From Jung to the Abzu of ancient Sumerian myth, the watery depths are a constantly reemergent symbol for the buried psyche. A place of great danger as well as shinning treasure, it is only through a clear perception of the unconscious that the soul can break free of conditioned response and experience the ecstatic unity that is sometimes termed the divine.
What is hidden remains inexorably part of the self, and to deny it is to close in the concept of self, building barriers until the fiery light that permeates all existence becomes a tiny candle surrounded by a sea of darkness. No matter how tightly this blanket of darkness is wrapped however, nothing exists in isolation. Rather than protect the fragile ego, the severing of undesired aspects from the concept of self creates a sea of monsters; no longer part of a complete whole, the mind perceive in its own shadows independence.
In contrast, to accept hidden aspects of self is to transform the very darkness that is feared into the essence of light, which is knowledge. Once the self has achieved this wholeness, the process of incorporation may be continued, extending equally into the external world, of which the individual is an invisible a part as the unconscious is of the self. Although the individual mind is the seat of this experience, this does not contain the boundless expanse of existence inside the ego. In the light of totality, the illusion of ego is finally extinguished, and reality is at last perceived in undifferentiated glory beyond the mere human.
It is a strange paradox that out of the collective can emerge a singular intent of direction that is against each individual constituent will. Emergent behavior like a shadowy behemoth, takes its dim form at the peripheries of our consciousness, even as its winding intricacies form an inescapable center. This paradox is at the heart of the Anthropocene. The leviathan of human progress carries us onward to an uncertain light, and we are the helpless links of its great sinews.
Found cross-culturally, the concept of axis mundi must be understood as an intersection of both physical and psychological geography. Emerging through a variety of symbols, ranging from the cosmic world tree, to the sacred mountain, the essential element is a linkage between worlds. In the symbolic language of the soul, the roots and branches of the tree, extending from below the earth, through the trunk, into the latitudes of sky, connects these disparate elements just as the human mind links the subconscious strata of the collective animal with the divine unity of transcendent experience.
The title of this piece is taken from the opening lines of a W.B. Yeats poem; describing in apocalyptic terms the spiraling out of order into chaos, I was reminded of the pacific trash gyre and the kaleidoscopic patterns of current. While the imagery of this painting presents a tangible environmental anchor to the dream of entropic undoing, I see in these symbols an equal connection to the realms of spirit and metaphor. The endangered marine life depicted in the piece is both a literal representation of an ecosystem caught in a spiral of extinction, and also ourselves, caught in ever remoter turnings of collective action. Swept into great movements of which we are both fisher and quarry, the animals are the titanic ghosts of our collective unconsciousness, rushing towards an unknowable end. There is beauty here too however, as even in the moment of the onrush, we are left as observers of an ineffable beauty that extends into, and transcends, the gyre.
The concept of sanctuary contains in it an implicit ideal of separation, for the raising and bracing of barriers to persevere against the storms of the world. This urge for preservation is both understandable and necessary; even as a concept of self can not exist without walls to define itself, so too is our mutable physical existence tied to it. Sanctuary represents protection, and the pain and tumult of the greater totality threatens us with consumption and annihilation in its absence.
It must be remembered however that all forms of separation are ultimately illusionary, and the aegis of sanctuary is a transient shroud. Threads of eternal interconnection exist between all phenomenon, with lines of distinction in constant flux by the building deluges of change. In the face of such inevitability, sanctuary can with equal measure become an attempt to impose stasis on a process of transformation. A clinging that creates barriers not just between self and pain, but also between ourselves and the ability to transcend it.
Instead, in recognition, not denial, of the inherent unity of existence can we expand the self beyond both sanctuary and destruction. True sanctuary is found in the recognition of transience and an embrace of dissolution. Then it is possible for the momentary spark of consciousness to recognize its mirror in the towering inferno of the world. Then we may burn the walls of our sanctuary and exist as the light and flame. In doing so the broken shard of self is lost in unity with laughing epiphanies of storm.
