Program Notes
Guest speaker: Alex Grey
Alex &Allyson Grey (photo by Bill Radacinski)
This is a talk Alex Grey gave at the 2002 Mind States conference in Jamaica. In it, he describes his journey as an artist as he takes us on a tour of some of his work. Pictures of the art Alex describes in this talk may be found on his personal Web site www.alexgrey.com.
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Transcript
00:00:00 ►
3D Transforming Musical Linguistic Objects
00:00:10 ►
Help Me I’m Lorenzo and I’m your host here in the Psychedelic Salon. Well, today’s presentation is one I think you’re going to enjoy.
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It’s a talk that Alex Gray gave in Jamaica at the MindStates Conference in 2002.
00:00:35 ►
And in this presentation, Alex describes his progression from a young artist in search of a vision
00:00:41 ►
to the man we know and love today and whose work just blows everybody away who sees it.
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The talk Alex gives here was actually accompanied by a lot of visual images.
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Unfortunately, I don’t have copies of them to put on our own website to go along with this talk.
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But the good news is that you can see, I think,
00:01:06 ►
every one of the images he talks about on Alex’s own website, which is alexgray.com,
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A-L-E-X-G-R-E-Y.com.
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And while you’re at it, you also ought to check out his wife Allison’s website where she has also a lot of very interesting art.
00:01:26 ►
And that’s A-L-L-Y-S-O-N-G-R-E-Y.com.
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Maybe someday we’ll be able to do a video podcast
00:01:34 ►
and add some of these images into the more mobile world.
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But if you have a chance at all to sit at the computer while you listen to Alex’s talk,
00:01:45 ►
go out to his website and follow through with looking at the images.
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Now, there’s a few places that I had to cut out descriptions
00:01:54 ►
that made really little sense to the painting he was referring to
00:02:01 ►
without actually having it before you,
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and I just cut those out because
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I think most of the talk will even stand on its own without seeing the images.
00:02:09 ►
There weren’t too many of those things I had to cut out.
00:02:12 ►
By the way, if you were actually at this presentation in Jamaica, you’ll realize that I also deleted
00:02:20 ►
a good bit of the discussions that took place about the flaky slide projector that they had there. It just wasn’t
00:02:27 ►
working right. I thought about leaving some of the funnier comments in
00:02:31 ►
like one where I heard John Hanna say,
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Now we’re totally screwed!
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But John and his troops came through and they did get the slide projectors going again.
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But my better judgment actually prevailed about putting some of that stuff in.
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Actually, it was about five minutes of screwing with the projector, and it’s quite funny.
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I guess at least if you’re in a Jamaica state of mind, it’s quite funny.
00:03:00 ►
But without any further ado, let me just get out of the way here and let you hear Alex Gray talk about his vision and his life as an artist.
00:03:14 ►
I’m just going to launch into this.
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And this slide show is going to talk about sort of the full span of my work from like the earliest stuff, some of the earliest stuff here.
00:03:33 ►
This was like five years old, you know.
00:03:35 ►
I’m sorry, you know.
00:03:41 ►
My mom, I went home one time, you know, Thanksgiving or something. She pulls out a box and says, listen, here’s like a lot of your old stuff, you know, Thanksgiving or something, she pulls out a box and says, listen, here’s
00:03:45 ►
like a lot of your old stuff, you know, and I found some amazing treasures in that box.
00:03:51 ►
And among them was this, I think she said I was around five years old when I did this
00:03:57 ►
little watercolor of a skeleton, you know, and I’m still painting skeletons, which is the really weird thing.
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Anyway, and this is, you know, like five years later, I was ten years old and sort of still dealing with the same subject, mortality, the Grim Reaper, things like that.
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And then five years further, this was a self-portrait.
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I still remember doing this, and it was kind of like my commitment to being an artist.
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And I did it in one evening, and I felt, you can tell, you know, there’s this kind of arrogance, you know, it’s like,
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you know, cocky, like, hey, I’m pretty good, you know, that look in the mirror, you know,
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that every artist kind of needs, you know, just to get them going. But then by the next year it had all kind of deflated.
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It’s like the weight of the existential anxiety of the world sort of was bearing down,
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and things were getting more confusing.
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Next year, I think I was 17 and did this self-portrait,
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and this was interesting.
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I just look back at it and I say,
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okay, so here I’m kind of looking down
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at my body’s slimy state,
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you know, kind of dead guy.
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And then here’s a fetus
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that’s connected with the hands that are there, and this hand
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is touching that point of connection between sort of birth and death. And this arm, I had
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not sort of discovered God yet, and so this was kind of arm wrestling with praying hands.
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So anyway, it was kind of predictive of whatever it was I was becoming.
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And then this piece, this is a self-portrait from the next year.
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The work was starting to, this was, I guess, one of my first visions.
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And it was, of course, kind of a morbid vision.
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And I had just broken up with my girlfriend and I couldn’t get any sleep.
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And I had this vision of, like girlfriend and I couldn’t get any sleep and I
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had this vision of myself tearing myself in half and one half was kind of looking over toward the
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light you know and thinking if I could just get rid of this asshole you know then it’d be okay, you know, the shadow, you know, that we’ve been
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learning about we have to integrate. So this person hadn’t learned that yet. And I was
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starting to see these themes come through my work, this kind of sense of polarities.
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this piece was called Secret Dog and it was about an unfortunate situation
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where I accidentally hit a dog on the freeway
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and then I pulled over and put it in the trunk
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I called the owner and they did not want it
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and so I put it in a bag down by a river and I went
00:07:30 ►
back every day and took photographs of it. And don’t ask me why, but that’s what I did.
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And in the end I called the piece Secret Dog. And anyway, what I found out was that a sanitation crew goes around and picks up these animals that are around on the highway.
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I was curious about what happens to them.
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And so I found out that they get taken to this rendering plant and ground up into these things,
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you know, kind of a defatted meat and bone meal, which goes into some dog foods, oddly enough.
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And then the fat, you know, which can go into hand soaps and paint, cosmetics, all kinds of things.
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and paint, cosmetics, all kinds of things.
