surrealism – Mitchell Pluto

Poems from The Sunset of the Miracle Worker

Thaumaturgy—also known as the performance of miracles—involves applying occult principles to produce tangible results. Speaking with the voice of a modern-day oracle, Chilean poet and visual artist Enrique de Santiago offers moving messages that touch the heart of humanity, connecting us to the Earth’s ancestral power. The visual language of Santiago’s work links the architecture of bones with stellar patterns and geometric structures of movement. These creative poems will help the reader recall nature’s hidden wonders.

My friendship with Enrique de Santiago began in 2010, after being invited to participate in El Umbral Secreto, an international surrealism gathering. It is an honor for me to present his work in my web gallery.

-Mitchell Pluto

The eternal cycle that moves the souls
beneath the mountains
and the roots of fire

Hours

The extinguished soul of the tabernacle,
the hidden phrase that does not appear on my tombstone,
the pardons granted,
the glass half-empty
with its half-full smile,
the useless justifications,
each undeserved kiss,
with its hollow dream.
A long list of strange events
that ought not be written under my name.

Hidden Hours

I am weary of chasing after serenity,
after so many days of sun—
those days of old,
the lost ones,
days when I laid my head upon certainty,
though in the end, it was merely a mirage;
there was nothing epic in the streets,
only cobblestones and the same dampness,
for I believed in things beyond reality,
yet it was but a reflection mirroring the void—
much like now, with fearful eyes,
dreading another mistake,
so I walk with eyelids trapped,
unable to escape the memory,
perpetuating into the coming day
the cycle of emptiness—
an emptiness that cannot turn the wheel of life,
despite the claim that the world is round;
there is only more oxygen to prolong the agony, the gazes devoid of hope,
with no constellations favoring me,
only the interruption of the ceremony,
and the white light calling once more,
compelling me toward salvation—skeptics by day,
inert by night;
nothing remains the same,
only ailments,
air seeping into open sores,
or seeking its own salvation—
a clumsy, enslaved instrument,
foolish for writing, for
the pleasure of the treacherous, the cynics,
the covert ones, those who bring the stench down upon my flesh;
a hard, penitent life,
a fierce passage following withered faith,
a barren wasteland left by lies,
by betrayed words,
by the shattered sand
that will never draw near,
with no public squares to roam,
no scents,
only projected playthings,
cast into the soul’s deepest abyss. I rely on no one,
let no one rely on me;
just fix your gaze—
orderly and without delay—
for the hour will come to reveal myself:
in silence, without a word spoken,
you shall learn of my wounds,
of my unspeakable suffering,
for my spirit is cloaked in flesh—
clumsy, troublesome flesh,
flesh I seek to unleash from its dark delights,
yet I always end up brushing against my own fingers,
returning to the blank slate,
though I have already turned a weary ochre,
and I renounce this script of my life;
I want to descend into sleep,
drunk on molecules that compel me,
and which torment me deep down—
molecules that frighten me with what remains,
with what I do not deserve.

Night entered my life uninvited,
settling in without awaiting an answer;
it took my clothes,
my sheets, and smiled,
leaving a breath of dead smiles
and cadaverous breakfasts;
without further ado,
it simply installed itself within these walls,
sitting to watch me with stubborn persistence,
yet I no longer meet its gaze;
long ago, I left my senses inside my nightstand—
I use them no more,
I need them no more;
what the night brings is enough.

Loica, the Songbird Singing after a Solar Explosion

In the beginning, there was hydrogen—
fusions in the void, upon the chaos,
and light escaping immeasurable density,
an atomic dance in a corner of immensity,
forging clouds of helium,
with horoscopes gathering in their wombs—
incandescent—
a sea with its cosmic tides,
solar matrices,
primordial motherhood,
woman with her 1,080 designs,
who loves the early nebulae
when you gaze upon her—
with her analogous births,
her stars and comets
that govern your sweet destiny,
with your magnificent horizontality,
bearing her feminine ambrosias.

For in the beginning was your name,
before the galaxy sleeping within the orchid,
with the archaic promise of your lips
naming the secret that dwells in oblivion—
a secret slowly surfacing from your skin
like photons escaping the solar core,
a task spanning millennia
to reach the corona
and warm us in eight minutes;
for in the beginning, it was not light,
nor the will of the gods,
nor my own meager poetry—
unnoticed by the world,
traveling like a lightning bolt to return to the void
of a beginning where there was only the stifled voice of space.

This is my vocation:
to snatch, at times, a glimmer from the marvelous—
a poorly paid yet inevitable calling;
thus my bed fills with forest leaves,
and my roof is the stars
bathing the calendulas that embrace my walls—
my perfect prison,
the sweet fate of an ancient equation,
like these verses
traversed by your eyes—
which is, to me, a more than fair wage
throughout the days,
with their mornings
and their sunsets.

Enrique de Santiago has given his consent for the poems to be translated for a North American audience.

Enrique de Santiago, Born in Santiago, Chile (1961). Visual artist, poet, researcher, essayist, curator and cultural manager. He studied a Bachelor of Art at the University of Chile and at the Institute of Contemporary Art (Chile).

