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Pillars 1.III – The Ebon Kteis

27 Jan

Pillars 1.III Pillars 1.III

Today arrived my contributor copy of Pillars Journal 1.III, The Ebon Kteis, which contains my very first published essay and where I delve into the concepts and personal motivations behind one of my artworks. The topic is inspired by the many question I keep receiving about the Mandrake and is titled Regina Amandrakina – Exploration of the Image and Strange Idol. So now all those, who asked me questions, receive here 11 pages food for thought (and of course everybody else is welcome to read this as well, because it’s a heart piece and will help you understand how and why I do what I do!) (;

I immediately started reading and, as with the previous Pillars issues, this one has become again a masterpiece of editing and type setting! It’s obvious there was put again a lot of thought into the editing and arrangement of the different contributions. Photos, art and texts by different authors come together and compliment each other seamlessly. Also the line breaks and paragraphs of written contributions are arranged thoughtfully. Besides this the bronze print on the cover compliments the vibe and aura of this tome just perfectly.

“‘The Ebon Kteis’ is a journey back into Darkness; somber in tone than its older siblings and aiming to be more of a visual feast to inspire Minds & spark the Sacred Flame Within.”

But it is not only the visual side that is utterly appealing about this publication. Anathema has specialised in bringing together artists, occultists and lonesome wolves, which, as different and individual each of them may be, share a mutual vision and idea of truth and searching. And there is another interesting aspect that emerges once you skim through the pages. The topic was given, but each contributor works independently and usually there would not be much interaction, yet each piece of art and writing seems to harmonize with the other, as if led and guided by the same spirits. This is the subtle magic of Pillars, which strikes me with each new release.

This issue is the last in the series (though a new volume, with different outfit is planned). There are once again 230 copies available, half of which have already been sold. So better hurry, least you’ll have to spend ten times as much, once the sold out publication ends up on eBay!

Pillars 1.III – The Ebon Kteis | out January 2015 | www.anathemapublishing.com/

 

Christmas Rose

14 Nov

“Then he who is about to dig out the plant turns to the East and prays that it may be accounted lawful for him to do this and that the gods may grant him permission.” – Pliny the Elder

Folklore: East is where the sun rises and considered to be the place in heaven where the good spirits dwell. According to Christian tradition the dead are buried facing East, which is the direction from which Jesus is believed to arrive on the day of the resurrection in order to take them with him into the kingdom of heaven. But already before the Christian custom pagans would bury their dead so they would face the rising sun.

“One part hellebore with as much artemisia placed beneath a diamond gives animosity and audacity, guards the members [of the wearer] and makes victorious over what you wish.” – Hermes Trismegistus, 15 Fixed Stars 15 Herbs 15 Stones and 15 Figures

According to Hermes Trismegistus black hellebore is attributed to the fixed star Algol, together with the diamond. Agrippa connects the plant further to Mars and places it also under the rule of Saturn:

“Hellebore is dedicated to Mars and the Head of Algol.” – Agrippa

In ritual, hellebore may be burnt for consecrating Saturnian talismans and conjuring spirits of Mars. Christwurzel is also a key herb in Faustian rites of exorcism and coercion, along with garlic and sulfur:

“Carry with you Aaronis and also Hellebore, so that he [the demon] cannot delve into you or possess you.” – Dr. Faust, Magia Naturalis et Innaturalis

The name Christmas Rose comes from its auspicious time of flower or from the Christian legend that it sprouted from a young girl’s tears fallen on the snow, when she was sad that she had no present for the Christ child in Bethlehem. Another legend tells of the goddess Freya, who rescued an abandoned child during a deadly cold winter night by transforming it into a hellebore flower. Hellebore is also a symbol of innocence. It was considered holy and believed to ward off evil spirits, help heal the black death and safe pigs from swine flu if a helleborus flower was placed on the animal’s ears.

The name hellebore is composed of the Greek word ellein = to injure and bora = food, whilst the Latin adjective niger = black, may refer to the color of the plant’s root, which is almost black when dried. The German name Nieswurz refers to its use in sneezing powders. In medieval medicine it was a cure against demonic possession. The plant has a long tradition in healing madness and epilepsy (also called the ‘divine disease’ if a person was possessed by a demon): Ovid writes in his Metamorphoses of the three daughters of king of Argos, who had been driven mad by Dionysos and were screaming and running naked all across town, being cured by the healer Melampus of Pylos with a drink of hellebore solved in milk. Hence the herb was also known by the name Melampodium. Alexander the Great on the other hand is said to have died of an overdose of medication containing hellebore. During the Siege of Kirrha 585 BC, the Greek were said to have poisoned the city’s water supply with hellebore and waited until the enemy was too weak to be able to defend it any longer due to the diarrhea caused by the plant’s poison.