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I guess I was furthering these kind of themes of polarities.
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And I had this dream where half of my hair was shaved.
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This is back in 74.
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And so it kept haunting me whenever I’d look in the mirror.
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And so I decided to do it one day. And so I cut my hair half-shave for half a year. And I didn’t know why. But then I came across Ornstein’s
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research on the brain and about the hemispheres that are sort of somewhat logical and intuitive,
00:09:03 ►
the different hemispheres. And so I thought, well, it has to be about that.
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Maybe it’s about that.
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So exploring these polarities, of course.
00:09:11 ►
So, John, maybe you can do that.
00:09:14 ►
All right.
00:09:15 ►
So I did different odd things, like this was a private billboard.
00:09:20 ►
You know, I would try to create these polarities.
00:09:22 ►
You know, private billboard.
00:09:24 ►
Yeah.
00:09:25 ►
So next, next. You know, private billboard. Yeah. So, next.
00:09:26 ►
Next.
00:09:27 ►
Private subway.
00:09:29 ►
You know?
00:09:31 ►
Okay.
00:09:32 ►
Anyway.
00:09:33 ►
So, I went, I kept going with this whole thing, the polarity thing.
00:09:38 ►
So, and this half head, I went out and I handed out leaflets with my face on them
00:09:46 ►
that invited people to be my friend, call me up sometime, we could have dinner together,
00:09:56 ►
or throw this down and step on my face.
00:10:01 ►
So it was creating some kind of polarity situation. Anyway, a few people called,
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and once they learned that I was a poor artist
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and wasn’t going to be taking them out to dinner,
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but we’d be sharing the bill,
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just declined.
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And a few people did step on the face.
00:10:22 ►
But let’s see if we’re going to continue the curse of the carousel.
00:10:28 ►
Well, okay.
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Everyone is a real gift.
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I feel the intense appreciation for every moment.
00:10:42 ►
So somehow I had to get out of this half-head thing.
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And I had this really disturbing vision of how it would end.
00:10:58 ►
And so basically that’s what I did.
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I ate a plate of spaghetti, not pictured here,
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then shaved the hair onto the plate,
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then took the universal antidote, the syrup of Ipecac over there,
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placed the brain onto the hair and, you know, vomited the contents of the
00:11:28 ►
spaghetti onto the brain and then put it all in this sack and that was brain sack.
00:11:41 ►
And so next.
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and so next I was still into this polarity thing
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and so I thought
00:11:51 ►
well I should go to the North Magnetic Pole
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that’s where all the compass needles point to
00:11:56 ►
and so I saved my money from cutting mats
00:12:01 ►
and working at the library
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and things like that
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and I spent it all going up to the North Magnetic Pole,
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which is really about as far north in Canada as you can get.
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It’s at Resolute Bay.
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You have to be very resolute to get there.
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And so once you’re inside of the magnetic pole, your compass just kind of goes around in a circle
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because there’s no, it can’t point to anywhere.
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It just kind of flips around.
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And the sun was going around.
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I was there in early May, and the sun kind of circled the sky in 24 hours,
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and it went down for kind of a sunset sunrise,
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and would just keep going around.
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So I thought, wow, everything’s going around in a circle.
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I’ll go around in a circle too.
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And so even though it was 30 below,
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I decided that that was the performance that I had to do.
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And it was one of the early kind of catalysts for, I don’t know whether it was really out of the body,
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but I had some kind of sense of connection.
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of connection, and whether it was fantasy or not, it felt very strong,
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that I felt connected to the sort of geomagnetic, kind of dissolved into this field momentarily, you know, and then realized I couldn’t feel my feet anymore, and so had to get on the boots
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and try to run back to camp because the snowmobile wasn’t working.
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Anyway, not unlike our carousel protection.
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So, yeah, I came back from that experience somewhat elated, but also really like wondering,
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like, what am I doing? I’d done this series of very odd things. And I, and I thought, well, I must be
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searching for something. And I was a pretty existentialist, agnostic kind of almost atheistic type artist character.
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And I said, well, okay, maybe I’m searching for God, you know.
00:14:36 ►
And so I went to, I was going to art school, the museum school in Boston,
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and I was talking with the professor.
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It was this last day, and this girl goes by in her car and says,
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Hey, I’m having a party tonight. Why don’t you come?
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And so we agreed, and this professor picked me up later that night,
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and he had a bottle, and he said,
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This is Kahlua and LSD.
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And I had never taken acid before, and he said, this is Kahlua and LSD.
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And I had never taken acid before,
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but I had just come back from the North Magnetic Pole.
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My God, I can do anything. So I did drink thereof.
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And I got to the door of the girl’s house and she said, what’s in the bottle?
00:15:27 ►
And I told her and so she drank the rest of it. Anyway, I went and sat on a couch because
00:15:33 ►
things were getting a little weird. And so when I would close my eyes, I was like going
00:15:40 ►
through this incredible spiral, this spiraling kind of tunnel inside of my head. And I was
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like in the dark, but moving toward the light. And it was like, it was kind of like the resolution
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of all these polarities that I’d been playing out through the artwork, that somehow I was just like a spiritual rebirth canal or something.
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It was kind of a living mother of pearl sort of surface to the tunnel.
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And I saw that somehow all polarities were connected and that gray was this sort of magic thing
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that brought together the opposites.
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And so that was when I decided to change my name to gray.
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And I later painted this sort of attempt
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And I later painted this sort of attempt to point to this spiraling sort of polar unity experience.
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And so this was part of the miracle of that LSD experience.
00:17:07 ►
But the other part was I called up this girl the next day and I said, you know, my God, this was an amazing experience for me.
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How was it for you? And she said, well, you know, trip many times. I had to sort of take care of everybody. But I said, do you mind if we get together and talk about it and stuff?
00:17:19 ►
And so that was the excuse that I used 27 years ago to get together with my wife.
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And we’re still, she says hi, and I just talked to her before coming over here to talk to you all tonight.
00:17:33 ►
So she sends her love from Brooklyn and my daughter as well to you all. And so she is like my flesh and blood relationship with God in the daily life, you know,
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because of that kind of divine love that is possible to share with another human being.