Support writers from South America

Espacio Sol Ediciones

Beneath the Antler Moon by Mitchell Pluto

Cell Phone UFO abducting the animistic brain/collage/Mitchell Pluto/2026

Fiction written by ©Mitchell Pluto 2026

Over 11 million people tuned into Mark Burla’s podcast, Under the Light. On July 29, 2026, his most popular episode was with a psychonaut and two government officials. The time was 4:00 PM MT.

Joseph, the astrologer, was on the radio in the background and said, “Hey, it’s a full moon in Aquarius, and we’ve got a cool Sun-Jupiter conjunction in Leo, along with Pluto, Neptune, and Uranus all in sync.”

Burla recorded in his cool, air-conditioned studio while the Taos Mesa swelters in 109-degree heat. From Burla’s window, you could see the dry riverbed of the Rio Grande.

Burla’s podcast comes from New Mexico, also known as the Land of Enchantment.

“Under the Light” is a big hit with people who like occult, mystical topics and urban folklore vibes.

Listeners often recall the interview featuring Daniel Saltman, a former member of the All-domain Anomaly Resolution Office.

“You can totally lose yourself in a story,” Saltman said seriously.

According to Saltman, a large amount of classified data was fictional.

“Spreading lies can be a way to dodge actual problems and politics. Government research shows that odd experiences associated with traumatic memories can create false beliefs. Life’s traumas often lead people to develop coping mechanisms, with some forming extreme ideologies to manage their pain. Other people simply learn to move on.”

Burla thought back to the 1980s, “Yes, I recall when people believed aliens were haunting their thoughts while examining their bodies. But these days, everyone’s got a phone that follows them.”

“To put it simply,” Saltman explained, “our inner thoughts and feelings mold our outer experiences, forming a mental map that we superimpose onto reality. We want to make our fantasies real, to prop up our egos, making us feel special.”

Saltman took a break to drink some coffee.

“The Greek poet Hesiod provides another perspective on the animistic mindset. He’s famous for his poem Theogony, where he introduced the 12 Olympian gods.”

Burla wanted to know more. “What happened?”

“Mount Helicon was where Hesiod had a close encounter of the third kind with the Muses. Through this visitation, he gained poetic talent and divine insight. Each new generation after him put its spin on his tale. Plus, we’ve got ancient Greek theater, featuring amazing illusions such as a crane that lifts actors into the sky. You know, Magic, the reality differs from what you’re seeing.”

In a pic Burla shared, a crane was lifting someone dressed as a god above a crowd.

Burla inquired, “Your thoughts on Christianity?”

“Religion retells a story through its practices, much like Hesiod’s writings, making it more tangible,” Saltman clarified.

“The church has played a key role in Constantine’s empire for gathering information since the First Council of Nicaea. From another perspective, it means employing Christianity to secure political stability. Presently, supernatural concepts occupy people’s thoughts, much like unidentified flying objects.”

Burla nodded, “Tell me something we think is true, but it’s actually not.”

Saltman scratched his chin, “What’s there to say… something your viewers will understand.” His eyes widened as he exclaimed, “I know, the government declassified this… A CIA analyst named Aldrich Ames had a career from 1962 to 1994. Soviet intelligence hired him in 1985 to provide classified U.S. intelligence to them. It was a mystery to us how Russia had gained knowledge of our confidential information, which led us to start remote viewing…using ESP to spy on the Russians. We invested heavily in political narratives throughout the ‘70s, convinced a psychic war was underway. Star Gate was a program meant to stop psychic Russian spies, but it turned out to be Ames the whole time. In ’94, they caught Ames, which led to the permanent shutdown of the Stargate Project. It’s like, things look one way, but they’re really different underneath.”

“Wow,” Burla couldn’t believe it.

He had a podcast about remote viewing a month ago, and back then he thought it was legit.

Saltman quickly intervened to ease the tension. “Speaking of remote, there are these remote-controlled aircraft that can do amazing things. We view these crafts as foreign and domestic groups engaging in espionage. Nobody gets hurt if it’s shot down, but we’re also clueless about who it is.”

Saltman leaned in and said, “For instance, we intercepted a UFO drone collecting microbes from the Great Lakes…Therefore, the ship contained non-human entities.”

Suddenly, the screen went black, and a 15-second commercial for Uranium, a new neon green energy drink, appeared and then dissolved.

According to the podcast stats, Burla’s most replayed bit started with the interview of Terrence Dodge, the guy in charge of the Advanced Aerospace Threat Identification Program.

The fade-in revealed Dodge talking, “We’ve known aliens were real and hiding out here since Roswell. While we assume they’re from the sky, they live underground and use magma chambers and the ocean to get around.”

Thinking quickly about Derinkuyu, the underground city in Turkey, Burla wondered, “Just who are these people?”

“Long ago, before Earth had a moon regulating life, ancient people like the Aryans, Eloheinu, Vril-ya, and Dero lived on Venus, Mars, and Saturn.”

Burla asked in surprise, “The Aryans?” He shook his head, a gesture of utter disbelief.

“Yes, just like Ahura Mazda and Zarathustra. The Iranians are the architects of our social structures, our spiritual beliefs, and the written word that molded our very thinking,” Dodge affirmed.

Burla projected glowing visual effects for viewers as Dodge’s voice continued to weave his explanation.

