Phil Hansen: The art of the imperfect

Abraxas and A Mold Of My Soul

 

Abraxas

by CSOOR JOZSEF

deviantart member *JOSIPCSOOR

 

A mold of my soul 

by CSOOR JOZSEF

deviantart member *JOSIPCSOOR

1,618

1.618 by Anthony Harmon

deviant art member *aharmon

http://www.denniskonstantin.com/

 More beautiful pieces from a Mimosa Project 

favorite artist Dennis Konstantin :)

NAVIGATING HYPERSPACE

By Tamera Newton (Queen Of fables)
PORTFOLIO http://queenoffables.daportfolio.com/
14" X 20" PRINTS AVAILABLE $50 + SHIPPING

THE AMAZING ARTWORK OF GUY AITCHISON

  

HYPERSPACE STUDIO

Guy Aitchison is an amazing multi-dimensional artist and a inspiration to many tattoo artists, including myself, who enter into the bio-mech/bio-organic realm. I have accessed his website many times to view his galleries of original, organic, sacred geometry biomech pieces. Click the link above for Hyperspace Studio to view more of his work and if you are a tattoo enthusiast, make it a point to view his cover up work. It is phenomenal.

The images below are showcased  from Guy's Lightforms Gallery.

 

From Guy's Bio http://www.hyperspacestudios.com/bios.html

"My work tends to focus on natural geometry and organic structure. I have keen interests in science, science fiction, religion and religious art & architecture, and all types of psychedelic & transcendental art, which all filter down into my personal vision. I tend to avoid recognizable icons in favor of trying to focus on the underlying flow of ideas. I believe that there exists a family of archetypal forms, non-iconographic images which nonetheless convey their meaning to the viewer simply & directly, at a level possibly deeper and more universal than that accessible through the use of cultural iconography. I feel that much of our art is an effort to access these archetypes, possibly by lining up those known icons which most closely emulate the intent of the underlying universal form. Whether or not these universal images can be captured in their naked form and rendered as art pieces remains the single largest question in my life. " (Read More)

http://www.astralharvest.com/#home

Graffiti Analysis: 3D from Evan Roth on Vimeo.

Paul Laffoley's Odyssey

Do You Want To Dream Different?

This mind teasing structure that you are viewing in pictures below was designed and developed by organic architect Javier Senosiain.

Javier Senosiain is a Mexican architect who has a peculiar taste to create numerous marvels in different patterns. This particular shell house aptly named “Nautilus House” was given shape in 2006 at a place called Naucalpan in Mexico. Being an exceptional one directly from the imagination of its architect, it naturally had to undergo enough changes testing the patience of its builder. The concept “Organic” can be well experienced from the way one feels being amidst the nature. The way the structure and the interiors have been designed is nothing but teasing the ever hungry urban population confined to concrete jungles. Do you wantto be the one, dreaming different?

http://www.desicolours.com/do-you- want-to-dream-different/11/09/2009

SPICE LAND

LUKE BROWN * SPECTRAL EYES

Luke Brown is a visionary. He is one of my biggest influences. Such a talented individual. For more of his work please visit Spectral Eyes at http://www.spectraleyes.com/art.html

Ms. Christine DMT Rose
by Deuce 7

Deuce 7 on Wikipedia

The Galactic Toad

The Galactic Toad
by Queen of Fables


Visit Queen-of-Fables at deviantArt

Izapan Stela Series 2
Work In Progress
Stela 6, Izapa

Observe Stela 6 from an early Maya site in southern Mexico called Izapa. This is a classic depiction of the shamanic journey into the underworld, into the raging maw of unknown dimensions of time and space, within the deep psyche yet buoyed on the undulating waves of the celestial seas.

DMT Mountian by ~mearone

DMT Mountian
by ~mearone

Visit mearone @ deviantArt

5meoDMT

5meoDMT
by ~Kinakusai

Visit kinakusai @ deviantArt

BY: Koalacid

Visit Koalacid @ Deviant Art

by ~CorpusCallosum

Visit ~CorpusCallosum @ Deviant Art

Some Thoughts on DMT Art
By Steve Beyer • Aug 22nd, 2008 • Category: Creativity

A number of artists have attempted to render the striking visual experiences that occur after ingesting ayahuasca or DMT. In the Upper Amazon, there are both indigenous artists, whose traditional work consists largely of abstract patterns, such as those found on the now well-known pottery, clothing, and other household goods of the Shipibo; and visionary artists, mostly mestizo, whose work is characterized by detailed representations of spirits, trees, animals, objects, and participants in ayahuasca healing ceremonies. These latter works fall almost paradigmatically within what has now come to be called outsider art, sometimes naïve art, and sometimes visionary art — direct, intense, content-laden, narrative, enormously detailed, personal, idiosyncratic, two-dimensional, and brightly colored. While indigenous artists work for the most part in anonymity, their work stigmatized as craft rather than art, the work of mestizo visionary artists has become much better known, largely through the publication, fully annotated and sumptuously reproduced, of the visionary paintings of former shaman Pablo César Amaringo.