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It’s so weird.
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Amazing.
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Anyway, so my prayer or challenge to God was answered.
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Anyway, so my prayer or challenge to God was answered.
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But there were some things I hadn’t really completed of the ultimate polarity and fear that I had,
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and also to start to examine the anatomy.
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Because I wanted to make art about consciousness,
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and I thought, like, how am I going to make art about consciousness. And I thought, like, how am I going to make art about consciousness
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unless I really understand a little bit about the body and the box that it comes in?
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So then I worked at this medical school for several years
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and prepared bodies for medical students and things.
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But I got the idea, this is basically what I did.
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Day in, day out, I would prepare bodies by filling them with phenol,
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formalin, formaldehyde and stuff in the femoral artery there and necks.
00:19:20 ►
So then occasionally I would just do drawings from the cadavers and things.
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And so I got the not very smart idea about that I should do performances maybe in the morgue too.
00:19:36 ►
So this was a piece called Deep Freeze.
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And I was in there maybe five, seven minutes or something like that.
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But there were about 20 to 30 bodies in one of these freezers.
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And my idea was that I’d go in and I would somehow make contact with some spirit,
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which I was, you know, I was what, 21 years old.
00:20:01 ►
I didn’t really know what I was doing, but I was trying the sensory isolation
00:20:05 ►
and then trying to get in touch with these spirits. So I didn’t really feel that connected,
00:20:14 ►
but it was kind of cold. And then I did this piece, it’s called Life, Death, and God, where one of my ankles was tied to the ankle of a cadaver
00:20:27 ►
and hung up there for a very short time.
00:20:32 ►
And then there were these babies in bottles, basically,
00:20:39 ►
that were part of the collection that were somewhat disturbing.
00:20:43 ►
They were, this is some anencephalic.
00:20:48 ►
And I took photographs of about 30 of them.
00:20:51 ►
And during about two weeks after taking these photographs, I was awakened in the middle
00:20:59 ►
of the night, covered with sweat, trembling with fear.
00:21:07 ►
night covered with sweat, trembling with fear. And this thing was like hovering in front of me, like a 3D holographic hallucination. And I wasn’t on any drugs other than the natural
00:21:16 ►
ones, I guess. And it was very frightening to see this thing. And it started speaking in like lots, many voices saying the same thing,
00:21:28 ►
which is basically, it’s time for you to come with us.
00:21:31 ►
And I don’t ascribe any badness to this poor, unfortunate being,
00:21:40 ►
but somehow it had assumed this demonic presence and projected from my shadow, I guess.
00:21:50 ►
And so anyway, I was very frightened of it.
00:21:55 ►
And I started saying the only thing that I knew what to say was like divine love is the
00:22:02 ►
strongest power.
00:22:04 ►
And so there was kind of a confrontation.
00:22:07 ►
And eventually, because I felt I was on the precipice of some psychotic break,
00:22:17 ►
it dissolved and it was replaced by a kind of blue light.
00:22:22 ►
and it was replaced by a kind of blue light.
00:22:25 ►
And this voice said, I’m Mr. Lewis, interplanetary angel, basically,
00:22:32 ►
and I’ll keep a watch on you for a little while
00:22:37 ►
till you’re a little more stabilized.
00:22:39 ►
And so that was a very benevolent visitation.
00:22:44 ►
So that was a very benevolent visitation.
00:22:50 ►
And these are just a few of the teratological specimens, the thoracophagous twins and the disophallic dried preparation.
00:22:59 ►
And a sirene, which is basically the fused lower limbs with a little kind of flipper on the end.
00:23:04 ►
which is basically the fused lower limbs with a little kind of flipper on the end,
00:23:09 ►
and a cyclops.
00:23:18 ►
Amazing that mythology is finding sources from our biology.
00:23:21 ►
So don’t worry about this one.
00:23:26 ►
Basically, this was a piece I did shortly after that thing where I said I was going to leave my body and touch people
00:23:31 ►
that came up to this rooftop.
00:23:34 ►
And this is more of the sensory isolation stuff.
00:23:38 ►
I was developing some kind of device.
00:23:41 ►
This piece was called the Mind Bag,
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and it had earplugs and this gasket around the eyes,
00:23:48 ►
and then this bag. And I was going to try to market this, but my wife said she didn’t think
00:23:54 ►
it would go over very well. So this is, Allison was taking a lot of these photographs, not of the babies, but of many of the other performances.
00:24:07 ►
So this was her first appearance in one of the performances in a piece called God’s Art.
00:24:14 ►
And I was working in this kind of museum of anatomy,
00:24:19 ►
and I felt like this was the one act that brought all these bones to where they were.
00:24:24 ►
So I thought it should be honored in a case there.
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This was a very small audience for this performance.
00:24:34 ►
So this was the more refined model, this thing called the mind fold.
00:24:42 ►
And it was still with this kind of gasket to keep the blindfold off of your eyes
00:24:48 ►
so you could open your eyes
00:24:49 ►
and stare into total darkness
00:24:50 ►
and then have these earplugs.
00:24:52 ►
So it was a poor man’s isolation tank
00:24:55 ►
kind of thing.
00:24:56 ►
But it was really a mask for tripping in.
00:25:00 ►
It was a blank screen
00:25:01 ►
to project your imagination onto.
00:25:04 ►
And so we used it, my wife and I used it to continue our entheogenic voyages.
00:25:11 ►
And we sold a bunch of them, actually.
00:25:14 ►
We went around to trade shows.
00:25:16 ►
I thought it was kind of like the ultimate in minimalism, you know, which was a phase of art.
00:25:21 ►
You know, it’s like you’re basically selling people nothing.
00:25:31 ►
Yeah. of art. You know, it’s like you’re basically selling people nothing. And so we would, you know, they would go and test it, you know, see nothing, hear nothing. And there’s little
00:25:38 ►
things that unfold the universe within was the thing. I use this poor Unity. There’s Allison again.
00:25:45 ►
This was one of those New Earth expos in the 80s or something, 70s maybe.
00:25:51 ►
Next slide.