The images displayed an eye idol from Tell Brak, various depictions of the swastika, and Burla’s contemporary illustrations for The Coming Race, an 1871 science fiction novel by British politician and writer Edward Bulwer-Lytton.

“To be clear,” Dodge added, “those shapes you’re seeing that look like swastikas in history are actually propellers.”

Burla cautiously asked, “Are the aliens white?”

“They looked very pale and old, with slender features and enormous eyes. A flexible cartilage structure supports their bodies, not bones. They can also sense electrical fields from muscle movements. We call this sense electroreception. They can better understand how we defend ourselves and what goes on in our minds to keep our sense of self intact,” Dodge said.

Burla couldn’t believe it and shook his head.

Dodge rubbed his eyes and added, “It’s vital to point out that they are communists and pursue the same aim because of their shared mindset.”

Burla inquired with a hint of sarcasm, “How do they communicate?”

Dodge solemnly stated, “They can duplicate any individual’s innermost thoughts and mentally guide a person’s choices and actions. They understand our brain’s bicameral structure. Here, the Eloheinu aspect commands Abraham, through a voice, to sacrifice his son.”

Dodge paused for a second.

Burla continued his questioning, irritated, “Regarding their ethics, are they driven by humanitarianism or racism?”

“Think of them as zookeepers,” Dodge stated bluntly.

Burla’s face suddenly appeared tense.

Dodge inhaled deeply and stated, “Where there is care, love is absent.”

“They claim they put the idea of God in our heads and that we belong to them… and they also made everyone on Earth using primate genetics. This just proves they think they’re in charge of us. They support eugenics because they believe they’re the best and should be flawless.”

Burla added visuals to this interview segment, overlaying cool images on Dodge’s narration to create a visual blend. These pictures drew inspiration from Richard Sharpe Shaver, an author for Amazing Stories during the late 1940s. Shaver made some wild claims about ancient beings living in huge cave systems underground. Their technology could control minds and cause strange health issues.

Dodge referred to these health issues as “anomalous health incidents.”

Someone in Burla’s live chat, a long-time subscriber, said the tech reminded them of directed-energy weapons, like the ones they think caused Havana Syndrome. This comment snagged way over 4K positive reactions.

The screen went black, then a dog food ad began, featuring a dog in a field.

Then Burla’s face appeared again with another guest.

Mark Burla finished up by talking with Lucian Laplume, a psychonaut who penned the bestseller “Light turns into a poem.”

Burla presented a book and said, “Prepare for a 360-page adventure based on DMT researcher Lucian Laplume. He found intricate communication within light frequencies, appearing as geometric glyphs. These symbols served as time machines, guiding readers from one event to the next. The book talks about how our brains connect with art through words. Laplume’s concept resembles the Vast Active Living Intelligence System conceived by Philip K. Dick. You know, where an orgone beam of light helps clear out energy blocks and makes you feel better.”

Laplume rested his head in his hands, his elbows on the worn surface of the table. “Despite wild ideas and peculiar sights,” he murmured, “those relentless phantoms haunting me–even with them present, I found myself here, repeating this same action. I felt compelled to construct coherent sentences, as if compelled by fate,” he sighed.

Burla inquired, “Do you think unusual aerial signals are altering our brainwaves?”

“It’s just a matter of tuning it in, like this,” Laplume gestured with his hand, tracing an invisible dial in the air. “The trick is knowing which frequency to hit. And that, my friend, is the art.” He then leaned back, a satisfied glint in his eye, as if he’d just revealed the universe’s most profound secret.

”Could you elaborate on why glowing glyphs matter?”, Burla asked, smiling.

“Under the influence of DMT, gazing at a laser on a surface presents what looks like alien script, a visual fusion of various letter shapes, comparable to polyglot portmanteaus created by combining parts of letters. I call it Unidentified Cosmogram Permanence.”

“What’s that?” Burla asked.

“Recollection of numbers and letters is possible without sight, yet thought visualizes light for remembrance. Modulation alters the functionality of a light source. It alters the light wave’s phase. This encodes stable information. The light is like a dancer, whose poses shift to convey a story that stays put. Geometric shapes seem to float within the story. It’s possible, we believe, that these shapes mirror our feelings and intentions, much like a bond with numerical concepts.”

Burla’s impatience was clear as he questioned, “What in the world is this agency enclosed in light?”

Laplume in a sympathetic voice, “I’m struggling to explain it, even to myself. My understanding of this relies on a comparison to James Joyce’s experimental work, Finnegans Wake. Joyce’s language acts as a self-sufficient, living linguistic system that induces synchronicity in the reader as a side effect. You don’t notice it while reading, but it sticks with you later. Meaningful coincidences appear twenty minutes after you read it, aligning your thoughts with your surroundings. Just as you envisioned an idea, it appears. It’s like the symbol went straight from your eye to your brain. Although we routinely think in words, this cosmogram invasion seems to modify the very language that governs our comprehension, which contains our perception.”

“What does this imply for future events?”, Burla asked.