Initially the world comes to us through a flood of light and sensation. It is only through a patchwork heritage of cognitive frameworks that the dream coalesces into meaning and narrative. Such schemas are ultimately built on conceptual categorizations of like and unlike that exist to separate the ocean of interconectedness into understandable types. Though they provide us a tower from which to preserve a concept of self from the deluge of unfiltered unity, at their heart they remain illusionary divisions.
Despite attempts to map the unknowable expanse of reality, the totality of existence is axiomatically itself rather than the means used to perceive it. When, however, in the face of our greater humanity, the pursuit of the ideal takes precedence over the real an unavoidable conflict occurs. No matter the passion or progress made in pursuit of the ideal, the reality of the world unavoidably diverges and it is often our reaction to this shortcoming that forms the ultimate outcome of our pursuits.
Without a radical acceptance of the world in its totality means quickly descend into ends, and in our yearning for imagined futures we lose the only methods capable of bringing about the change we desire. Rejection of the world instead cyclically recreates the circumstances of our dissatisfaction. It is only through a recognition of the inherent unity of existence beyond delusions and conceptualizations that we may achieve the love we seek.
– Originally written for The Love Politik: One World Indivisible
Throughout most of our waking moments we perceive the world through the lens of conceptual ideals, where classes of phenomenon are carved out of observation, and defined by the oppositional dualities we perceive in them. Through mutual opposition, atavistic unity is shattered into categorical separations of light and darkness, above and below, mater and spirit, and self and not-self. While such proud towers of our own invention remain inviolate, so too must coexistence and the unity of the transcendent be hidden behind layers of conceptualization and expectation.
During our moments
of revelation however the clarity of direct perception easily proves
the fragility of separation. Free from the tangles of our own nets, a
unity of opposites becomes a direct experience as the basis of
division is released. Like sand, divisions that were perceived as
immutable seemingly fall away in the face of a greater truth. We may
instead find our self confronted by a darkness that coexists with the
light, with a fire that burns but does not consume, and with a unity
of the divine with the material.
That such a coexistance is possible however does not reveal itself through an overcoming of the natural law we had perceived as absolute, but rather through a realization of the subjective nature of its delineation. The basis of their truth was built upon an alter of straw, but the overcoming of it is not accomplished by either burning or further building, but rather by seeing something else altogether: that the idol was built from our own hands, and that the manifest truth require neither alters, nor scaffolding. Dionysus, Apollo, Ecstasy, Sublimation, 2018 That such a coexistance is possible however does not reveal itself through an overcoming of the natural law we had perceived as absolute, but rather through a realization of the subjective nature of its delineation. The basis of their truth was built upon an alter of straw, but the overcoming of it is not accomplished by either burning or further building, but rather by seeing something else altogether: that the idol was built from our own hands, and that the manifest truth require neither alters, nor scaffolding.
For the immediacy
of revelation comes from its wordless clarity, not the spiderwebs of
explanatory discourse, nor the labyrinthine charting of a cave which
does not exist. And then what can be said of the ineffable, except
that before its witnessing we will abandon the pursuit of shadows for
the wellspring of generative light.
The light above and the depths below are two primal archetypes which alter and diffuse our consciousness in ways which are often as mysterious to us as they are potent. Sea and sky, the corresponding symbolic representations in their turn dominate the inner latitudes of the mind more than almost any other symbols.
In Jungian theory, the watery deep is considered a psychological symbol of the unconscious; or the depths of the unknown that paradoxically exist both within us and beyond us. It is a threatening concept, and one that calls into question the very fundamental idea of self-hood as envisioned by the conscious mind. For the existence of an internal other is fundamentally inconsistent with a unified and stable entity, and indeed there is a primordial, irrational terror of being swallowed by this self-within-a-self; the great serpent of the unknown that wants and thinks of its own accord.
The burning sky above is likewise a near universal embodiment of divinity, and represents an outside that comes to dwell within, rather than an inside that seeks to escape. The powers of heaven, which even as they exist beyond us are felt with immediacy, and through their embrace allow a transcendence of that same self that fears the below. This division may even be conceptualized as negative or positive relations of the consciousness to the essential experience of other.