Outside the Amazon, artists not born into or raised in indigenous or mestizo ayahuasca-using cultures, including such well-known visionary artists as Alex Grey, Robert Venosa, and Martina Hoffmann, have also rendered visual experiences attributed to the ingestion of ayahuasca or DMT. For want of a better term, I will call this body of work DMT art.

There are some remarkable convergences between DMT art and the abstract representations of the ayahuasca experience in indigenous Amazonian art. The indigenous work on the left, below, by Cashinahua artist Arlindo Daureano Estevão, represents the different worlds of the ayahuasca vision as houses with doors to be entered and paths linking the different contained spaces. This type of design is called nawan kene pua, or stranger’s design, since it is a map that keeps one from getting lost in the ayahuasca world. This abstract representation is strikingly reflected in the work on the right, below, entitled DMT, by photographer Peter Kosinski. It is difficult to say whether such convergences are due to acquaintance with indigenous art or to similarities in the visionary experience.

Arlindo Daureano Estevão, Nawan Kene Pua	Peter Kosinski, DMT

Similarly, on the left below is a traditional Shipibo woven cloth, whose design represents a sacred pattern derived from a cosmic anaconda whose skin embodies all possible designs. Shipibo shamans employ these patterns to reorder the bodies of persons who are sick. Certain diseases are thought to be caused by harmful, messy designs on the wsick body, which the shaman must magically unravel and replace with orderly designs. After drinking ayahuasca, the Shipibo shaman sees a luminous design in the air. When this design floats down and touches the shaman’s lips it becomes transformed into a song the shaman sings. Different elements of the song relate to different elements of the design; for example, the end of each verse is associated with the end-curl of a design motif. When the patient is cured, the design has become clear, neat, and complete. Again, this abstract representation is strikingly reflected in Vibrata Chromodoris’s Emergence, below on the right.

Anonymous, Shipibo Woven Cloth	Vibrata Chromodoris, Emergence

However, most DMT art is representational rather than abstract, and taps into the work of mestizo Amazon visionary artists. The first painting below is by mestizo artist Pablo Amaringo; the remaining pieces are DMT art by artists from outside the Amazon, all working with content recognizably similar to that of Amaringo, although not necessarily in the same naïve outsider style.

Pablo Amaringo, Ayahuasca and Chacruna (Detail)	Robert Venosa, Ayahuasca Dream (Detail)
Cyril Lanier, Ayahuasca Vision of the Blue Perfume	Michael Jacobs, Ayahuasca Dream

But even more striking, I think, are two motifs that appear with some frequency in DMT art but not in the indigenous or mestizo artistic traditions. The first of these I will call The Face — that is, a recognizably humanoid face with eyes, a nose, and a mouth, often filling the entire frame, and often constructed from smaller units, either geometric figures or dots. These figures are often described as a being, an entity, or a visitation. For example, Robert Essig says of his painting DMT Entity, below on the right, “This image was inspired from my first unnatural encounter with the spirit molecule. An Entity that seemed extremely real and intelligent appeared before me with terrific precision and speed. It dissipated as soon as I imposed my will upon it.”

Alex Grey, Ayahuasca Visitation	Robert Essig, DMT Entity

Indeed, The Face often appears in works that are not conceptually about The Face. In Luke Brown’s Pineal Feline, for example, below on the right, the titular face is that of a cat, at the bottom center of the painting; what then makes up The Face are floral arabesques and ornamentation of the cat’s face, almost entirely buried within — indeed, reduced almost to a decorative adornment of — The Face. Similarly, in Martina Hoffman’s La Chacruna, below on the left, The Face decomposes, upon closer inspection, into arabesques, including snakes and elephant heads, elaborated upon the relatively small face of the goddess, in the upper middle of the painting.

Martina Hoffmann, La Chacruna	Luke Brown, Pineal Feline

Sometimes The Face is deconstructed to simpler, rather than more complex, elements. At that point, we can begin to see the basic patterns from which complex Faces are constructed.

Dennis Konstantin, DMT Entity	Nisvan, Ayahuasca Vision (Detail)

What is interesting here is that underlying The Face is a relatively simple symmetric pattern, not unlike the abstract patterns of indigenous Amazonian ayahuasca art, but here cognitively assembled into a recognizable human face. Perhaps that is why Essig’s Face dissipated as soon as he imposed his will upon it; attempting to control the image distracted the perceiver from its imposed structural coherence.

Another recurring motif we can call the wingspread. This is a pattern very similar to the wings of a moth or dragonfly. Below, for example, is a more or less typical moth — actually, the tobacco hornworm moth (Maduca sexta):

Wingspread Moth

We can see this wingspread motif reproduced with increasing elaboration in the following pictures:

Strikingly, this wingspread pattern is often hidden rather than explicit, providing a formal structure rather than any content; look, for example, at the wingspread position of the hands in Alex Grey’s Light Weaver, especially in conjunction with, say, Robert Venosa’s Yagé Guide, above. The wingspread pattern underlies the purely formal similarity between Mariela de la Paz’s Ayahuaska at the Gates of San Pedro and Alejandre Segrégio’s Presente Divino. Indeed, sometimes this structure is so deeply embedded as to be difficult to discern, until the pattern suddenly emerges, as with the darker rock formation in Olga Spiegel’s Rendezvous.