Pliny the Elder mentions the existence of an opposite to the Black Hellebore (Helleborus niger), with the ‘White Hellebore’ or ‘False Helleborin’ (the plant referred to is probably Veratrum album).

All Hallows 2014

7 Nov

All Hallows is amongst others a time to remember your Dead and be receptive for the messages they communicate from the other side. I have previously blogged about the season and thinning of the veil that usually separates the worlds of the living and the dead. This post is about the actual period known as Allhallowtide, or more famously Halloween, which is celebrated on October 31, and the following nights of All Saints and All Souls, which are commemorated successively on November 1 and 2. These celebrations have a Christian background, though Halloween is often also viewed to have originated from Pagan harvest festivities, particularly the Gaelic Samhain. All have in common an occupation with death and the souls of the dead. Hence skulls and ghoulish appearances are a prominent theme during Halloween. Halloween could be translated as the ‘eve of the hallowed ones’ – the holy or good dead, spirits and saints of Christian faith. However, these long nights are also seen as a time of mischief and in pagan tradition they mark the beginning of the Wild Hunt, a fearsome and dangerous time associated with fateful events.

During these nights it is common to light candles and serve offerings for the dead. These customs find a climax in the Mexican celebrations of the Dia de los muertos, Day of the Dead, when the cemeteries turn into oceans of light, offerings of sugar skulls and pan de muerto, bread of the dead, are placed on graves and home altars, people dress up as skeletons and identify consciously with their dead and the skeletal saints Santa Muerte and la Calavera Catrina. (These customs may be rooted in but are actually far removed from Aztec times, when gruesome deities such as Mictlantecuhtli and Mictecacihuatl were feared and appeased with bloody sacrifices). Today’s day of the dead customs are mostly influenced by Catholicism and similar practices exist in other parts of Latin America and catholic parts of Europe.

I have been impressed and moved by the intensity and beauty of these celebrations since the first time I learned about them, and feel an urge to create a similar atmosphere in my place of living. Actually we too have a time for commemorating the dead, which is Totensonntag, the last Sunday before Advent. This is when we visit the graves of our dead relatives, grandparents and great-grand parents. But in my practice I also relate to the Dead that I once shared a part of my life with and the so-called Mighty Dead, which are much older spirits that act as spiritual guides and idols. For me these three nights of Allhallowtide are a time to relate to and honor these Dead and to do so I adopted some of the practices from the Mexican festival, some of which have been taught to me by friends and so another aspect of following these customs is carrying on a tradition.

Below you can see the offerings placed outside on my window bench. They consist of grave candles (which are weatherproof and indispensable during the stormy autumn nights), normal candles (which may or may not burn, depending on the weather), bread of the dead shaped into preferred forms and sweetened with honey, pomegranate (a reference to underworld deities such as Hecate and Persephone), orange or other type of fruits, e.g. figs, Vervain strewing herb and a glass filled with fresh water. Later I also added a pumpkin-lantern, into which I carved a Teufelskunst devil, to strengthen the flame that keeps me and my artistic work alive:

These offerings are left for as long as the candles keep burning (e.g. 72 hours) and then brought to a graveyard or a remote place in the forest, ideally where they won’t be removed by third parties, just so the souls can ‘feed’ on them undisturbed. And again in this case these offerings are not related to ones normal dead relatives and hence are not placed on those graves, but rather a neutral yet powerful spot is chosen, such as a crossroad, in front of a large tree or cross. Additional candles are lit, incense burnt and through silent or spoken prayers the tie between oneself and the spirits is renewed and strengthened.

Now I hope this post is helpful to my readers and especially those, to whom this festival (and my obsession with it) occurs as strange. Respect the work and you may prosper from it as well.

Update: I am adding some useful links on the topic below. The list shall grow as I find time and inspiration to add more…

Plant Sigil Card Set, Autumn Equinox Edition

26 Sep

Finally done! Here are the latest sets of cards with my plant-inspired sigils. Wrapped in autumn-colored peacock marble paper, fitting for the autumnal equinox.