Self and other, and their connectedness are the keys to understanding these symbols which so permeate our psychological lives. The reality of our consciousness is that it exists in a constant state of flux. The boundaries of our awareness and very self-hood are consistently both waxing and waning. As we integrate, subsume, repress, and sublimate we are internally clarifying and classifying ourselves as a conceptual object. We are defying the boundaries of our consciousness, and by doing so ourselves.
On one side of the perceived duality between upper and lower is the internal that threatens to shrink the consciousness, on the other the external that promises to expand it. Such duality itself is ultimately misplaced however, as both the sea and sky are components of the same otherness, and illustrate the futility of all such limited conceptualizations of self.
While the self-concept may be expanded to an extent that is inclusive of both heavens and chthonic hells, in doing so it remains weighted by the oppositional dualities themselves. The illusion is broken when it is understood that the essence of duality is conceptual, and there are no mental construct whatsoever for experiences which are existential ineffable. Confronting such radical expansions necessitates a letting go of the calcified and static echoes of the past, and demands existence instead as a momentary and timeless experience of now.
The world as it appears to us is constructed of thought, an edifice of understanding against the tumultuous waves of pure, unfettered reality, unsculpted, and lacking inherent meaning. An empty and pure thing, unfathomable in unalterable clarity and depth, that is carved like canyons that run without thought. Words are the chisel out of which towers are built to keep the deluge at bay, but they are a prison for beings of capable of transformation, and of light that may learn to swim. There is no ark for the whales and the fishes.
Nor is one needed. To embrace direct experience of the external is to discard the perception of differentiation. To embrace the other is to embrace both internal and external aspects of otherness, to see self equally in the darkness of the night sky as in the face of another. The totality that emerges out of this is one of unity of opposites, that discards self-identity into a light that coexists without diminishing the darkness.
Despite its central role in either facilitating or obstructing the act of creation, the internal state of the artist remains one of the most esoteric topics in discussions of the artistic practice. The successful invocation and use of states of intense concentration and passionate release however are tools that can be as critical to the artist as brushes or pallet knives. Even when such aspects are considered, the focus is most often relegated to highly refined states of productive focus. Far less frequently discussed, and perhaps less frequently invoked, are the states of disorder, dissociation, and frenzy.
Ultimately, the tempests of the unconscious mind are the source of the well-spring of creativity, and in the realm of the spirits there are many muses eager to speak to the attentive listener, or else howl in ignored fury. While the hidden interplay between feeling, symbol, and desire is, by definition, difficult to consciously navigate, it also contains the keys to accessing this fire in its depths.
One of the clearest representations of this source is found in the Greek god Dionysus. Often miscast as the ‘god of wine’, this portrayal mistakes the method for the source. A far more revealing descriptor of his essential character would be ‘god of intoxication.’ Considered dangerous and subversive to the social order, before its brutal repression by the Roman state cultic worship of Dionysus centered on the embrace of states of altered consciousness through intoxicants, forbidden sexual practices, and omphagic frenzy. Despite the diversity of these rituals, they shared a common purpose as a bridge to states of ritual madness.
While self-sparagmos is possible as well, for the artist such states of divine ecstasy may also manifest themselves as a surrender to the pure expression of creative energy. While application of this passion often takes the form of wild extremes of expressiveness, it can also result in sparsely proficient application of familiar techniques in subtly radical ways. This should come as no surprise when one considers that the physical skills governing artistic practice are almost always most effectively subconsciously learned and applied. It must also be cautioned though that the creative potential inherent in these unstructured states is balanced by the danger of a work being overtaken by chaos.
When this chaos emerges in a greater context however it can fulfill a direct aesthetic necessity. Even in works whose emphasis is harmony, the contrast provided by discord may elevate a work to new heights. The Nietzschean aesthetic framework for instance considers that for an artistic endeavor to reach its highest potential it must embrace both the frenzied passion of Dionysus, as well as the subtle harmony associated with the god of light and beauty: Apollo. Indeed, just as imperfection is a necessary component of the perfect phenomenon, it is ultimately the fusion of states that permits the greatest realizations of beauty.
