Path of Light, Shadow of a Circle. Visions and Poems by Enrique de Santiago

Art and Poems Written by Enrique de Santiago

The scientific world wonders where the boundary between matter and antimatter begins. That is, where does the surreal begin? For this we must know the secrets expressed in the Emerald Tablet, where the borders of the vibratory spaces are not represented, since they do not exist, since what is denser can become something less dense according to the laws of the variable flows of the vibratory fields. Therefore, everything is a continuum according to what modern physics has shown, a kind of manifested logos where the elusive can be a res perceived according to the capacity of the receiver.

Gears of a quantum ship, acrylic and ink on Fabriano paper, 21 x 28 cm


For the exponential curve of the logarithmic spiral to exist, there must be a logarithm that draws it, but also a mathematical equation that designs an enormous spatial support that contains it and allows it not to disintegrate as a design. We calculate what we see, but the invisible does not enter into that equation. This is how we neglect our astral bodies.

Spectacular blindness, collage s/paper, 30 x 20 cm

FAIR DAYS
In a cold and stony hole
a flower withers hopelessly
while the world rejoices
with the monk’s tricks

Perpendicular imagination looming
behind the divine muscle
that strips of its pelagic destiny
to the one that lies at the foot of its calcareous slab.
With each sun 666 errata arise
in the belly of the lunar word.

Emerged from nocturnal memory
a pristine song
embrace my origin
and illuminate my soul.

Mother earth seeks the perfume of redemption
while the man far in the abyss of him auscultates the night to gain objects
the emptiness of having
is named among the speechless faces
so then the alchemical weddings were prepared without any finding for your eyes
the leaves of the forest fall slowly
the roar of the terrestrial kiss reaches my ears
sound to be ocher dust in solar memory
end of times
and circular principle
the appointed mystery
while children are killed by hunger
to continue making “Barbies”

NUMBER LEVITATION


The ancient voice from the parting of the waters
what is above and what is below
like pale dawn of man
without the primordial exhalation
roam the surface
looking for a high dwelling
to detach from matter
the creative breath of the submerged forest under your name
with their ethereal offspring
like plumage swayed by the wind
in their forgotten northern voices
mother of desire
and of rebellion
clay healing tide
with sporadic winged notes
and tears of bears
that forget the wound in sleep.

my bone wish
penetrate the flesh of the shadows
For a right to endorphins for every citizen

Interdimensional ossuary, Ink on cut paper and acrylic on 300gm fabriano paper

Art and Poems Written by Enrique de Santiago ©

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). Since 1984, he has exhibited in individual and group exhibitions, counting to his credit around more than 100 exhibitions.
He has edited five books: Fragile Transits Under the Spirals in 2012, with La Polla Literaria; Elegía a las Magas and the book essay: El Regreso de las Magas, both with Editorial Varonas. In 2018 he edited La Cúspide Uránica with editorial Xaleshem and Dharma Comunicaciones, and Travel Bitácora with Editorial Opalina Cartonera.
He has participated in various poetry anthologies, both in Chile and abroad. He has collaborated in the newspaper La Nación with articles on new media art, and in magazines such as Derrame, Escaner Cultural and Labios Menores in Chile, Brumes Blondes in Holland, Adamar from Spain, Punto Seguido from Colombia, Sonámbula from Mexico, Agulha de Brazil, Incomunidade de Portugal, Styxus de Rep. Czech, Canibaal de Valencia, Spain, Materika de Costa Rica and other printed and digital publications.

Visions Enrique de Santiago

It had to be finished yesterday, like every day in 2021, creating. Because the reason for my existence is to navigate the wonderful.
Happy today and tomorrow for all, since according to the calendar of nature, each day should be celebrated loving it intensely.

Visions
Ending centuries of moonlight dimming
a dark fire travels the walls without knowing the foolishness of its orbit,
an empty smoke escapes from her womb that is the son of the empire,
leaving a rough trail of ancient scales,
and from that place new demolitions erupt to lower their faces when winter looms,
slowly the room is emptied leaving only undamaged strings that proclaim instantaneous blues,
because she admitted flowers in her womb,
and she came down the stairs with her bare legs,
while from her shadow the absolute gesture of death loomed,
hidden and unexpected
and emitted the song of the breeze of oblivion
in order to satisfy the gesture of a star bathed in failed zodiacs,
impertinent and uncertain attempts,
that were thrown to the cosmic confines beyond certainty.

Había que terminar ayer, al igual que cada día del 2021, creando. Porque la razón de mi existencia es navegar por lo maravilloso.
Feliz hoy y mañana para todos, ya que según el calendario de la naturaleza, cada día debe celebrarse amándolo intensamente.

