Last Updated on April 8, 2024
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In my earlier days, I would often boast about the unique bond between my art and the occult.
I believed fervently that each of my artworks was born from a dream, serving as a conduit to traverse the veils between the seen and the unseen. As an artist, I felt like a mystic interpreter, translating ethereal visions into tangible reality. Yet, with time, my perception has matured, evolving from mere fascination to a more nuanced, and at times, critical understanding of this complex interplay.
The term “occult” refers to knowledge of the hidden or the supernatural, often involving mystical, esoteric, or magical beliefs and practices. In art, the occult manifests as symbols, themes, practices, and imagery that explore these unseen realms, offering a bridge between the tangible world and the mysteries of the metaphysical.
The interplay between art and the occult has been a subject of intrigue, mysticism, and controversy through the ages. While art serves as a medium of expression and a mirror to society, its intersections with occult practices and symbolism often evoke both fascination and unease.
In this article, we’ll take a deep, deep dive in an attempt to unfold the intricate tapestry that weaves together art and the occult, examining the methods, motivations, and examples of artists who dare tread the thin line between magick, superstition, and artistic creation.
A Brief History of Art and the Occult
The intertwining of art and the occult can be traced back to ancient civilizations, where art often served as a conduit for spiritual and mystical expression. Early examples of occult symbolism in art are found in in the intricate hieroglyphs of ancient Egypt, embodying a rich tradition of spiritual and esoteric knowledge, to the cave paintings of prehistoric times, which some believe to depict shamanic rituals and otherworldly experiences.
These early instances reflect a world where the lines between art, religion, and the occult were deeply intertwined, revealing a human penchant for exploring the unknown through visual means. The role of the artist was seen as a walker between seen and unseen realms.
As societies transitioned through the Middle Ages, art increasingly mirrored the material and political realities of the time, focusing on religious narratives, portraiture, and the daily life of various social strata. This shift saw art becoming more anchored in the material realm, serving not only as a spiritual or mystical conduit but also as a tool for political expression, social commentary, and personal identity. Artists, while still regarded as visionaries capable of traversing seen and unseen realms, began to apply their talents in a manner that reflected the growing complexity of human experience.
The Renaissance marked a significant turning point in this relationship. This era, known for its profound cultural and intellectual awakening, witnessed a resurgence of interest in the mystical and esoteric. During this period, the term “occult” primarily referred to knowledge that was considered hidden or secret, often involving aspects of alchemy, astrology, mysticism, and hermetic philosophy. This knowledge was “occult” or hidden for a few reasons:
- Complexity and Exclusivity: Much of this knowledge was complex and esoteric, accessible only to those who were educated or initiated into certain scholarly or mystical circles. It wasn’t widely disseminated or understood by the general public.
- Suspicion and Censorship: During the Renaissance, anything that deviated from orthodox religious teachings was often viewed with suspicion. Esoteric or hermetic studies, which delved into the mysteries of the universe and human existence, could be seen as challenging or even contradicting established religious doctrines. Therefore, such knowledge was often kept hidden to avoid conflict with religious authorities or societal norms.
In relation to art, Renaissance artists began to subtly incorporate this occult knowledge into their works. Artists like Leonardo da Vinci and Michelangelo, influenced by the revival of Hermeticism and Neoplatonism, began to infuse their works with a blend of religious iconography and occult symbolism.
Hermeticism, rooted in the teachings of Hermes Trismegistus, is a spiritual and philosophical tradition exploring divine and cosmic principles, particularly through writings known as the Hermetica. It seeks direct spiritual knowledge (gnosis) and posits a hidden wisdom underlying all spiritual paths, accessible via contemplation and esoteric practices.
The “Hermes bird” or “Hermetic bird”, for example, is often associated with alchemical symbolism. In alchemy, birds are commonly used to represent various stages of the alchemical process or spiritual transformation. The most famous of these is the Phoenix, symbolizing rebirth and renewal as it rises from its ashes. However, the term “Hermes bird” is less specific and could refer to various avian symbols found in Hermetic and alchemical texts.