As you know I am dedicating sigils to each herb I work with and keep posting these sigils here and elsewhere. In March this year I made a first print set of these abstract sigilic emanations, which I brought with me for the London Magical Arte event. The cards were passed around, single motifs were discussed and became the basis for inspired conversation. At the time I had only printed the cards but not yet made a nice packaging for them. Later I made a slipcase with paper bought from my local bookbinder. Thus far two smaller editions have been done for the Spring Equinox and Summer Solstice, now followed by a 3rd for the Autumn Equinox, the content being:

  • 45 cards with plant sigils printed black on heavy paper vergé
  • 4 colored cards with my ‘soul-paintings’
  • numbered edition specific title card
  • list with names of corresponding herbs
  • introduction to the cards

All cards are hand-numbered on the back. With the help of a list you find the name of the corresponding herb for each card. There is no prescribed method of laying the cards. Possible ways of interpreting and laying them are outlined in the introduction that comes with each set.

Price: 31 Euro for one set + shipping

Offcial sale date was September 22 and thus far 9 boxes have already been paid and 3 more are reserved. I hope to be doing larger editions in the future with the help of the funds gathered through the sale of these first editions. If you wish to have one please message me at info@teufelskunst.com

MAGICAL ART/E – Circular Tower of an Event, London 2014

28 Mar
Esoteric art exhibition and talk event, St. Augustine's, London Hackney, 21st - 23rd of March 2014

This was an unusual art exhibition as well as an unusual occult gathering. This event was different in a number of ways. It was also a personal challenge.

If you would have asked me two weeks earlier about going to London and exhibiting my art there, I would have declared you insane. But it happened. All my concerns, about lacking the funds, health, whatever, and other obstacles magically vanished, just one week before eventually embarking on my journey to London. It would be the first time in seven years.

It felt like a tip on my shoulder, followed by a physical and mental boost. The next few days I was like a maniac, preparing prints, packing art, clothes etc. Everything had to fit into a board case. The woman at the print shop became my best friend. I booked the flights last minute and eventually, after days and nights of no-sleep and few hours of rest, I found myself on the bus to Berlin airport, feeling lucid yet focused, constantly going up and down mental check lists.

“A tower of an event…”

The tower usually evokes a dark and fearsome image. However, my journey went smoothly. When I say smoothly, I mean everything worked out perfectly. I was on time, did not forget a thing, did not loose anything, flights, buses, trains – whatever was needed to get to the place did not let me down. If I was lost for the way, people helped me find it. I was met with so much friendliness that I eventually started wondering whether any of this was real.

“A circular gathering…”

It is the day of the vernal equinox. When I arrive at Andrea Kundry’s place, the other guests are already involved in animated conversation. I know noone and expect to be plutoed as the ‘German girl’. Instead I am welcomed warmly and find myself instantly involved in creatively engaged talk. It is  Charlotte Rodgers who takes the initiative; Glen Tomney and Roberto Migliussi join and a couple of minutes later we are talking art and meanings. It will continue throughout the event.

We have no time to loose and soon head straight to the location: St. Augustine’s tower appears as a solitary monument in the middle of London Hackney, medieval and out of place looking, reminding indeed of the tower tarot card. At the entrance, which is locked, we meet a little woman named Paula, who is dressed in hippie apparel. By little, I mean that she is maybe less than 5 feet tall. She has come here for the equinox and to light a candle in front of the tower, which she explains, is situated on the same ley-line as Stonehenge. She also tells us the tower was the oldest church tower of entire Britain and twelve monks had committed mutual suicide in this building. Her words sound like the perfect initiation into the event.

Unlocking the gate, we promise Paula to leave her candle burn, even though I wonder how any candle would remain lit under these conditions. This equinox comes rather as a late come-back of winter than a warm spring beginning.

Then we entered…

The tower’s inside is flooded with day light, shining through tall Gothic windows, illuminating layers of dust collected on cobwebs and the various artworks positioned on tables and hung on wire threads. In one corner, covering a wooden balustrade, hangs resplendent the large image of a black devil dancing on skulls and sticking out its tongue. It is painted by Dolorosa de la Cruz.

Passing art by Andrea Kundry and intricate sculptures by Charlotte Rodgers, we proceed up a narrow stairway and enter a small room that houses the tower’s clockwork. A reproduction of Amodali Zain’s iconic work is arranged alongside miniature paintings by Jezebel Halewood-Leagas, to be joined by various drawings and a goblin-themed assembly by Glen Tomney. In the same room I am later also setting up my long exposure nature photographs.

Crossing a small wooden bridge, we enter a second room with animal sculptures by Charlotte Rodgers. The iridescent black feathers of a winged corvid creature refract the daylight into its single parts. The bird resides over the talks, meditations and musical evenings taking place here.