“My understanding is that it’s about rethinking our whole mental architecture. It’s like our inner programming is shifting, making us see things in a new light with fresh ideas. When it all comes together, your inner self transforms, and your surroundings mirror that shift. If we had more time, we might figure some things out, but we might never know where the cosmogram came from or learn more about it. We’re greedy for knowledge, but it’s impossible to get it all. Guessing and being incorrect may somewhat increase our understanding as humans, but it won’t ever lead to complete enlightenment.”

Burla replied with a warm smile and a nod, “We have arrived at the Zen point, the place where fullness becomes emptiness. It’s been a pleasure having you, Lucien Laplume.”

Burla’s gaze moved across the paper on his desk as he read aloud.

This morning while reading, a question that came to mind struck me: “Do you use bitcoin?”

Bitcoin’s been on my radar lately. At first, its technology and potential were a bit fuzzy. Turns out, the deeper I dug, the more I saw just how amazingly practical it is. The ease with which we can now send, store, and utilize digital assets is revolutionary.

This is exactly why the Fedit app excites me so much. This thing is a lifesaver for getting and keeping track of those digital coins. Sending money with the Fedit App is super fast, just like electricity!

It’s super easy to use, so even if you’re new to crypto, you can totally figure out how to get around.

We’re excited to announce a special offer for a limited time to celebrate the launch and encourage people to jump in. You’ll get 100 free credits in your mobile wallet if you sign up for the Fed App today. This is a chance to discover how easy and powerful the Fed App is.

We think the Fed App and bitcoin’s growth are a big step forward for money tech. We hope you’ll check out this chance and join us in stepping into the future of digital money and data centers.

Burla grinned, saying, “If my content appealed to you, kindly hit the like button and subscribe to my channel.”

Confessions by JC Bravo

ETHER DREAM (2024) ballpoint pen

JC Bravo CONFESSION (2026) ballpoint pen on paper.

In this neon pink ballpoint pen drawing, obsessive crosshatching builds a body laid bare in complete surrender. Neon pink pulses with the heated flush of skin, the electric thrill of longing, and the raw intensity of love and lust. Through thousands of meticulous strokes, the figure becomes a quiet confession of obsession, femininity, and the consuming ache of wanting — desire quietly witnessing itself in the mirror of another painted nude.

HOT FOR TEACHER (2024) Ballpoint pen on paper

My swollen, bulbous characters are exaggerated vessels of the human condition. They are grotesque yet tender, absurd yet deeply familiar.
Through them I explore inner chaos, vulnerability, desire, and the carnivalesque absurdity of simply being human.

A towering pile of bulbous, round-headed baby-like creatures are stacked precariously on a bright yellow background. The way they’re climbing, clinging, and overlapping is both playful and deeply unsettling; like a living tower of innocence mixed with grotesque absurdity. Some look sleepy or content, others wide-eyed or struggling, and the whole mass has this frantic, organic energy and a carnivalesque spirit.

The pyramid shape draws the eye upward, and the yellow background makes the graphite figures pop with dramatic contrast. The details like tiny hands, varied expressions, the way limbs intertwine show great control and an unhinged imagination.

This drawing depicts a human menagerie at its most chaotic and biological: birth, multiplicity, piling up, struggling for space, yet somehow forming a single absurd existence.

written by ©JC Bravo

I work primarily with oil paints. It is important for me to achieve a jewel like preciousness in my paintings in order to convey care and importance. I want to give my paintings a monumental and sensual quality that I believe can only be achieved with oil. Also, oil painting gives my work an elegance that balances the sometimes grotesque and fantastical subject matter.

If you would like to know more about me and see more of my work visit my website:

www.jcbravo.com

Les atmosphères mystérieuses de Rebecca Campeau

Rebecca Campeau possède un talent unique pour assembler les textiles d’une manière qui évoque une qualité hors du commun. Cela se traduit souvent par la création d’une atmosphère caractérisée à la fois par son intensité et par un large éventail de diversité.

Rebecca Campeau a travaillé comme rédactrice de mode pour les magazines ELLE, Jardin des Modes, 100 IDÉES, Jours de France, Journal Femme et d’autres publications. Elle a également exercé la fonction de styliste publicitaire pour de grandes agences telles que Hélène Rubinstein, Danone, Kodak et Nazareno Gabrielli-Milan/ORO BLEUE-Milan.

Animée par une profonde affection pour les textiles, Rebecca nourrit une passion débordante pour la découverte de nouveaux matériaux et thèmes, en particulier lorsqu’il s’agit de créer des costumes thématiques et des personnages mystérieux.

Musée Arts Brut & Singulier
by Frédéric Allamel
Éditions ADABS
2025 – 196 pages

Rebecca Campeau est venue à là création artistique par le stylisme qui lui donné le goût du travail avec le tissu et papiers . Peintre, elle se définit essemtiellement comme un << sculpteur textile >> et une << papiériste >>.Elle sculpte des personnages connus ou anonymes .

C’est tout un univers qui défile dans son atelier à Belleville.

D’elle, Andrea Ferréol a écrit : << J’aurais envie de jouer à la poupée avec les personnages de Rebecca Campeau, mais pardessus tout, j’aime son bestiaire (ah! son singe emplumé comme une grande cocote ) et ses fabuleux oiseaux, Loulou le perroquet de Flaubert, et tous les autres, oiseaux lumière, de feu, de givre.Envol généraliralisé des cygnes-mouettes comme des fleurs qui se balancent au vent, des cages fines qu’un souffle suffirait à leur donner des ailes, de notre imagination enfin libérée du poids du sol >>.

