and tools that they find attractive. Whether a feather, a cloud or a computer, any single object in this world becomes a surrealist object as soon as surrealist use is made of it.

– We think that the results of surrealist activities do not have to conform to any type of listed art form, nor even to whatever is considered art.

– Restrictions regarding materials and tools, as well as compliance with traditional artistic categories are views that were already considered and experienced as obsolete by most artists of the Renaissance period. We think that an attempt to liberate the human mind may in no way be successfully achieved on the basis of a narrower scope of practices and intellectual freedom than that which was already acquired by artists at that time.

-‘we are interested in how surrealism appears in everyday life, whether it’s from surrealists or not, but we understand this is not the same as a surrealist movement.”

-“We are interested in certain parallel currents that might overlap with surrealism. Surrealism may -appear- or be present- within avant garde or popular art but it’s not necessarily the same thing.”

– We categorically reject mixing surrealism with whatever form of religion, and we reject the presence of any religious persons within the group.

– We reject any aesthetic attribute that directly or indirectly integrates into the life of this society or that would tend to reconcile with it.

– Realistic daily life erases the perception of the unique characteristics of objects. We will always seek to break this mechanism and its dynamics by means of words, plastic art, music and cinema or any other means.

– Collective automatism is self-contained in everyday life. It floats in the air, dissolving every entrenched and worn-out intellectual authority.

– The poem is a collective work, even if it is from one’s individual imagination.

– We have nothing but contempt for the guardians of grammar because they are the protectors of the heavy legacy of linguistic dependence that erases the ecstasy of all free desire.

– We support every creative act that contributes to the wondrous conquest of everyday life and the conquest of mad love. Everything that has been physically neglected in the city, and every sexual explosion that social fascism hides, is for us the dough with which we form our written and visual poems.

written by Mohsen Elbelasy

Mohsen Elbelasy Egyptian surrealist artist and poet and researcher and editor in chief of the Room surrealist Magazine and sulfur-surrealist-jungle.com and the co manager of the international exhibition of surrealism Cairo Saint-Cirq-Lapopie and Echoes of Contemporary Surrealism Exhibition. And co-founder of the Middle East and North Africa Surrealist Group. (MENA) and He also worked as a translator, cultural journalist and organizer of cultural and artistic events in Egypt and internationally. Chrysopoeia Surrealist union /Cooperative. In 2022, his book The Trip of Kamel Al Tilmissany won the Sawiris Grand Prize of Literary Criticism

h Ghadah Kamal

English /French /Spanish.

La Belle Inutile Edition

2021

THE WOlVes Of The Moon / Book by Ghadah Kamal and Mohsen Elbelasy / LInk of the Printed book and FREE PDF Copy

1 _ Oblivion

Collaboration / Book

By Zazie and Pierre Petiot and friends

Cover by / Zazie

Phantom of Revolution by Ghadah Kamal Ahmed

The cruelty of life is only equaled by art… I used to search a lot in the paths of art for what could express what was going on inside me and my view of the world, but I was always faced with unfree spaces, spaces depicted by religion or what is connected with it..

My imagination was always trapped. When I dive into the past with deep sadness..

I did not know that imagination can lead us to a better future until I became acquainted with surrealism.

Closed areas of my subconscious began to open up to me.

I had never known these closed areas of my subconscious mind before.

I did not have complete freedom of expression with my body, and now I do.

Surrealism is a systematic breaking of the boundaries of reality, the body, society and religion.

Also, I was afraid to delve into fields that I had not studied or practiced, such as drawing, photography and cinema, but Surrealism turned me into an active person who thirsted for all kinds of arts.

I am not only a surrealist artist, I also owe a lot to surrealism… Reconciliation with the unconscious mind can change the world for the better… and it can be an iron wall stands against all life’s difficulties.

Linking and developing science and keeping pace with technological development and the subconscious freedom are able to create a better world.

This is surrealism for me

written by Ghadah Kamal

Ghadah Kamal is a surrealist visual artist, writer, and poet…Coordinator of performances and workshops and cinema screenings of The international exhibition of surrealism Cairo Saint-Cirq-Lapopie and Echoes of Contemporary Surrealism Exhibition / Alexandria and founding member of the Middle East and North Africa Surrealist Group..Founding member of the Chrysopoeia surrealist union. Editor of the Surrealist Cities section of the Room surrealist magazine and editor at Sulfur Surrealist Jungle.

Orishas by P.D. Newman

“Ifá tells us that when he is enraged, Obaluaiye [Babalú Ayé] takes [his] special broom and spreads sesame seeds (yamoti) on the earth before him, then sweeps the seeds before him, in ever-widening circles. As the broom begins to touch the dust and the dust begins to rise, the seeds, like miniature pockmarks, ride the wind with their annihilating powers: the force of a smallpox epidemic is thereby unleashed.”