The symbolism of these birds is deeply tied to the teachings of Hermes Trismegistus, the legendary figure at the heart of Hermeticism, and is often used to illustrate principles of transformation and spiritual enlightenment. In general, birds in alchemy can represent the ascension of the spirit, the purification of the soul, or the transition from a lower to a higher state of being.
The Hermes bird, in the context of the etching above, can be perceived through a metaphorical lens that parallels aspects of the Luciferian narrative, particularly in its role as a bearer of the knowledge of good and evil, similar to how the mythical Prometheus brought fire to humanity in Greek mythology.
This philosophy, influential in Western occultism, often diverges from traditional Christianity. From a Christian perspective, Hermeticism’s emphasis on hidden knowledge and the idea that all spiritual paths lead to the same truth conflicts with the Christian doctrine of salvation through faith in Jesus Christ and the belief in the Bible as the sole source of divine truth. Deciding to diverge from tradition and go their own way, these gnostic seekers went underground and used symbolic imagery, allegorical figures, and hidden meanings to express their complex spiritual and philosophical ideas.
In other cultures, where polytheistic and animistic beliefs prevailed, the integration of occult elements in art was more overt and harmonious, reflecting a worldview where the spiritual and mundane realms were inextricably linked. Regardless of the context, the incorporation of occult themes in art has always been a reflection of humanity’s deep-seated curiosity about the mysteries of existence and the unseen forces that shape our world.
Art and Sacred Geometry
In exploring the intersection of ‘art and the occult’, it becomes clear that occult symbolism is often deeply intertwined with mathematical principles, a concept vividly and ironically illustrated in an old Disney video featuring Donald Duck.
This video serves as an ironic yet fascinating gateway into understanding how ancient knowledge, once considered esoteric or secret, has been encoded in art, music, and architecture through mathematical concepts like the Golden Ratio.
Sacred geometry, a concept at the heart of both art and occult symbolism, represents the belief in fundamental geometric patterns as the foundation of all physical and metaphysical reality. In the realm of art, this manifests as precise, harmonious patterns and shapes that are believed to embody deep spiritual truths and cosmic harmonies. Artists incorporating sacred geometry often aim to transcend the mere visual, seeking to tap into the underlying symmetry of the universe.
The Golden Ratio, a mathematical ratio commonly found in nature, has been revered for its aesthetic harmony and balance. It is often represented by the Greek letter Phi (Φ), and is approximately equal to 1.618. This ratio has been utilized in various art forms to create compositions that are pleasing to the eye, embodying a sense of natural beauty and proportion. The Golden Ratio can be seen in the spirals of seashells, the patterns of galaxies, and has been applied by artists and architects to create works that resonate with this inherent harmony.
Intriguingly, the video reveals the connection between the Golden Ratio and the pentagram, a five-pointed star that has been laden with various meanings in occult traditions. The pentagram is more than just a symbol; it is a geometric representation of the Golden Ratio, and by extension, the Golden Rectangle. These shapes are revered not only for their aesthetic qualities but also for their representation of deeper, esoteric knowledge. The pentagram, often associated with the occult for its symbolic depth, encapsulates this blend of mathematical precision and mystical significance.
This relationship between the pentagram, the Golden Ratio, and the inherent harmony they represent, underscores a fundamental aspect of ‘art and the occult’. The use of such symbols in art reflects a confluence of scientific understanding and mystical exploration, bridging the tangible with the intangible, and revealing the profound interconnectedness of the world we live in.
William Blake and The Fine Line Between Occult and Religious Imagery
Distinguishing between religious and occult imagery in art is a nuanced endeavor, deeply influenced by cultural and historical contexts. Symbols that are considered religious in one era or culture might be perceived as occult in another.
For instance, the pentagram, while used in ancient Christian art to represent the five wounds of Christ, also holds significant importance in various occult traditions, as it does with the Golden Ratio. This fluidity in symbolism highlights the importance of understanding the context in which the artwork was created. It is the cultural and historical backdrop that often provides the key to differentiating between what is religious and what veers into the realm of the occult.
