Showing posts with label Qlippoth. Show all posts
Showing posts with label Qlippoth. Show all posts
Thursday, 30 August 2012
Womb of Night
The Womb of Nox - in the Nightside Garden
Created from a mix of photoshop CS6 and black paper that i found which i had burnt incense and dropped wax on - in the marks I saw many things, this was just one image from that
Monday, 30 April 2012
Aleister Crowley and Nightside works in progress
Easy to start many things, but sticking it through all the boring all the tedious parts and more importantly through all the moments when one fears that the whole lot could be ruined, is the virtue of 'to keep silent' so i have not placed much up of late, though i am trying every day to get to the place with digital art which can be closer to my minds eye.
The following are some works in a state of production still. I am perhaps not unique in feeling that when you have a great image of a work in your mind, to feel that one's abilities or technique is not up to the task and so one holds off and takes it slow and fills the time in between with many smaller projects. Being also that i am so much in love with the work of academic painters like Sir Lawrence Alma Tadema, William Bouguereau, Jean Leon Gerome, John Singer Sargent and John Waterhouse to name just a few, i am wanting to strive to develop something of their style.
On another note, a colleague has recently just introduced me to Prismacolor pencils - these are absolutely fantastic and i think will replace my Derwent pencils. What I notice is that you can layer on colours with the Prismacolor pencils far better than Derwents (although there are many types of Derwents perhaps they have some similar style softcore pencils) -- This layering of colours builds up a form and can help create more solid shapes and figures - perhaps because this layering a subtly varying colours emulates better how the world actually appears - everywhere in nature colourse colours vary in the most minute details - rocks are not just gray shapes, skin is not just a pale pink or peach colour - look at it up close see all the varying pigments - greens, purples, blues, even from a distance a place face can simulatneously look red, orange, yellow, blue, purple, brown and most times regardless of any racial differences - no one is just one color. The great academic painters and also renaissance painters painted how eye sees and how the unconscious eye also sees. I say this as artists in the past had used the practice of flipping images to show up errors - something which digital artists do today also. I had at fist not thought this would make much difference, but then upon trying it was amazed at how many errors show up. It is a good test and if you are working with digital art - it is an excellent way to fix up errors that that on the surface on not detected but something deeper in the observer will pick it up. - You can flip the works of the great masters of painting and see how they can work in reverse just as well, and one's art must be able to do this also. I am not there yet but getting there.
The following are some works in a state of production still. I am perhaps not unique in feeling that when you have a great image of a work in your mind, to feel that one's abilities or technique is not up to the task and so one holds off and takes it slow and fills the time in between with many smaller projects. Being also that i am so much in love with the work of academic painters like Sir Lawrence Alma Tadema, William Bouguereau, Jean Leon Gerome, John Singer Sargent and John Waterhouse to name just a few, i am wanting to strive to develop something of their style.
On another note, a colleague has recently just introduced me to Prismacolor pencils - these are absolutely fantastic and i think will replace my Derwent pencils. What I notice is that you can layer on colours with the Prismacolor pencils far better than Derwents (although there are many types of Derwents perhaps they have some similar style softcore pencils) -- This layering of colours builds up a form and can help create more solid shapes and figures - perhaps because this layering a subtly varying colours emulates better how the world actually appears - everywhere in nature colourse colours vary in the most minute details - rocks are not just gray shapes, skin is not just a pale pink or peach colour - look at it up close see all the varying pigments - greens, purples, blues, even from a distance a place face can simulatneously look red, orange, yellow, blue, purple, brown and most times regardless of any racial differences - no one is just one color. The great academic painters and also renaissance painters painted how eye sees and how the unconscious eye also sees. I say this as artists in the past had used the practice of flipping images to show up errors - something which digital artists do today also. I had at fist not thought this would make much difference, but then upon trying it was amazed at how many errors show up. It is a good test and if you are working with digital art - it is an excellent way to fix up errors that that on the surface on not detected but something deeper in the observer will pick it up. - You can flip the works of the great masters of painting and see how they can work in reverse just as well, and one's art must be able to do this also. I am not there yet but getting there.