VISIONES
Acabando con siglos de oscurecimiento de luz lunar
un fuego oscuro recorre los muros sin saber de la necedad de su órbita,
escapa de su vientre un humo vacío que es hijo del imperio,
dejando un sendero áspero de escamas antiguas,
y desde ese lugar estallan nuevas demoliciones para bajar los rostros cuando acecha el invierno,
lentamente queda vacía la sala dejando sólo cuerdas indemnes que pregonan azules instantáneas,
porque ella admitía flores en su útero,
y bajaba las escaleras con sus piernas desnudas,
mientras desde su sombra asomaba el gesto absoluto de la muerte,
oculta e inesperada
y emitía el canto de la brisa del olvido
para así saciar el gesto de un astro bañado de zodiacos fallidos,
impertinentes e inciertas tentativas,
que fueron arrojadas a los confines cósmicos más allá de la certidumbre.

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).

Since 1984, he has exhibited in individual and group exhibitions, counting to his credit around more than 100 exhibitions.


He has edited five books: Fragile Transits Under the Spirals in 2012, with La Polla Literaria; Elegía a las Magas and the book essay: El Regreso de las Magas, both with Editorial Varonas. In 2018 he edited La Cúspide Uránica with editorial Xaleshem and Dharma Comunicaciones, and Travel Bitácora with Editorial Opalina Cartonera.

He has participated in various poetry anthologies, both in Chile and abroad. He has collaborated in the newspaper La Nación with articles on new media art, and in magazines such as Derrame, Escaner Cultural and Labios Menores in Chile, Brumes Blondes in Holland, Adamar from Spain, Punto Seguido from Colombia, Sonámbula from Mexico, Agulha de Brazil, Incomunidade de Portugal, Styxus de Rep. Czech, Canibaal de Valencia, Spain, Materika de Costa Rica and other printed and digital publications.

Beyond the Bone


it is a super kind of role
rotating archetypes
where
number equals avatar
all four won once
if you want to get elemental
around the table
occurring at intervals
periodically
snap shot to
photogrammetry
a kinetic map
perception transfer
interface fidelity
contemplation points
an evidence board
but folded into
an icosahedron
edges linked by fiber optics
on invisible lines
as best they could trace
those
dice face are channels
those
dice face are mirrors
refraction may be
tubes of light
or if you prefer day stream
an almost calendar
in one lapidary being
an extraterrestrial of triangles
predeterminer and all
lets play
rotated and rolled
hyperstition is now
but also then
all ways
crossroads
a mobile hot spot
every time
is space
echolocation
our deep unknown ability
leads to where
wear leads
to dissolve dice
and sincerely know
the icosahedron remains spinning
all over time
an everlasting pattern
a rapidly occurring gem
from
the house of invention

written by Mitchell Pluto© December 11, 2021

convolutional echolocation

artificial neural network
neurons are aggregated
image input
visual cortex
layers and magic squares
number and color spaces
red, green, blue
processing example
image recognition
labeled
a set of facts
filters removing waves from particles
about that world, who was thinking the who
useful information
an algorithm
binary classifier
animal, non animal
vector of numbers on a clock
adapt parameters
template of being two points in time
self-driving car
spatiotemporal
the finding and collecting self

written by Mitchell Pluto December 2, 2021 ©


Interior Psychic Meteorology

my non representational paintings are automatic impressions from my subconscious. a sort of interior psychic meteorology.

Venus sextile Jupiter

I work on them everyday. there are no things, no pronouns, no gender, no politics, no beliefs, no morals. no 17th 18th, 19th or 20th century archetypes, no mystical ideas, no ideas about beauty or ugliness, no appropriation, no opinions.

Internet Poltergeist

it’s just a lot of yes too energy, paint, color and texture. the theme is about finding nothing. the exercise is liberating-the painting can not develop into something. I only name them when I share them, which I have been reluctant and hesitant to do. they are not made to be understood.

figures of speech in D minor

organize the snakes
pluck strings
divide the wave to the pedal point
a step, a diesis, a key signature
target a center
ignition
arrow
bow lyre
fabulist
the dirty gods
she had a nice base
associative process with dials from point to point
seamlessly one to the other
and then Sigmund Freud’s rings
hello
utterance
udder rants
a scale rave
turning things into words
a jewelers hammer
striking the strings
kinetic parenthesis circle intersection
drawing back waxing
links undone wading
octaves and moonlight
the face on a corpuscule
Saint Teresa melts the robot
into a full bodied universe

written by © Mitchell Pluto October 3, 2021

Alkalizing the Wendigo with a Whirling Mantra

Every culture has experienced cannibalism, headhunting and parasites. This intrusive painting is about those things but thankfully it’s all metaphorical. In this painting I use figures of speech to convey malignant narcissism and greedy tendencies as a psychic virus. While no specific group or person is targeted it is important to be aware of the dangers of being egocentric and that it puts everybody at risk.

An ancient parasite has been interfering with our optimum self moderating programing since the beginning of time. This is not an original idea and can be found as a theme through many Science fiction and horror stories. One specific example is The Mind Parasites by Colin Wilson worth checking out. However there are more real life examples. I found details in Sigmund Freud’s Totem and Taboo: Resemblances Between the Mental Lives of Savages and Neurotics that offered a general outline on taboo as a psychic contagion.