00:25:54 ►
And one performance, there was about 60 people that gathered at this theater
00:25:59 ►
and we handed out 60 blindfolds and we all just sat there.
00:26:02 ►
handed out 60 blindfolds and we all just sat there.
00:26:11 ►
This piece was called Meditations on Mortality.
00:26:12 ►
Allison was in white grease paint.
00:26:14 ►
I was in black grease paint.
00:26:18 ►
She came in and lit these candles around this big yin-yang symbol.
00:26:23 ►
And at a certain point, the music became very cacophonous. There’s kind of a Tibetan chants in the background.
00:26:26 ►
So next, we got up and stepped outside of the circle of duality and sensuously merged our
00:26:34 ►
pigments and became gray. Yeah. Well, this piece was called The Beast. And I think that the
00:26:41 ►
meditations on mortality piece kind of completed one round of my personal relationship with death.
00:26:48 ►
But then I started looking at it from a more world-centric kind of identity
00:26:56 ►
and the potential for calamity and catastrophe and nuclear annihilation and everything.
00:27:02 ►
and nuclear annihilation and everything.
00:27:10 ►
So there was a film loop of a nuclear bomb blast that was being projected on one wall,
00:27:12 ►
and people would come in and they were invited,
00:27:16 ►
if they wanted, to get their hands stamped,
00:27:20 ►
and some people asked to get their forehead stamped
00:27:22 ►
with the number of the beast, 666.
00:27:26 ►
I was sitting in a pool of black liquid.
00:27:29 ►
And anyway, there was this kind of sculpture that’s on a barbed wire or something.
00:27:35 ►
And across from me, well, it was some amazing painting.
00:27:39 ►
Oh, okay.
00:27:41 ►
This was also an acid vision that I had that was very disturbing.
00:27:48 ►
Looking at the city from a hilltop and then seeing the nuclear bomb blast go over it.
00:27:56 ►
And then as it rose up, this vision of Christ appeared on the cloud.
00:28:02 ►
So this is about a ten and a half by nine and a half foot painting.
00:28:07 ►
And nuclear crucifixion.
00:28:11 ►
Next.
00:28:13 ►
This piece was called Wasteland.
00:28:16 ►
And as audience members
00:28:20 ►
came into the performance,
00:28:22 ►
there was just this table and there was a little pamphlet
00:28:28 ►
that said Mr. and Mrs. X were on their way to dinner when they were surprised by a nuclear
00:28:33 ►
blast. They arrived at a dinner table in hell to feast on money. Then we kind of shuffled in, and there was alarm bells going off,
00:28:46 ►
and it was very noisy, the bomb blasts and the air raid sirens and everything.
00:28:52 ►
We just kind of shuffled in and started eating money and drinking blood.
00:28:56 ►
And then when it became about nuclear midnight, Mrs. X got up,
00:29:02 ►
and due to Allison’s bulimia, she was very adept at puking.
00:29:08 ►
So she spewed the money and blood onto the table and then sort of stuck her fingers down my throat,
00:29:17 ►
and I also barfed up the money, and then we kind of shuffled out.
00:29:21 ►
And that was wasteland.
00:29:24 ►
So next bit.
00:29:26 ►
Oh, darn.
00:29:29 ►
The nuclear family.
00:29:34 ►
This piece was called Human Race.
00:29:36 ►
And I designed this thing.
00:29:41 ►
We had steel rods holding it into the concrete there.
00:29:47 ►
But this was its test drive.
00:29:50 ►
It took all the time to build the thing, you know, and we never got to test it.
00:29:55 ►
And so I would start the engine, but the engine wasn’t going so well.
00:30:01 ►
It would poop out, you know, and then I finally adjusted the engine
00:30:04 ►
and was able to lay down on the thing. going so well, it would poop out, you know, and then I finally adjusted the engine and
00:30:05 ►
was able to lay down on the thing. And I had a handheld throttle that would engage the
00:30:12 ►
clutch of the thing and then start the thing going. And so it started going and people
00:30:17 ►
were, they were sitting within like a foot and a half of the thing. And he started going around.
00:30:26 ►
I didn’t know how the piece would end.
00:30:27 ►
You know, it was basically,
00:30:28 ►
I thought this is going to be a very boring piece.
00:30:31 ►
It’ll just go around and around and around.
00:30:33 ►
Eventually it might get a little noxious,
00:30:35 ►
the fumes, you know,
00:30:36 ►
from the gasoline engine in an enclosed space.
00:30:40 ►
People would leave, get bored.
00:30:44 ►
You know, I don’t know.
00:30:45 ►
So then it went around, and I hadn’t put any brake on it, you know.
00:30:57 ►
And it just kept going faster and faster.
00:31:02 ►
And I hadn’t studied physics or anything like this. At any rate, it sheared
00:31:11 ►
the steel rods off and the thing came careening toward the audience. And fortunately, I kind
00:31:20 ►
of got off of the machine before it hit anybody and sort of stopped it.
00:31:26 ►
And then everybody jumped up in wild applause.
00:31:29 ►
Oh, that was great.
00:31:31 ►
That was wonderful.
00:31:35 ►
Except for, oh yeah.
00:31:39 ►
This piece was called Fertile Mother,
00:31:41 ►
and it’s just basically I’m covered with what’s like shrimp cocktail or something,
00:31:48 ►
and connected with this kind of Grateful Dead character.
00:31:54 ►
And it was basically a harvest piece.
00:31:56 ►
Anyway.
00:31:58 ►
This was a burnt offering.
00:32:02 ►
There were three fire sculptures, and this was one of them. I would read a passage
00:32:08 ►
about holy fire from a holy book and it was the Bhagavad Gita, the Holy Bible and the
00:32:15 ►
Quran and would read a passage from each of them and then set them on fire and sort of in this totem urn.
00:32:29 ►
And it burned down to a certain extent and then I got the ashes and rubbed them on my body.
00:32:33 ►
And so the next, this was one of the other fire sculptures.
00:32:37 ►
So I would light seven skulls there in front of me
00:32:41 ►
and then ignite the skeleton in back.