The intentions of the artist and the interpretation of the symbols play a crucial role in this differentiation. Religious art is typically crafted to honor or illustrate the values and narratives of a specific religion, often depicting central figures, stories, or symbols of that faith. In contrast, occult imagery is usually associated with hidden knowledge and esoteric practices that exist outside the mainstream religious doctrines.
However, the boundaries can often blur, particularly in the esoteric branches of major religions, where both religious and occult symbolism may intertwine. Moreover, the way symbols are perceived and interpreted can shift their meaning from religious to occult, as many symbols carry multiple layers of meaning that resonate differently depending on the viewer’s own beliefs and experiences.
William Blake’s artistic interpretation of “Paradise Lost” serves as an intriguing case study in the blending of Christian iconography with elements that lean towards the occult. “Paradise Lost,” by John Milton, is an epic poem that explores the biblical story of the fall of man, depicting the rebellion of Satan, his expulsion from Heaven, and the subsequent temptation and fall of Adam and Eve. Rooted firmly in Christian themes, Blake’s work simultaneously extends into extrabiblical realms, marked by a distinctive infusion of mysticism and esotericism.
Notice in the image above the subtle use of a pyramid-formed composition and Fibonacci spiral arrangement of the figures as we touch upon earlier.
This unique blend is evident in his illustrations, where the traditional narratives of Christian symbolism intertwine with Blake’s personal explorations of spirituality. Although steeped in Christian influence, Blake’s approach moves beyond conventional religious interpretations, venturing into interpretative territories that resonate with occult thought. His work, therefore, stands as a complex interplay between established religious narratives and a more individualized, mystical exploration of these themes, showcasing a back-and-forth between the familiar and the exploratory in spiritual art.
Another aspect that often helps in distinguishing between religious art and the occult is the mainstream acceptance and the intended function of the imagery. Religious imagery aligns with symbols and teachings that are widely recognized and accepted within a large community of believers. In contrast, occult imagery delves into realms of esoteric or secret knowledge that might not be as broadly acknowledged or might be intentionally concealed from the public eye. This sense of mystery or exclusivity often marks occult imagery.
Additionally, the purpose for which the artwork is created can be telling: while religious art is often used for worship, teaching, or contemplation, occult imagery might find its place in personal spiritual exploration, transformation, or even in ritualistic contexts. The function and setting in which the artwork is used can thus offer clues about whether it leans more toward the religious or the occult.
Modern Art and the Rise of the Occult
The aesthetic of the occult in modern art traces its roots to the rise of spiritualism and its profound influence on the art of the 19th and 20th centuries. This period, marked by a growing fascination with the mystical and the unseen, saw artists exploring themes that transcended the physical world and delved into the realms of the spiritual and supernatural. Modernist paintings and experimental processes in photography, such as with Pictorialism, sought to push the boundaries of documenting only what could be seen.
The allure of spiritualism, which promised a deeper understanding of the mysteries of life and death, became a significant source of inspiration for many artists. This was a time when science and rational thought were increasingly dominating the intellectual landscape, yet there existed a compelling counter-movement that sought to explore what lay beyond the empirical world.
Delving into the Subconscious Realms
This era witnessed the emergence of notable art movements and artists who embraced occult themes with fervor. Movements like Surrealism and Symbolism became prominent, their proponents delving into the subconscious and the dreamlike realms of human experience. Surrealists, in particular, were known for their exploration of the unconscious mind, drawing heavily on dream imagery and the irrational, which often intersected with occult and mystical themes.
Symbolist artists, on the other hand, veered towards representing metaphysical realities, using symbolic imagery and metaphors to evoke emotions and ideas that defied straightforward depiction. These movements, among others, played a crucial role in integrating occult aesthetics into the fabric of modern art, allowing artists to express the inexpressible and visualize the invisible.
In a further exploration of the aesthetic of the occult in modern art, one cannot overlook the profound impact of Hilma af Klint, a Swedish artist whose work was deeply intertwined with spiritualism and theosophy. Af Klint’s art was a direct reflection of her engagement with mysticism and her quest for understanding the deeper aspects of existence. Born in 1862, she embarked on an artistic journey that was radically ahead of her time, creating abstract works that predated the recognized advent of abstract art in the early 20th century.