Aleister Crowley and Rose Kelly in the Cairo Museum 1904
April 2012, Photoshop CS4/CS5
A'rab Zaraq - detail from larger image
April 2012, Photoshop CS5
The Book of the Law -Work in Progress
April 2012 Photoshop CS5
Saturday, 31 March 2012
March 2012
Steampunk ideas and other dregs, but something else has emerged and in the perhaps hopeless desire to be a decent artist in the digital medium, i am working to give illustration to various moments in the life of Aleister Crowley and the advent of the New Aeon - i am actually surprised that this type of task has not been done or attempted, but i will attempt this and i want to approach it more like academic painting - I love the use of light and shadow in 19th century painting. This is also important given the underlying wish to depict aspects of the Tree of the Nightside/ the Qliphotic states, in their nightmarish lurid atrocity.
Denizens of the Astral Realsm of Refuse and forgotten Habits.
Produced in Photoshop CS4, February 2012
Inspired by the wonderful work of Wayne Barlowe - in particular his Inferno work which is similar to what and where I wish to take my vain creations. I was not aware of his work when i started this all but have only become so in the trawling of the internet for inspiration and ideas that one can do at times - in particular when looking up images of Goetic Spirits.
The Nineteenth Key,
Created in PS CS4, March 2012.
Featured in a recent Steampunk Exhibition at Post Industrial Design in West Footscray, Melbourne.
Saturday, 10 September 2011
Light in the Darkness Set 2 Qliphoth/Qlippoth/Kelippot
The Shells of the Harlot
This is a series that I am bringing into being: interpretations of the Spheres/Sephirah/Cells of the Nightside Tree, which is also known as the Sitra Ahra, with its 11 stations, the Qliphoth (other spellings are: the Qlippoth and Kelippot.
Why should I wish to approach such a dark and for some occultists dangerous realm of the Nightside tree? Because I believe this to be integral to becoming and being a whole and balanced incarnation. Much that is hidden away and or repressed finds expression on the averse tree. It is a falsehood to create a duality in the first place and this is something that is very much found in the teachings that can come from exploring the Nightside tree. It is also the case that in the present age there seems so much that feeds this tree in just the western mind alone, being bombarded daily as it is with advertising, selling desire beyond actual need and ever new things to distract us from a real sense of just how valuable and important our conscious, mindful experience of this life is.
Naamah, or Nahemah, is a younger sister to Lilith and some have said that she will lead one into the Nightside Tree and to Lilith. According to the Zohar, her place is among the surging waves of the great sea and she goes out and teases and arouses the desire men and no doubt women also - as a spiritual concept this is not something restricted to any one gender.
This is a series that I am bringing into being: interpretations of the Spheres/Sephirah/Cells of the Nightside Tree, which is also known as the Sitra Ahra, with its 11 stations, the Qliphoth (other spellings are: the Qlippoth and Kelippot.
Why should I wish to approach such a dark and for some occultists dangerous realm of the Nightside tree? Because I believe this to be integral to becoming and being a whole and balanced incarnation. Much that is hidden away and or repressed finds expression on the averse tree. It is a falsehood to create a duality in the first place and this is something that is very much found in the teachings that can come from exploring the Nightside tree. It is also the case that in the present age there seems so much that feeds this tree in just the western mind alone, being bombarded daily as it is with advertising, selling desire beyond actual need and ever new things to distract us from a real sense of just how valuable and important our conscious, mindful experience of this life is.
Naamah, or Nahemah, is a younger sister to Lilith and some have said that she will lead one into the Nightside Tree and to Lilith. According to the Zohar, her place is among the surging waves of the great sea and she goes out and teases and arouses the desire men and no doubt women also - as a spiritual concept this is not something restricted to any one gender.
Naamah
Created through Photoshop CS4. 2011
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