00:32:46 ►
This piece was called Living Cross and it was done in Chicago.
00:32:51 ►
All these were done at different kind of performance spaces, kind of some were funkier than others,
00:32:56 ►
but this was a kind of a nice gallery in Chicago.
00:33:00 ►
And there were Gregorian chants that we’d let go on.
00:33:04 ►
The thing was three hours,
00:33:06 ►
and basically Allison and I just lay there breathing.
00:33:10 ►
But it was funny.
00:33:11 ►
Some people came and they stayed for the whole thing.
00:33:14 ►
I don’t know.
00:33:21 ►
This was called Prayer Wheel,
00:33:24 ►
and Allison and I were tethered together,
00:33:27 ►
and also to this skeleton, and she was holding a baby doll,
00:33:32 ►
because we hadn’t had our daughter at that point.
00:33:35 ►
And then it was tethered to the Prayer Wheel, and we said the mantras,
00:33:40 ►
we kind of pulled it around, we went around for maybe 60 rotations.
00:33:44 ►
said the mantras, we kind of pulled it around, we went around for maybe 60 rotations.
00:33:52 ►
And the whole symbol to me is like we’re this very precious thing, that’s why the gold.
00:33:56 ►
We’re like half male, half female.
00:34:01 ►
Our genes and chromosomes are brought together by mom and dad.
00:34:04 ►
And we’re between birth and death. So, and we’re pulling this kind of great engine of spiritual evolution
00:34:09 ►
that’s symbolized by the prayer wheel.
00:34:11 ►
So, anyway, that’s that piece.
00:34:14 ►
So, a little bit of close-up.
00:34:15 ►
Yeah, next slide.
00:34:18 ►
This piece was called Goddess,
00:34:20 ►
and it was done in Lincoln Center, out of doors.
00:34:24 ►
And I did a hundred prostrations at the foot of the goddess there to my goddess, Allison,
00:34:29 ►
and she was nursing our daughter, Zena, in the heart there.
00:34:33 ►
There was 5,500 apples in the shape of this goddess.
00:34:37 ►
So anyway, it was about 55 feet long.
00:34:42 ►
And after it was displayed for only about an hour, we boxed up the apples
00:34:49 ►
and gave them to a shelter for homeless families there in New York, and they appreciated it.
00:34:55 ►
This piece was called Heartnet, and it was one of the more recent pieces that Allison
00:35:02 ►
and I did together, and it was an installation that was at the American Visionary Art Museum.
00:35:08 ►
It was up there for a year.
00:35:10 ►
And we invited people to write prayers for their loved ones or for the planet
00:35:18 ►
and to hang them on the net.
00:35:23 ►
And so it accumulated thousands and thousands of prayers.
00:35:28 ►
There’s basically a world map behind there,
00:35:31 ►
and so some of the prayers were specific to in the languages of those different areas of the world,
00:35:37 ►
and that was kind of interesting.
00:35:38 ►
This was like, we made this big rose-filled heart,
00:35:45 ►
and this was a stained glass eye,
00:35:47 ►
and it was crying these streams of water into a pool down below.
00:35:53 ►
Hard to show.
00:35:55 ►
Anyway, next.
00:35:57 ►
There were lots of prayers.
00:36:00 ►
Next.
00:36:02 ►
And this was part of it.
00:36:04 ►
This was kind of a global child that looked like
00:36:07 ►
it had kind of crawled out of this pool, sort of pointing to a hopeful future for the planet,
00:36:13 ►
perhaps. A rebirth. And then up at the top, there was this kind of Buddha figure. So, yeah, anyway, next. This is kind of funny. This is just a few examples
00:36:31 ►
of how my work has kind of found its way into the psychedelic world. There’s been a number of raves.
00:36:48 ►
I was just talking with somebody
00:36:50 ►
who said that they saw my work
00:36:52 ►
used in some rave flyers like long ago
00:36:54 ►
and whatnot.
00:36:56 ►
If anybody happens to see any,
00:36:58 ►
I know there’s not much that one can do about it,
00:37:01 ►
but I like to collect them.
00:37:03 ►
So if you think of it,
00:37:05 ►
grab an extra one for me
00:37:07 ►
and send it to me
00:37:10 ►
if you ever get a chance to.
00:37:13 ►
Yeah.
00:37:15 ►
This was something I did for High Times.
00:37:18 ►
They invited me to do the poster
00:37:21 ►
for the Cannabis Cup.
00:37:22 ►
That’s something they do every year, you know,
00:37:24 ►
determining the best pot in the world,
00:37:26 ►
which is kind of fun to do maybe once.
00:37:30 ►
And they invited Allison and I
00:37:35 ►
to be celebrity judges there.
00:37:37 ►
And that poster was my sort of conception
00:37:41 ►
of a cannabis goddess, Kanabia.
00:37:43 ►
And here we painted a beautiful dancer named Jodea.
00:37:49 ►
And she presided over the events that year.
00:37:56 ►
Now, I think that this one is kind of an example
00:38:00 ►
of how getting stone sometimes helps one to conceive of things.
00:38:06 ►
But this is my heretical picture of Adam and Eve.
00:38:12 ►
And here we’ve got numerous psychedelic plants down here.
00:38:17 ►
I think I put the boga and stuff there and lots of grass.
00:38:23 ►
They’ve got the psilocybin and also the
00:38:25 ►
fly agaric
00:38:28 ►
mushroom. There’s
00:38:30 ►
a few other plants down on the ground.
00:38:32 ►
Some
00:38:32 ►
mushrooms growing out of churns
00:38:36 ►
and things like that
00:38:37 ►
back in the background.
00:38:39 ►
But then this is
00:38:41 ►
the kind of
00:38:43 ►
sense of the serpent being the kundalini,
00:38:46 ►
kind of seducing this dawn human into this self-awareness,
00:38:53 ►
which kind of felt like a fall because it was falling out of ignorance.
00:38:59 ►
You know, just the kind of being subsumed in nature. Now there was this awareness of this knowledge of good and evil,
00:39:09 ►
life and death, you know, the polarities started to kick in
00:39:12 ►
and the rational mind started to kick in
00:39:15 ►
when this tree of knowledge of good and evil and things.