For a culture that consistently elevates the rational and orderly at the cost of the intuitive, often to the point of suffocation, utilizing the disordered madness of Dionysus can seem foreign and uncomfortable. However, the use of ecstatic states has by no means been a limited experiment. Examples of similar practices are familiar enough that their absence appears as the aberration, rather than than the norm. Sufi mystical dancers and poets, accounts of viking-age berserkers, indigenous shamanic ceremonies, and Buddhist Tantric practices all share similar of states of intoxicated passion. Indeed, even the earliest known human story is suffused with the motifs of ecstatic ritual; as Gilgamesh attempts a resurrection he does so with shamanic drumming and a ritual invocation to the spirits.
Regardless of whether the artist chooses to directly commune with the spirits of Dionysus, the dynamic life of the discordant can not be ignored. Even as a subset of the creative act, all outpourings of feeling originate in movings of the psychic depths, and creative endeavors that fail to provide access to this reserve fail the most basic task of art. In the creative deserts of rationality, it is the leviathans of our own abysses that offer us water.
The blinding light of death is the dissolution of individuality, absolute, consumptive, binding and limited; we are beings of both individual sparks and universal light. The flame that we carry is not selfish, and the births and metamorphoses engendered by death maintain a continuity even as given facets are extinguished. Through the kaleidoscope of change and destruction, love and rebirth, the raw spirits that coalesce into beings that perceive themselves and fear the unknown, remain untouched by the scattering.
Through an examination of this same self however, concepts of post-death states and reincarnations begin to be perceivable in their actuality. The root of this conceptual-self stems from the consciousness that interprets sensory input and imagines itself as a disparate entity, tied to a given physical apparition, self-constructed through narratives, habits, traits, and ultimately acts. This perspective is, at best, a half-truth, for it fails to consider the instrument of perception. Indeed the existence of an implicit physical world is itself a product of internal conceptualization. When sense, memory, and thought are understood as malleable, the dependent assumption of immutable physicality, and the ends implied by its decay, must inevitably be discarded.
It is in many ways a sacred moment when the dusty collection of particulate is at last dissolved into the universal, suspended in the primordial water, before emerging once more in new forms and acts. That the collection ever imagined itself as a thing apart was always an illusion, cast like a shadow by the singular light of consciousness. For even existentially, as beings that dream tales of a life lived and a narrative concluded, we were deceived. The great change that we defined as oblivion was inseparable from our breath. As we closed our eyes each night we, with unreasonable faith, trusted that that which left us would return. With each moment passed we did not mourn for the eddy of ourselves lost in the stream. Even the memories that we held with such precarious grips, that we swore gave truth to the lie, shift like dunes in the deserts of our individuality.
A better question than what follows death then might be what is the nature of the entity that perceives death? If the self-construct that perceives the physical is not defined by it, physical death may be regarded as a minor schism. Acts of transcendence can, in their turn, be understood as acts of self-identification, where an ego defines itself, not by a specific physical manifestation, but immaterially.
The immutability of death thus emerges as a reflection on the limits of an ego, rather than an incontrovertible trait of the universe. When the thin film of materiality peels back to reveal the light of the abyss, we are left with what is ultimately a choice; as the imagined manifest of an ego, be extinguished, or as the avatar of the universal, embrace the change, as we have ten-ten-thousand times before.
There is such beauty in the unordered, unrestricted natural flow of life that, following its own internal pattern, grows in a harmonious chaotic mass of being. So far from the manicured greenspaces and carefully sculpted lives that inhabit the great spiritual deserts of modern cities. Plagued by isolation, the lives spent in their cages cry out with desperation, plainly visible for those who have walked outside the walled garden.
In an existence so devoid of life. Roiled in sexuality so devoid of passion. Consumption without satiation. Every aspect of, true, unfiltered life shoved with urgency into stiff molds. A death that would be better without the false vestiges inhabiting empty forms.
We are not this. We were made to run free beneath the stars, with unfettered passions in a world as alive as our hearts. As the city reaches its claws into the sky and strangles the distant shimmering harmonies of light and swallows with a dull half-glow a night bleached of darkness; even the blackness of death is robbed from us.
The wildness in our souls must not be so quenched. Our breath must be like the thunder over the plains, overgrown and alive. Night must be allowed to return so that the stars, eternal beneath the shroud of unlight, can shine again, so that we can truly die, and guided by the stars, return and truly live.