We climb up to the last floor, the tower’s attic. In a dark corner presents itself an enormous vulvic shrine dedicated to Pomba-Gira. It consists of multiple ceramic and paper pieces, all created and set up by Angela Edwards. Two visitors are leaning thoughtfully over the installation. Later there will be Christian visitors inspecting the tower and wondering about the unusual happening and they will be shocked and confused by Angela’s work. But even esoteric folks visiting the tower for the exhibition will react ambiguous and unable relating to the presentation. It is the first time for me getting to know Angela and her work, and I too have to sort my feelings in regards to its provocative and violent yet strangely beautiful and enigmatic forms. I shall learn later, how much substance there is to it. Angela provides the viewer with candles and incense for paying respect to the spirits. So I light some, the rest remains an inner dialogue. Later I will spend more time chatting with Angela and without knowing or deciding on it, we are to stay in touch for years to come.

The inside of the tower is cold, electricity is not working properly and there are few facilities for hanging up our work, as it is forbidden to hit nails into the walls of the historical building. But somehow we manage by improvising: arranging our works in window frames, underneath timber beams, at the edge of protruding wall stones and on the wooden doors encasing the clockwork. At night we light candles to illuminate our artworks. The natural light and warmth of the candles creates a special and beautiful atmosphere inside this unique location. After three days at the tower none of the pieces would feel quite the same. Amidst cobwebs and dust centuries old they become charged with the special vibes of the place.

The following day we are greeted with storm and hail whilst the sun keeps on shining, creating a twilight mood, which again reminds me of the imagery on the tarot tower card…

Below is the view from the tower’s entrance towards the churchyard with its old gravestones. Rooted directly in front of the tower is a beautiful majestic tree, looking all the more dramatic against the scenery in the sky formed by dark clouds, sunshine and hail. Beneath, see also a sandstone relief mounted at the left side of the tower’s entrance, showing three skulls with triple crossed bones, hourglass and dragon wings – a memento mori, representing mortality, evanescence and resurrection.

Saturday is full-packed with talks, meditations and musical performances. On top of a busy schedule, Andrea, the organizer herself continues feeling (and looking) ill, despite hoping for recovery until the very last minute. As she can not attend her own talk, she asks me to jump in. Suddenly I find myself in the unexpected situation of having to talk in front of a foreign audience, in a foreign language, who are expecting in depth info and insights about the very location of this event, St. Augustine’s. Instead I fill the spot with talk about memes, the symbolism of plants and drawing, handing around my sigil cards for inspired conversation. Somehow we manage and my Sigilla Magica gain the attention of the audience.

Saturday evening ends with a jam session by Roberto Migliussi (vocals), Chris Chibnall (theremin), Gavin Semple (guitar), Mark O Pilkington, Glen Tomney and Freya Black (magic flute). The tower provides amazing acoustics and so we sit there, chatting and listening to the wondrous vibrations.

On the last day it is time to pack and leave. We say goodbye, exchange contacts and return to our homes. Some people I meet throughout the event, are probably of high relevance within the London/UK esoteric scene. But my mind is already overwhelmed with new impressions and my journey is not over yet, as I am invited to check out two esoteric book stores. I need to catch my flight though and so there is only time left for one. We check out Watkins Books, recommended by Roberto Migliussi. I am impressed by the beauty of the place as well as the sheer amount of esoteric books on the shelves. I don’t think something similar exists in Germany. Roberto also purchases the very first of my sigil card sets and simultaneously entrusts me with the task of coming up with a better packaging for them.

Back in Dresden, I set to work.

MAGICAL ART/E circular tower event, London

20 Mar

I will be attending and participating in the London MAGICAL ART/E, a circular tower of an event this weekend. The happening takes place at St. Augustine’s tower, Hackney, London, providing a unique location for performances and exhibitions. Coming with me are 20 photo prints from the Listen to the Silence series as well as prints of my drawings and abstract sigil art. Below is a photo of the tower.

Symbol

9 Jan

sun-seal

This symbol is used on my sun incense blends and is also pyrographed on a walnut wooden pendant (the walnut being a sun tree). The symbol is an altered version of the planetary symbol for the sun (a closed circle with a dot in the center). By breaking the closed circle and turning it into a coil, it emphasizes an active and dynamic principle as opposed to a passive state or ‘perfection’. The shape is inspired by solar flares. The coil can also standard for the inner flame. It also resembles the number 6 (kabbalistic number of the sun). If turned upside down it becomes a crowned number nine. Seen anti-clockwise, it stands for involution/ revolution/ return to a primal state – or the centering and focusing of the mind in meditation. Seen clock-wise, it would stand for evolution/ development/ progressing to a higher state – or the expression of one’s inner thoughts and impulses.

Our sun is going through an interesting period, which affects the entire planetary system.