00:39:19 ►
Anyway, so, but the painting had started out that I was,
00:39:24 ►
that Allison and I were this Adam and Eve-like figure,
00:39:28 ►
and the snakes were in a totally different position.
00:39:32 ►
And I wasn’t liking it for some reason.
00:39:34 ►
It just didn’t seem right.
00:39:36 ►
And so then I got stoned and looked at it again and thought,
00:39:41 ►
Oh my God, yes, of course.
00:39:42 ►
So next thing.
00:39:45 ►
So it had to be this kind of dawn human.
00:39:47 ►
That was what would be right, if you’re talking about the first humans.
00:39:53 ►
So anyway.
00:39:54 ►
And that was also kind of my bow to Terence,
00:40:00 ►
the stoned monkey theory of evolution.
00:40:04 ►
So anyway, next. And this is also dedicated to Terence, the stoned monkey theory of evolution, you know. So anyway, next.
00:40:07 ►
And this is also dedicated to Terence,
00:40:09 ►
because it was like the spokes monkey
00:40:12 ►
that this cornucopia of language is extruding out of this,
00:40:20 ►
where all this sort of hyper-dimensional elf figure
00:40:24 ►
is whispering sweet everythings into his ear.
00:40:27 ►
Good old Dr. Hoffman.
00:40:29 ►
So it was like seeing a Buddha or something to see him.
00:40:34 ►
I don’t know.
00:40:35 ►
It was a very profound moment to spot Dr. Hoffman,
00:40:40 ►
somebody who had made such an impact on your life.
00:40:44 ►
So he was so sweet.
00:40:47 ►
And earlier I made a kind of a funny portrait of him, which has, I always thought of acid
00:40:57 ►
as alchemical angel tears, and then this little demon always wants to pull away at it. So
00:41:04 ►
And then this little demon always wants to pull away at it.
00:41:05 ►
So, next.
00:41:15 ►
And then some friend of mine, unbeknownst to me, used my art for a blotter acid.
00:41:26 ►
And so this is one of evidently a number of blotters that have my artwork on them now.
00:41:30 ►
But I know that the purple Jesus was good.
00:41:38 ►
This is a painting of DMT.
00:41:44 ►
I was doing it for Rick Strassman for the cover of the book,
00:41:46 ►
the DMT, the Spirit Molecule,
00:41:49 ►
but it wasn’t able to finish it on time.
00:41:52 ►
But he liked the other piece probably better for that.
00:41:53 ►
But he owns this now.
00:41:57 ►
So this is the Sacred Mirrors. It was a series of works.
00:42:01 ►
It took me about 10 years to realize.
00:42:04 ►
And there’s 21 sacred mirrors.
00:42:07 ►
They go through kind of body, mind, spirit sections.
00:42:13 ►
They’re about six foot tall figures
00:42:17 ►
and 10 1⁄2 foot high frames by about five feet.
00:42:22 ►
And what’s, next slide.
00:42:27 ►
The frames, they were fairly elaborately sculpted.
00:42:32 ►
My wife and I sculpted them in our basement
00:42:35 ►
and we cast 21 of these frames, massive frames.
00:42:40 ►
And then we had the little stained glass eye of God up there.
00:42:44 ►
And you can see it’s got glass eye of God up there.
00:42:49 ►
And you can see it’s got a kind of a big bang ear,
00:42:52 ►
or this is the beginning, and then it kind of spreads out.
00:42:57 ►
On the one side, there’s like cosmic and biological evolution,
00:43:01 ►
the DNA chain that goes up from blue-green algae all the way up to the higher mammals.
00:43:03 ►
And over here, there’s kind of like the chimp,
00:43:06 ►
and then the dawn human,
00:43:07 ►
and then the homo sapiens kind of head.
00:43:11 ►
And then out of the two hemispheres of the brain,
00:43:14 ►
there’s these kind of caduceus-like snakes
00:43:18 ►
that go through technological evolution.
00:43:22 ►
So next.
00:43:24 ►
So anyway, just close up.
00:43:26 ►
So a little one unicellular thing
00:43:28 ►
coming out from that side.
00:43:31 ►
And then up to the higher mammals.
00:43:33 ►
Just to give you an idea of the detail.
00:43:35 ►
And then up at the top here,
00:43:37 ►
you’ve got this polarity thing
00:43:38 ►
still going on, you know,
00:43:39 ►
the male side and the female side.
00:43:43 ►
And then the fetus and the birth and death,
00:43:48 ►
and then the life paths and wisdom paths up above,
00:43:52 ►
and this kind of focal point of the eye of God
00:43:56 ►
or the eye of transcendence
00:43:58 ►
that’s perhaps the source or the reason for cosmic evolution,
00:44:04 ►
for the universe to become aware of itself.
00:44:07 ►
So the sacred mirrors themselves,
00:44:10 ►
that first one was an actual mirror.
00:44:13 ►
You know, I didn’t even talk about that one.
00:44:15 ►
But anyway, it’s sandblasted with a periodic table of the elements.
00:44:20 ►
But this one is just an oil painting,
00:44:22 ►
an oil painting of a skeleton.
00:44:24 ►
Maybe most everybody’s seen this stuff.
00:44:27 ►
So they’re very detailed oil paintings, you know.
00:44:31 ►
And it was my study of anatomy, you know.
00:44:35 ►
But they’re kind of like standing impossibly facing you.
00:44:41 ►
And the idea is to stand in front of it.
00:44:43 ►
And you can do the next one.
00:44:44 ►
That’s the nervous system.
00:44:46 ►
Cardiovascular system.
00:44:48 ►
The idea is to look at the painting
00:44:53 ►
and see it as a reflection of yourself
00:44:56 ►
and you do get an odd resonance,
00:44:59 ►
you know, like, oh my God,
00:45:00 ►
you know, look at my guts
00:45:01 ►
or look at my blood system
00:45:03 ►
and various kinds of things. If you kind of allow your mind to relax and look at my guts or look at my blood system and various kinds of things.