Anyone who has violated a taboo becomes taboo himself because he possesses the dangerous quality of tempting others to follow his example: why should he be allowed to do what is forbidden to others? Thus he is truly contagious in that every example encourages imitation, and for that reason he himself must be shunned.

Freuds statement makes me think of the origin of the scapegoat and the spiritual cleanse that shares a polarity with transgressions of the community. An organized ritual allows a contamination of an object to later be sacrificed.

How did the Wendigo archetype institute and set in motion such a horrible malware on the consciousness of humanity?

First and foremost the Wendigo represents a defense against becoming selfish. An example not to follow. It is no one’s ambition to become cannibalistic or maladaptive but abrupt experience overwhelms an unactualized mind. This is usually caused by trauma experience. An experience by all accounts that leaves a brain feeling abandoned. With no one else around to understand. While left defenseless against the brains own intense fear, a sudden disconnection occurs.

By looking in a mirror day after day one moves more progressively towards a reduplicative hallucination. An elaborate state where one see themselves as an apparition. This double tells the vulnerable self a story about how much stronger and more valuable it is than the other. it tells the other self it is the reflection that is important. Across this imbalanced relationship the double forever feeds off of one traumatic moment. As a kind of psychic parasitic disease, the reflection commandeers the entire body while holding the suffering self hostage. This painful body tries to fight but not being fully rehabilitated to control it’s own operations, instead seeks to control other brains.

Robert A. Brightman an American anthropologist describes the Wendigo as

“The wendigo (/ˈwɛndɪɡoʊ/)(also wetiko) Ojibwa wintikö. Cree wihtiköw is a mythological man-eating creature or evil spirit from the folklore of the First Nations Algonquian tribes based in the northern forests of Nova Scotia, the East Coast of Canada, and Great Lakes Region of Canada and the United States. The wendigo is described as a monster with some characteristics of a human or as a spirit who has possessed a human being and made them become monstrous. Its influence is said to invoke acts of murder, insatiable greed, cannibalism and the cultural taboos against such behaviors”

From Brightman’s statement we get a profile of a very unrelenting and maladaptive personality who is controlled by a psychotic spirit whose strategy relates to a person in the same parasitic mode a protozoa relates to a host. There is an invisible influence.

At the very top of my painting is an example of the Woodland Style. Inside the face is a very filtered cosmogram that offers a limited preview of a Peyote ceremony I was invited too. I choose the Bidu and moon cipher to act on behalf of an meaningful experience. The full night ceremony continues to make a deep impression on me. This impression is similar to my discussion in Astrology and Cosmograms . I review the root Loa as comparable to a strong radio signal filled with intelligent information and the brain as land-based radio station. In the painting this Loa voice scrolls from the lips to a wireless phone. This sudden illumination is delivered by a lightening bolt brightening a picture tube with a whirling log message. The subliminal effects directly communicates with the Mooladhara Chakra, the chair where the Kundalini sits. At it’s immature stage the Mooladhara is completely egotistical, security driven and possessive. These traits when pressed by scarcity and megalomania create a Wendigo.

scyphomancy with a touch of therianthropy

Written on September 18, 2021 by ©Mitchell Pluto

the cup reflected by the Pisces moon

was the rim where I sip

the moon’s abundant helium

my feet floated

I followed my paws

to the oracle

who spoke beyond the clover

who lifted

all periods

decimal points

conveying a flood of onomatopoeia

what?

the lost spring of language

synesthesia

a con jury

empowering the lines of the triangle

balance and beauty

I am a mind

not alone

a prism between two women

one fire

the other

a ray of light

three points passionately

sustaining

a stream of charged particles

warmth, love and vision

a charged link

lighter to lightest triangles

only the weight

my face

looking outside the mouth

of an ego

is a name with teeth

eating time in front of me

making a fence everywhere I stepped

with a plan to

organize all tree’s into things

I burn as brightly as

the interior of some hidden structure

that lives in the sun

and do not know that part

leaving a trail of items

in a landfill

the oracle whispered

in my ear

pollen and a gentle breeze

cottonwood seeds

overlay

a turquoise sky

we were inside

each other

ornamental patterns

hand, claw, fin, hoof, wing, tentacle

what we saw together

with the omnivoyant eye

Voice scroll of the arctechnician and the angel of time

written on September 17, 2021  © Mitchell Pluto

my cursive thought

wrapped around

some thing

joined together

possession

and

loss

i stood it still

to review

a snake sliding on a scale

tipping an X to a teetering cross

each letter a whirling dreidel

a little dervish

a

retrojection to every tense

then from now too

a serpentine door way

between the rippling pillars

unites me with my temporal lobes

temple fuses

a religion of selves being one another

a seizure

spattered wings

brush strokes

drifting leaves

fins

curves from flowers

quenched by snow stars

a hoop dancer is behind every shape

while marrow carries iron

memories transports us to dreams

restored

but then

returned

too a mind stream

equaling parallel to

is

i with a wave

a twin two

a point

on a pen

moving

angel of feather and scale frozen in a moment