Hilma af Klint’s involvement with spiritualism was a significant driving force in her artistic practice. She was part of a group called ‘The Five’, a circle of women who engaged in séances and spiritual gatherings. These experiences profoundly influenced her art, leading her to create a series of paintings she termed as her ‘Paintings for the Temple’. These works were meant to be more than mere visual representations; they were envisioned as part of a spiritual temple, a place of profound mystical significance. Her paintings during this period are characterized by bold colors, geometric forms, and a complex symbolic language that communicated her spiritual insights and visions.
One of the most notable aspects of af Klint’s work is her use of symbolism, which was both personal and universal. Her paintings often featured spirals, which for her symbolized evolution and spiritual development, and intersecting circles and U-shapes, representing the union of the spiritual and material worlds. She also employed a unique color theory, where specific colors corresponded to certain spiritual concepts. For example, blue signified spirituality and yellow represented masculinity, while green symbolized harmony and peace. This symbolic language was her way of conveying complex esoteric and spiritual ideas, making her art a conduit for mystical exploration and expression.
Hilma af Klint, along with other spiritualists of her era, frequently engaged in automatic drawing, similar to automatic writing, as a method to bypass the conscious mind for artistic inspiration and expression. This practice was seen by some as an exploration of the subconscious, while others viewed it as a means to communicate with the spirit realm. The source of artistic inspiration in this context is thus perceived to range from a harmless delve into the imagination to potentially risky encounters with extradimensional beings, or what some might describe as demons, akin to the use of a Ouija board.
Artists Who Walk the Line
Jim Shaw, a prominent figure in contemporary art, exemplifies the intricate relationship between art and the occult in his body of work. Born in 1952, Shaw’s artistic journey was deeply influenced by the countercultural movements of the 1960s and 1970s, a period marked by a questioning of societal norms and a fascination with the mystical and esoteric. These formative experiences left an indelible mark on Shaw’s art, which often blurs the boundaries between reality and the mysterious.
What sets Shaw apart is his profound fascination with the occult, which manifests vividly in his artworks. Throughout his career, he has skillfully employed occult symbols and imagery, such as the enigmatic Eye of Providence, pentagrams, and Masonic symbols, across his oeuvre. These symbols serve as both visual elements and entry points for viewers to explore deeper layers of meaning within his art.
It’s crucial to note that Shaw does not present the occult in his work as a belief system to be endorsed but rather as a source of intrigue and a tool for exploration. His art challenges the conventional understanding of reality and invites viewers to contemplate the ambiguous and often perplexing junctures where the mundane and the mystical intersect. In doing so, Jim Shaw exemplifies the art of blurring the line between the tangible and the enigmatic, providing a captivating journey into the world of art and the occult.
Keith Haring, a pivotal figure in Pop Art and contemporary art, skillfully wove the essence of ‘art and the occult’ into his dynamic oeuvre, frequently employing the pyramid as a symbolic motif. Deeply inspired by the timelessness of ancient civilizations and the transcendent nature of eternity, Haring’s goal was to craft an iconography that would resonate universally, transcending the bounds of time and remaining impactful beyond his own life.
In his artistic vision, the pyramid evolved beyond its historical connotations to become a potent emblem of empowerment, particularly within the LGBTQ+ community. This is exemplified in works like “Silence Equals Death,” where Haring transforms the oppressive symbol of the upside-down pink triangle into a triumphant pyramid, turning a tool of persecution into a beacon of resilience and socio-political activism against the AIDS crisis.
Keith Haring’s “Untitled (Subway Drawing – Alien Pyramids)” encapsulates his unique blend of public art and esoteric symbolism, particularly through the use of pyramids and alien figures. These elements, drawn in white chalk on the subway’s black paper, resonate with historical and occult significance, reflecting Haring’s talent for infusing ancient symbols with contemporary relevance.
In these public canvases, Haring merged art and the occult, using mystical themes to comment on modern life, showcasing his belief in art as a powerful, universal communicator. His artistry lies in transforming the pyramid from a mere mystical icon into a powerful visual tool, conveying messages of resilience and social change, thereby showcasing his ability to engage with complex symbols in a way that resonates with a wide and diverse audience.