00:45:05 ►
If you kind of allow your mind to relax and look at the thing,
00:45:09 ►
you can really get a sense of seeing into these different levels of yourself.
00:45:15 ►
So the viscera and, of course, these are all full figures and things.
00:45:21 ►
This is the muscle system with a little view of the fetus there. But
00:45:30 ►
once you get skin onto the figure, then you’re into this kind of socio-political, what I
00:45:37 ►
think of as the realm of the mind, where you’re differentiating this is this, this is that.
00:45:42 ►
differentiating this is this, this is that.
00:45:48 ►
So that’s why I call this kind of the mind level.
00:45:51 ►
But in the context of the sacred mirrors,
00:45:57 ►
it’s also inviting people to see themselves reflected in others.
00:46:01 ►
So it goes through different races and genders.
00:46:08 ►
And then it moves into this kind of more metaphysical or spiritualized anatomy,
00:46:15 ►
where you have the acupuncture meridians and points and the chakras and the auras and things like that. And I kind of overlaid the Kabbalistic tree keyed to the figure, this kind of Adam-Kadmon figure,
00:46:23 ►
and then the system of the chakras, because
00:46:26 ►
they have a similar kind of material to spiritual hierarchy, you know. So this one’s called
00:46:35 ►
the Psychic Energy System, and I painted it like 22 years ago, and it was really important
00:46:43 ►
for my work, because a lot of work came out of this.
00:46:47 ►
Spiritual energy system, this is just a kind of progressive dissolving
00:46:51 ►
of this physical body and merging with the environment.
00:46:57 ►
And then this universal mind lattice that was my depiction of a high-dose LSD experience that my wife
00:47:12 ►
and I had, wearing our blindfolds and lying in bed. And it was so weird. But it was like you were one of these fountains and drains of light. It was kind
00:47:28 ►
of like a cell, you were. And you were connected infinitely in all directions with every other
00:47:37 ►
being and thing in the universe, and they also were one of these sort of fountains and drains of light.
00:47:50 ►
The light itself was love.
00:47:57 ►
It was love energy that was binding every other being and thing in the universe together.
00:48:12 ►
And it felt more real than, you know, like standing here. And it was, it seemed like a place that one would return to after death or that was always going on,
00:48:15 ►
but it was just this other more real dimension.
00:48:21 ►
I don’t know, it’s very difficult to describe.
00:48:23 ►
It was outside of time somehow.
00:48:28 ►
And at any rate, when I came back, took off the mindful, looked at Allison, and I said,
00:48:37 ►
oh, my God, it was the most incredible space. You were there. Everyone was there. Everything
00:48:43 ►
was there.
00:48:46 ►
And she said, oh, I know.
00:48:48 ►
And it looked like this.
00:48:52 ►
And she started drawing it, and it was exactly the same space.
00:48:57 ►
And that kind of freaked me out.
00:49:02 ►
Because it was like this totally inner dimension,
00:49:07 ►
transpersonal experience that she was experiencing in the same place at the same time.
00:49:11 ►
And so that kind of catalyzed me even further into looking at the nature of consciousness
00:49:14 ►
and wanting to depict this.
00:49:16 ►
I wanted to go through the physical body
00:49:18 ►
and the grounding in the sociopolitical realm
00:49:21 ►
and all the stuff that we accept and know is real,
00:49:30 ►
and then bring viewers to this possibility,
00:49:33 ►
which felt very real to me. And then after that, what do you do?
00:49:38 ►
So it was to point to this core of emptiness and clarity,
00:49:47 ►
the voidness that is spoken of,
00:49:51 ►
not the voidness that Anne was talking about earlier
00:49:55 ►
as devoid of all meaning,
00:49:59 ►
as a world devoid of all meaning,
00:50:01 ►
but a voidness, a kind of a cosmic voidness that is pregnant with everything, you know.
00:50:09 ►
That all the world’s great religions basically point to a realm beyond this kind of astral or subtle realm where God is unmanifest, completely transcendent and not visualizable
00:50:29 ►
and things like that.
00:50:30 ►
But I couldn’t just do an empty canvas.
00:50:32 ►
That had been done by the minimalists.
00:50:34 ►
So I use this kind of symbols of the elements influenced by the Tibetans because I think
00:50:42 ►
the Tibetans had such a great understanding of voidness and clear light
00:50:46 ►
and then used the body or the sense of self
00:50:51 ►
kind of reduced to this shimmering essence
00:50:55 ►
and the symbol of the Kalashakra
00:50:58 ►
which is basically time wheel
00:51:00 ►
and it’s also a symbol of the 84,000 teachings of Buddha
00:51:04 ►
and the transm symbol of the 84,000 teachings of Buddha and the transmutation
00:51:07 ►
of the elements by the principle of shunyata, or the emptiness. So anyway, that’s that. void is also seen to be
00:51:26 ►
manifesting this incredible
00:51:30 ►
infinite compassion
00:51:31 ►
that’s symbolized by various Buddhist deities.
00:51:35 ►
But here by the Buddha of active compassion,
00:51:38 ►
Avalokitesvara,
00:51:40 ►
as named,
00:51:41 ►
or Chenrezig,
00:51:43 ►
has got a lot of different names
00:51:44 ►
and sometimes it switches sexes
00:51:46 ►
if it goes from one country to another.
00:51:48 ►
But it’s basically many, many arms,
00:51:52 ►
infinite arms, really,
00:51:53 ►
but they’re called thousand arms
00:51:55 ►
of Avalokitesvara,
00:51:57 ►
with an eye of unobstructed vision in each palm.
00:52:01 ►
And so here’s the 11-headed Avalokitesvara, the Buddha of active compassion. So he’s reaching
00:52:09 ►
out to help the suffering world. Anyway, that’s sort of our Western bodhisattva, a vision
00:52:16 ►
of the resurrected Christ. I’ll try and keep going here. Sophia, You know, I guess there’s some archetypes of Sophia,
00:52:28 ►
but I wanted to point to this feminine aspect of the transcendent
00:52:33 ►
and had a vision of kind of like Allison or something modeled on Allison
00:52:40 ►
that was made out of eyes, just all over, all seeing.