Andrea Ferreol comedienne (- DESPAIR – de RAINER FASSBINDER )

Rebecca Campeau fait partie de le collection des musées Nationaux en France et à L’étranger.

Elle à collaboré avec Claude Lévi-Trauss, Paul Emile Victor et … et a réalisée un livre, ( Vraies Semblances ) avec le photographe Frank Horvat.

Prix Jean Anouilh2019 – Prix TAYLOR – Grand prix Renéé Béja 2021 – Prix Artension 2022 – Prix Bohin 2023

Musée National de Norvège-exposition Louise Bourgeois-Oslo/Musée des Champs Libres-Rennes/musée Cérès Cérès Franco Montolieu/musée d’Art Brut-Montpellier/musée Villa Montebello.
musée Mona Bismarck-Paris/musée Mendjisky-Paris/Le FIAA-Le Mans/musée Cite du Train-Mulhouse/musée Toine Colot-Belgique/musée du Tunnel du Gothard-Suisse/musse du Plan incliné-Ronquieres-Belgique/musée de la mine-liège/musée de la Mine Bleue-Noyant-la-Gravoiere/musée Guerre et Paix-Ardennes/musée de la forêt-Renwez/musée de la carrière de pierre-Givet-France/musée Cristallerie Saint Louis-Saint-Louis-les Biche/Hôtel de Sully-Paris/Bibliothèque Bilipo-paris/musée Gustave Flaubert et de la Médecine-Rouen/The National Art Center-Tokyo/musée Bohin- Saint-Sulpice-Sur-Risle/musée des Beaux-Arts-Carcassonne/musée des Champs Libres-Rennes/Galerie Kiron-Paris/musée Mini Textile-Italie/Vibrations Textiles-Paris/musée de la photo-Paris/

Les sculptures sont visibles
en permanence-au Musée d’Art Brut-Montpellier/musée Gustave Flaubert et de la médecine-Rouen/
Musée de l’Homme-Paris /Cite du train-Mulhouse/musée du plan incliné-conquières-Belgique/musée Arthur Masson-Belgique et…

Salons: Art Capital-Comparaisons-Paris/AAF-Paris/Figuration Critique-Paris/Salon d’Automne-Paris/Biennale 109-Paris/Salon des Beaux-Arts-Paris/Salon-XI’AN-Chine
Art Partage-Rives/Hors Normes-Praz-sur-Arly/Chic Art Fair-Paris/Aix-en-oeuvres à Aix-en-Provence organisé par Andréa Ferreol

Galeries: Edgard le Marchand-Paris/Beaubourg-Paris/Art-Top-Lille/Not a Gallery-Paris/Galerie75-Rouen/l’Ecu de France-Viroflay/Chez Colette-Paris/Cécile Dufay-Paris/ST’ART-Paris/Espace Aliès Guinard-Chaillon/ l’oeil de la Femme à Barbe-Paris/Artcompulssion-Montpellier/Artistes Actuels-Paris/Collection Gallery-Chypre/

Rebecca Campeau Website

Seven Stories or the (im) Parting of Friends at Unbanyokatulinys’s Eggs

In Seven Stories or the (im) Parting of Friends at Unbanyokatulinys’s Eggs, readers are first immersed in a neurological realm, seen through the eyes of a relative of Casimer Maus. Maus, a German linguist, stumbles upon a new language during her vacation when she gets lost in Luweng Jaran, a cave in Indonesia. While in the cave, Maus found a chamber archway with engravings she copied.

This unfamiliar language triggers a significant internal shift in her life. For the next decade, Maus studied the visual representation of circular connections and a sentence structure that bloomed outward in a spiral. She called the new language Lingkaran.

She planned to announce her discovery to the world, beginning with the Deutsch Linguistic Society. However, her peers proved unwilling to accept the strange occurrences that arose from deciphering the language. Readers are first introduced to Casimer Maus’s discoveries through a heptagram that positions an archetypal animal at each point. These animals gather near a growing tree, seeking truth in contradictions, as they aim to comprehend the world’s interconnectedness (the world womb) from its very beginning.

Through speculative surreal fiction, Casi (Hazel) Cline develops her own theogony and original mythology. Seven Stories shares some common ground with James Joyce’s Finnegans Wake; however, it presents a more approachable examination of metacognitive ideas, clarifying the archetypal patterns of the collective unconscious with animal totems.