—Robert Farris Thompson, Flash of the Spirit: African and Afro-American Art and Philosophy, p. 63 (Vintage Books. New York, NY. 1984.)

Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
Babalú gettin’ me up in the mornin’
I believe I’ll dust my broom
I get to sweepin’ this sesame, baby
Babalú pox gon’ be ya doom

And you won’t get better—ya whole body covered in sores
No, you won’t get better—ya whole body be covered in sores
Be nothin’ but dogs a-lickin’ you, baby
Once these bristles start sweepin’ the floors

Lazy Pushin’ Daisy

I know that there’s a man
Who in Bethany stays
Erbody like to call him Lazy
Cause he lay still four days

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know that there’s a man
Who sleep like the dead
Only the power of the good lord
Rouse him out of his bed

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Always got that bed breath
Got a twisted mouth so sour
Breathe out the smell of death

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

I know a man name Lazy
Who stink to his core
Body raw as his mouth
And dogs licking’ his sores

Talkin’ bout that Lazy
I’d swear he pushin’ up daisy

written by P.D. Newman

P.D. Newman is an independent researcher located in the southern US, specializing in the history of the use of entheogenic substances in religious rituals and initiatory rites. He is the author of the books, Alchemically Stoned: The Psychedelic Secret of Freemasonry, Angels in Vermilion: The Philosophers’ Stone from Dee to DMT, and the forthcoming title, Day Trips and Night Flights: Anabasis, Katabasis, and Entheogenic Ekstasis in Myth and Rite. The Secret Teachings of All Ages (TV Series documentary) 2023.

Theurgy: Theory and Practice: The Mysteries of the Ascent to the Divine by P.D. Newman, published by Inner Traditions, Bear & Company will be available on December 5, 2023

Feature photo: Cryptic God, la science des mystères by Mitchell Pluto. PD Newman collection

ANIMISM IN THE AMERICAN SOUTHWEST by Christine S. VanPool and Elizabeth Newsome

People often imbue their surroundings, including tools, with a “life essence” that makes them active objects. A growing number of archaeologists are beginning to study how such “living” beings impact human behavior. These archaeologists use the term “object agency,” but employ many different ontological approaches. We explore this variation, and present a framework comparing different ontological models archaeologists use. We adopt an animistic perspective, and evaluate its applicability to the Southwest using ethnographic and archaeological data. We further propose that it is applicable through out the New World. Puebloan potters consider pots living beings with a spiritual essence that is affected by and that impacts humans. Pottery manufacture is a mutual negotiation between the potter and the clay to create a “Made Being” with its own spiritual and material aspects. We conclude that a similar ontology is reflected in effigy pots and globular jars from the Casas Grandes region. Ultimately we conclude that this perspective provides useful insights into the placement, decoration, and discard of many vessels that have puzzled Southwestern archaeologists for decades.

**A Female Casas Grandes effigy jar. Photo Christine S. VanPool 1999. Used with Permission**

Author(s): Christine S. VanPool and Elizabeth Newsome

The_Spirit_in_the_Material_A_Case_Study-1

Duplicated and Intended for Art Educational Purposes Only

THE SPIRIT IN THE MATERIAL: A CASE STUDY OF ANIMISM IN THE AMERICAN SOUTHWEST
Author(s): Christine S. VanPool and Elizabeth Newsome
Source: American Antiquity, Vol. 77, No. 2 (April 2012), pp. 243-262
Published by: Society for American Archaeology
Stable URL: http://www.jstor.org/stable/23486060
Accessed: 02-03-2015 22:47 UTC

Featured image: Fully formed Human Effigy Vessel. Courtesy of the Natural History Museum of Los Angeles County, Los Angeles. Photographed by Chris Coleman.

Play as a Form of Resistance by Fairouz Eltaweela

I am a multidisciplinary visual artist interested in painting, alternative sculpting, photography, digital art, collage and mixed media arts. I held my first solo painting exhibition at the age of 14 at Al Gezira Arts Center and have since participated in multiple art workshops and collaborations. I recently graduated from MSA University faculty of Arts & Design majoring in Cinema and Theatre.

Most of my work explores the theme of ‘play’ as a form of resistance. Further expanding and searching how the visual identities of my various roots all meet in a space that feeds on contemporary imagery and ideals.

Coming from a culturally rich background I am drawn to the visual richness of my city Cairo, particularly the slums where street art happens accidentally as a coincidence unravelling the many great textures and layers of the city, as well as having family roots in Upper Egypt and Delta, I began exploring the relationship between the urban and rural space and how it can be visually contextualized.

My inner child holds the pencils, untangling all the fears that have accumulated within my head and sarcastically mocks them. My inner child giggles and makes all the decisions now. I can only contemplate from afar ,a foreign spectator, as I watch dreams from my subconscious unfold and my inner child continues to laugh at me.

Fairouz Eltaweela

Fairouz Eltaweela