00:52:44 ►
You know, and the whole symbol of the, just all over, all seeing.
00:52:50 ►
And the whole symbol of the eyes and eye fields, I think, when you’re seeing it, when you’re tripping, is basically, it’s a symbol of infinite awareness.
00:52:55 ►
If an eye is a symbol of awareness, then if you infinitize it, then it’s kind of symbolic
00:53:01 ►
of that expanded or infinite awareness.
00:53:04 ►
and it’s kind of symbolic of that expanded or infinite awareness.
00:53:07 ►
So this is it.
00:53:10 ►
Allison did kind of a guest appearance on this painting.
00:53:17 ►
These are her symbols that I have seen floating on her skin,
00:53:20 ►
you know, just in a tripping state.
00:53:25 ►
And so this is sort of a global child, you know, the child that’s children being born today
00:53:29 ►
with this potential of a global consciousness.
00:53:33 ►
So anyway, the last piece in the Sacred Mirror series,
00:53:38 ►
the 21st Sacred Mirror,
00:53:42 ►
is this piece called Spiritual World.
00:53:45 ►
And it’s another actual mirror, and you see yourself reflected in it,
00:53:49 ►
but in the space of the heart, it’s got this illuminated sun.
00:53:57 ►
And of course, for those very dense, I did inscribe the name into the sun. It’s basically just to say that you,
00:54:12 ►
your surroundings, everything is sacred. Then we have this idea of building a chapel that’s
00:54:21 ►
based around the sacred mirrors. These are a couple of conceptions of what that will look like.
00:54:29 ►
There will be these guardian pillars.
00:54:30 ►
The next thing.
00:54:32 ►
And this is just like somebody standing inside of this place.
00:54:36 ►
We want to build this place, actually.
00:54:37 ►
We’ve got the paintings, and I’ve got lots of renderings and things of this space.
00:54:52 ►
So we created this 501c3 nonprofit to create a space for this.
00:54:58 ►
And I’ve got a little fly-through that we’re going to show after I run through these things,
00:55:01 ►
a little one-minute animation about it.
00:55:06 ►
So a number of these pieces, people like the guy who owns this said he’d donate it back if we were able to build this place and stuff. So this is praying
00:55:10 ►
and it points to a core of light that’s inside and that is basically the source of all the
00:55:17 ►
different world religions. Of course, you know, kissing and it’s looking at this very mortal
00:55:25 ►
you know, flesh connection
00:55:28 ►
but then it’s also trying to point
00:55:30 ►
beyond that
00:55:31 ►
and I use this kind of golden band
00:55:34 ►
of light and golden flames
00:55:36 ►
as a symbol of consciousness
00:55:38 ►
you know
00:55:38 ►
you have to resort to symbols
00:55:41 ►
if you want to talk about consciousness
00:55:43 ►
because it has no shape or smell or color or anything like that.
00:55:49 ►
So, copulating.
00:55:50 ►
Then I’ve used this golden…
00:55:54 ►
Let’s see, this is sending out little vortices of light
00:55:57 ►
to alert other souls that, hey, check it out.
00:56:03 ►
Maybe this could be you and your parents.
00:56:08 ►
So, next.
00:56:10 ►
So, and then this is Tantra.
00:56:14 ►
This has got the kind of the meniscus
00:56:18 ►
or the surface tension of the skin
00:56:22 ►
that’s connecting them.
00:56:25 ►
And there’s this kind of mobius egg that’s connected at the heart,
00:56:31 ►
and the rest of the skin is kind of dissolved into this blue ocean of light.
00:56:38 ►
Well, I’m sorry to have to break in here,
00:56:41 ►
but Alex’s talk goes on for about another hour, and the size of
00:56:46 ►
this podcast file is already a lot larger than I’d like to see. If you’ve been following
00:56:51 ►
this talk on Alex’s website, I’m sure you’ll continue on your own and explore the rest
00:56:57 ►
of the images that he was talking about or talks about in this talk, as well as some
00:57:03 ►
of the great multimedia sections of his site.
00:57:05 ►
There’s some really cool stuff out there on both his and Allison’s sites.
00:57:10 ►
Also, I’ve been told that Alex and Allison have just produced
00:57:14 ►
an exciting new video presentation of his work
00:57:18 ►
with a focus on their vision for the Chapel of Sacred Mirrors.
00:57:23 ►
So if you get a chance to stop by his gallery in New York,
00:57:27 ►
be sure to ask where it’s showing
00:57:28 ►
and perhaps get it shown in your area.
00:57:32 ►
I haven’t seen it myself,
00:57:33 ►
but my friends tell me it’s not to be missed.
00:57:38 ►
And, of course, if you’re a Tool fan,
00:57:40 ►
you already know what a magic Alex can do
00:57:43 ►
when he brings his work to life in a video.
00:57:47 ►
And hey, if you can only even spare 25 bucks or so,
00:57:50 ►
it would be very cool of you to make a donation to the Chapel of Sacred Mirrors project
00:57:56 ►
and become a little mini patron of the arts yourself.
00:58:00 ►
I know the tribe would appreciate it.
00:58:04 ►
Well, that’s it for today.
00:58:06 ►
And I want to thank you again to Alex Gray for his excellent presentation.
00:58:12 ►
And, of course, to John Hanna for producing the Mind States Conferences and for letting us podcast them.
00:58:18 ►
Kevin Whitesides, if you hadn’t been there with your recorder in Jamaica, we wouldn’t have heard Alex today.
00:58:25 ►
So thanks again for the recording.
00:58:28 ►
And all of you out there in psychedelic space, hey, thanks for being with us today here in the Psychedelic Salon.
00:58:36 ►
Jacques Cordell and Wells, better known as Chateau Hayuk, thanks as always for the use of your music here in the Psychedelic Salon.
00:58:44 ►
Thanks, as always, for the use of your music here in the Psychedelic Salon.
00:58:50 ►
And for now, this is Lorenzo, signing off from Cyberdelic Space.
00:58:52 ►
Be well, my friends.