Hazel Casimer Cline is a nonbinary writer and witch based in Atlanta, where they live with their partner, Steven, and their cats. They have been involved in both local and international Surrealist communities. Hazel served as an editor of Peculiar Mormyrid Journal for nearly ten years and participated in the Atlanta Surrealist Group, which met regularly for several years. They have co-organized three Surrealist exhibitions in Atlanta and Birmingham, Alabama. Currently, Hazel is focusing on their writing. They also work with film, experimental music, and visual art, including collage, drawing, and painting. https://ephemeralityart.com/

Steven Cline is based in Atlanta and has been involved in surrealist activity for the past decade, including Peculiar Mormyrid Journal and the Atlanta Surrealist Group. He has co-organized exhibitions in Atlanta and Birmingham and has participated in others in Paris. His first book of fiction, Planetoid Sassafras, was published by Montag Press under the name Stephanie Klein. A subsequent book of surrealist nonfiction, AMOK, was published by Trapart Press. https://stevenclineart.com/

Atlanta Surrealist page: https://atlantasurrealistgroup.com/

https://blackglovepress.com/

Egregore book: https://issuu.com/sjcline87/docs/digital-compressed

ジオマンティックナイト

Art/Illustrations by Michiyo Kamei

Written by Mitchell Pluto from Occultations: Lullabies for Space Travel

平行線が交差し中心にダイアモンドを形成する

II はXになった

この形状により我々は空間を斜めに移動できる

そのような旅には占術と変身の力が必要だ

わたしは三角波を吸収し

魚座の月の下で杯を口にした

360度の小さな断片

水瓶座、カヤエイ、そして水の運び手がライブを繰り広げている

月に乾杯しよう　これは昔ながらの神託だ

ジオマンティック・ナイトのシンセコンソールを使い

チェス盤中央の正方形をピラミッドへとねじり

周囲の空間を曲げた

存在の８つのステージから集った６４人のヨギーニが

意識と消滅を表す宇宙のタペストリーを創り出す

チェッカーボードを通してわれわれは

自己の内なる状態の図表を探求できる

絡み合う白黒の矩形は陰と陽

この視覚的な図表は異なる時間軸の出来事を分析解釈する力を持つ

われわれは繋がっている

手、爪、ひれ、ひづめ、翼、触手が集まり　異国の地へ休暇に出かける

さまざまな形に変容することで　新たな生息地を見つけ、食し、繁殖する計画だ

新婚旅行は　いま最高　　

研ぎ澄まされた感覚が完璧に調和する

視覚の全感覚は　この虚空に浮かぶあらゆる物体を検知する貴重な資産

アプリは蛇の瞳孔を模倣し　猫の夜目を高める

チェッカーボードを通してわれわれは

自己の内なる状態の図表を探求できる

絡み合う白黒の矩形は陰と陽

この視覚的な図表は異なる時間軸の出来事を分析解釈する力を持つ

われわれは繋がっている

手、爪、ひれ、ひづめ、翼、触手が集まり　異国の地へ休暇に出かける

さまざまな形に変容することで　新たな生息地を見つけ、食し、繁殖する計画だ

新婚旅行は　いま最高　　

研ぎ澄まされた感覚が完璧に調和する

視覚の全感覚は　この虚空に浮かぶあらゆる物体を検知する貴重な資産

アプリは蛇の瞳孔を模倣し　猫の夜目を高める

アプリが何も検知しなければ、こうもりのシグナルで逃したものを特定しよう

退屈しのぎに聴くのは　昔ながらのクジラの歌

宇宙には不可視な電波が入り込む余地がたっぷりある

われわれは無意識の変化が意識にどう影響するかを自覚する

宇宙飛行士として最も困難だったのは虚栄心を手放すこと

消費主義から解放されたことで自尊心が高まった

われわれは数字に縛られない仏教を実践する

「死」は荷電粒子が宇宙に消える瞬間だ

数字は永遠　だからどれだけ長く記憶できるか試そうか

アップデート前の言葉を主張するために　わたしは自我の内側から名のり出た

これは幻覚を起こす声

真の自我は存在しないと理解しつつも　われわれは絶えず自己を拡張し続けるのだ

より大きな善のために　進歩を阻んできた過去のプログラムは放棄する

現在の話者はまもなく話しを終える

目的地に到達したら円陣を離脱しよう

このストーリーラインはデジャブを喚起し　その心象の創出は　レプリカに記憶を残すだろう

Michiyo Kamei Site

Geomantic Knight

Parallel lines intersect, forming a diamond at the center.
II is now X.
This form lets us travel diagonally through space.
One needs divination and shapeshifting for this kind of
journey.
I absorbed a triangular wave.
Under the Pisces moon, I sipped from the cup.
A tiny fraction of 360
Aquarius, a Kayayei, and the water porter, is playing live.
Let’s toast to the lunar. It’s an old-time oracle.
I use my geomantic knight on the synth console to twist
the central square into a pyramid on the chessboard,
bending the surrounding space.
The sixty-four Yoginis from the eight phases of existence
create a cosmic tapestry that illustrates awareness and
extinction.

Through the checkered board, we can explore a chart of
our interior states.
Intertwined black and white squares represent yin and
yang.
This visual diagram has the ability to analyze and interpret
events from different time spans.
We are connecting.
As a hand, claw, fin, hoof, wing, and tentacle united on a
holiday to a foreign atmosphere.
By being able to transform into different shapes, we plan
to discover a new place to thrive, eat, and reproduce.
Our honeymoon is amazing at the moment.
With heightened senses working in perfect harmony.
Each optical sense is a precious asset to detect whatever
objects may be drifting in this void.
Apps mimic snake pupils and cat eyes enhance night
vision.

If we find nothing on that app, we activate a bat signal to
identify what we overlooked.
To combat boredom, we listen to the old fashion whale
songs.
There is plenty of room in the universe for invisible radio
waves.
We notice how unconscious shifts affect our awareness.
Giving up vanity was my toughest astronaut challenge.
Self-esteem improved by breaking free from consumerism.
We practice Buddhism without a figure.
The fading of charged particles into space is called “death”.
Numbers are eternal, so we will test how long we can
remember them.
I am coming forward from within my ego to assert the
words that I have spoken before the update.
This is a hallucinatory voice.
We get it, there’s no true self, but we are always expanding
who we are.

For better well being, we are abandoning past programs
that slowed our progress.
The current speaker is about to stop speaking.
Once we reach our destination, we intend to leave a circle.
This storyline will trigger déjà vu and create a memorable
mental image for the replicas.

The Origin of the Universe: The Wildness of Point Zero
Michiyo Kamei Exhibition Art Gallery Shop

Palimpsest of Phantasm: An imaginary art garden
Vol. 1 Michiyo Kamei

001: the sun 41.0×31.8cm watercolor on paper 2017　
002: Sea Fruit 41.0×31.8cm watercolor on paper 2025　
003: Melancholia 35.0×26.0cm Sumi-ink, natural pigments and glue on Washi paper 2018
004: bodyscape 9 45.5×45.5cm Sumi-ink and my body on Washi paper 2025
005: Untitled watercolor on paper 2005　
006: Rosescape magicboard Φ28.8cm watercolor on paper 2023　

001: 太陽 41.0×31.8cm 水彩、洋紙　2017　
002: 海の実 41.0×31.8cm 水彩、洋紙 2025　
003: メランコリア 35.0×26.0cm 墨、岩絵の具、膠、和紙 2018
004: bodyscape 9 45.5×45.5cm 墨、身体、和紙 2025
005: 無題水彩、洋紙 2005　
006: 薔薇景魔法盤直径28.8cm 水彩、洋紙 2023　

Brianda Zareth Huitrón, Passages to the Psyche.

Each painting is a window into the worlds that inhabit my inner self; they represent the way I have found to share and communicate with the world, the way I can transform the visions of my dreams and materialize them into art.

In a way, Surrealism has not only been an expression but has also become a free way of life through the multiple and unlimited acts of creation that the world of dreams reveals. It has been an open door that has revealed other possibilities of creation to me, an extension of my inner world.

Brianda Zareth Huitrón has exhibited individually and collectively in Mexico and abroad.

Written by ©Brianda Zareth Huitrón

Solo Exhibitions
Leonora Carrington Museum of Xilitla, DREAM ENCOUNTERS in 2025.
Women’s Museum, DREAM REVELATIONS, in 2022.

DREAM LANDSCAPES for the Temascalcingo Festival Honoring Velasco, in 2021.
WINDOW TO DREAM WORLDS, at the Futurama Cultural Center, Mexico City, in 2020.

Group Exhibitions
Col-art at the Oscar Román Gallery in 2025.
The painting exhibition THE PAINTER’S TRADE, at the San Carlos Academy, in 2019.
DIMENSIONS, Wave Gotik Treffen Festival, held in Leipzig, Germany, in 2018.

She has participated in the Chair for 100 Years of Surrealism, at the Faculty of Philosophy and Letters of the UNAM, giving a lecture on female surrealism.

Her work has recently been published in the book Mexican Women in Art, published by Agueda, and in THE ROOM SURREALIST MAGAZINE, an international surrealism magazine.

Maps of Transformation by Tim White

Ancestor, February 2024. Cardboard, feathers and found materials.

We live inside a culture whose overriding goal is to keep us distracted, afraid, addicted and constantly triggered and disconnected from our authentic selves.

Snakes, ladders and chaos Tim White August 2025. Acrylic paint, oil pastel and paint marker on industrial paper

Art is an antidote, a map guiding us to an authentic lived experiences and a life-affirming revolutionary principle.

John Trudell, North American Indigenous activist, declared, ‘When one lives in a society where people can no longer rely on the institutions to tell them the truth, the truth must come from culture and art’. In this context, of what therapist and medical doctor, Gabor Maté calls a ‘toxic culture’ the need for truth is critical and urgent.

The idea that art and poetry, and all the rich diverse forms of expression which connect us to each other can immunize us against the malignant virus of colonialism, capitalism and patriarchy is deeply appealing. That this wisdom comes from the deep spring of Indigenous knowledge and resistance, and despite the ongoing depredations of colonialism, is compelling.

The broken bits of the world I collect and use: the scraps of paper, plastic and metal, the discarded and rejected materials are clues and tools helping me puzzle my way out of the colonial-capitalist labyrinth. They are medicines too, the materia of transmutation, which once distilled provide essential healing and deepened connection with the biosphere and all it nurtures.

As African American feminist bell hooks writes, ‘The moment we choose to love we begin to move against oppression’. This process of resistance, of healing through love, is an essential part of overthrowing the dismal and diminished life the masters of misery want to force on us. And it is from this love, from the sources within our imagination and in solidarity with others we can assemble a ‘new world inside the shell of the old’.

For me, the found and discarded objects and materials used in my art carry a promise and reminder of profound possibilities subsumed in everyday life beyond the superficial substitutions of a hollowed-out AI virtuality. That even everyday junk and detritus call out to be up-cycled and politicised demanding a place as emblems of a transformed future, and are always on hand as building blocks for a new world, is a source of joy and inspiration.

Listen like a rock. Sculpture and collage

Prenez la 111e rue jusqu’à DaDa

Written by ©Mitchell Pluto from Occultations: Lullabies for Space Travel

Ce spectacle comprend des lumières stroboscopiques et des effets atmosphériques ; la discrétion du spectateur est recommandée.

Un flash est un crâne qui vibre.
Son aspect visuel provoque une photopsie et des sensations au niveau du lobe temporal.
Les rencontres fantomatiques ont des allures psychiques.
Observez des étincelles électriques dans l’atmosphère, entre les nuages et l’air.
Les images du film défilent au-dessus d’un faisceau de rayons.
Le projectionniste s’assure que le son et l’image de la bobine sont synchronisés.
Des trous vides consomment la matière tandis que le compte à rebours se transforme en un drain optique.
Une femme nue et cramoisie danse. Avec ses seins généreux et son collier de perles de crânes ondulant, elle marque la surface de notre mémoire rétinienne.

Il s’agit d’un procédé de lumière polarisée aux silhouettes exceptionnelles.
Les ombres caressent les contours.
Le cordon ombilical nourrit un embryon, de la même manière qu’un fil soutient un astronaute.
Pendant un instant, une pieuvre du futur nous observa jusqu’à ce qu’elle projette de l’encre, rendant les observateurs inconscients.
L’obscurité se remplit d’une illumination à motifs, jusqu’à une nuée de chauves-souris albinos en vol.
Les drones sont des OVNIs partout.
Une immense colonie de fourmis sur Terre a envahi et dévoré une simple feuille flottante.
La foule s’amusait au parc d’attractions jusqu’à ce que le programme lui ordonne de former des lignes.
Le fossile d’une orchidée montrait une minuscule danseuse du ventre à l’intérieur, en accéléré.
La fleur était un signal intelligent voyageant à travers le temps.
Un déluge d’éclairs éclipsait tout ce qui l’entourait.
Une façon de contacter les extraterrestres était la danse du cerceau.

Ce cercle vient d’ailleurs.
Évitez de vous leurrer. Les voyages spatiaux impliquent le vieillissement, la mutation et la mort. C’est aussi simple que ça.
Observez comment les ondes de radiation dissolvent les éléments dans le néant.
Ensuite, la chasse aux iguanes. Ne vous inquiétez pas, ce sont de gentils lézards en quête d’un en-cas.
L’homme prothétique n’a aucun loisir, car les objets orientent son expérience vers une série télévisée.
Suivez la figure nageant du tronc cérébral, à travers le système limbique, jusqu’au tableau de bord néomammifère.
La Créature du Lagon Noir, malgré son portrait,
n’est pas misogyne. Au contraire, elle incarne le principe du plaisir et illustre la conception de la nature.
La plupart des gens entendent le saxophone flirter avec eux.
Le mouvement rotatif tourbillonne de points qui s’épanouissent dans les danseurs Dogan célébrant la cérémonie du Sigui avec des masques. L’extérieur d’un masque reflète son noyau central, situé de la 111e rue à DaDa.

Laetitia Da Beca: Peintures, Matières et Graphismes

J’evolue dans le monde des arts plastiques , de l’expression corporelle et dans le milieu alternatif parisien depuis très jeune. J’ai donc explore diverses techniques et directions : peinture , photographie , dessin , graphisme , video , danse et travail sur le corps.

Depuis ces 15 dernières annnees , j’ai fait des expositions et performances en France et quelquescollaborations qui m’on ouvert de nouveaux horizons.
Le public me connait plus pour mes photograhies , mes performances ou mes mises en scène des corps ( dans la cadre fetichiste , danse ou autre ) pour la simple raison que je viens des arts plastiques mais que j’ai fait une pause de 10 ans dans le domaine de la peinture pour y revenir après
une renaissance.

La plupart des peintures presentes ici , acryliques ou à l’huile sont des œuvres en grand format , antre 1 m et 1 m 20 de hauteur .
Deux series emergent , l’une totalement dans la recherche et le jeu graphique , l’autre est une plongee dans la matière brute à travers les mediums et les volumes.

Dans mes peintures , le corps est plutot reduit à l’expression de chocs emotionels devenus physiques, j’y introduis parfois des cicatrices ou blessures ouvertes.

Je dirais qu’on y navigue plus dans le subconscient , dont l’exploration brute instinctive voir animal que me mène finalement ensuite à ritualiser en toute conscience ( mon travail photographique et de
performance).

La demarche chamanique de rendre visble les esprits est toujours presente dans les deux cas. Mon attrait pour l’exploration psychedelique du subconscient , le symbolisme universel , le domaine du reve reconnecte au quotidien , le rapport à l’invisible et l’interet esoterique qui en decoulennt ont toujours etait la des l’enfance.

Mes influences picturales sont très diverses des arts premiers au classicisme , des arts sacres aux symbolistes , du street art à la bande dessine SF ( pour moi , tout est source d’inspiration et de stimulation technique , graphique et de vibration de couleurs ) et biensur les surrealistes et leur grande revolution.