For another contemporary example of artists navigating the boundary between art and the occult, consider the Instagram photographer @femalepentimento.
Her nighttime photography, characterized by overexposed flash techniques, evokes the sensation of piercing or rending a spiritual veil. Incorporating the concept that light itself can become the primary subject and focus in photography, as discussed in a recent article, adds another layer of depth to @femalepentimento’s work.
Combined with her frequent incorporation of occult imagery, such as snakes, owls, and goats, her works create a palpable sense of delving into mystical or hidden realms.
In this way, @femalepentimento’s photography, with its interplay of light, shadow, and occult symbols, invites a contemplation of the spiritual and mystical, making the act of viewing a journey into the realms eerily beyond the tangible.
Art and Magick
In the realms of art and magick, the boundaries are not only subjective but also increasingly permeable, particularly when the artistic expression ventures into the territory of the occult. Art, in its essence, serves as a medium of creative expression, encompassing diverse styles and forms, from the visual to the performative. It traditionally aims to communicate ideas, evoke emotions, and stimulate aesthetic appreciation.
However, when art starts to intertwine with the principles of magick, defined in occult practices as the use of rituals, symbols, and metaphysical techniques to influence reality, these clear-cut definitions begin to bend in uncomfortable ways.
This intersection becomes particularly notable when the intention behind the artwork shifts. If an artist begins to infuse their creations with the intent to invoke supernatural forces or alter perceptions in a manner akin to magickal practices, the art transcends its conventional role. It morphs into a tool or conduit for achieving outcomes that extend beyond the realm of aesthetic enjoyment, venturing into the sphere of influence and transformation.
This concept echoes the musical trope of ‘selling your soul to the devil’ — a metaphor for the extreme lengths artists might go to ensure the success of their work or to profoundly impact their audience. In such cases, the artwork or performance is no longer just an object of appreciation but becomes a potent instrument, intended to exert a deeper, more metaphysical influence.
Marina Abramović, a renowned performance artist known for her provocative and boundary-pushing works, faced significant scrutiny for her piece titled “Spirit Cooking.” This work, which delved into the realm of performance art, involved creating recipes that used symbolic ingredients, such as blood, breastmilk, and semen, in a ritualistic setting, drawing upon themes of the body, transformation, and ritual.
The controversy surrounding “Spirit Cooking” stemmed from its perceived connection to occult practices and magick, with critics viewing it as an embodiment of ritualistic and esoteric symbolism. Abramović’s work in this piece, as in much of her art, aimed to explore the limits of the body, the potentials of the mind, and the complexities of human emotions, often provoking intense reactions and debates about the intersections of art, ritual, and the occult.
Thus, when artists deliberately cross these once blurry lines, their work begins to function dually as art and magick. The piece of art, be it a painting, a sculpture, or a musical composition, steps into a realm where its purpose is not only to be seen or heard but to act as a catalyst for change, influence, or personal gain, and thus discussions about black magick and witchcraft begin to overshadow traditional art interpretation. This fusion raises intriguing questions about the nature of creativity, the power of art, and the ethical dimensions of using artistic talent for purposes that align closely with the concepts and goals of magick.
Art and the Occult: A Critical View
The incorporation of occult symbols can sometimes be seen through a critical lens, particularly when considering the intentions and beliefs of the artists themselves. There is a perspective that some artists engage in the use of these symbols not merely as a form of expression, but as an extension of ritualistic practices or superstitious beliefs. This viewpoint suggests that for these artists, the creation of art becomes intertwined with their personal engagement in esoteric or magical practices, potentially blurring the lines between artistic expression and personal ritual.
From this critical perspective, the use of occult symbols in art is seen as more than just a stylistic or thematic choice; it is a deliberate act that imbues the artwork with additional layers of power and meaning. The suggestion here is that these artists might be using their art as a conduit for their magical practices, possibly embedding spells or intentions within their work to influence the reception and impact of the artwork. This approach is sometimes viewed as a form of ‘black magic’, wherein the artist uses their skills and the power of occult symbols to manipulate the viewer’s perception or emotional response to the artwork.
This critical view is based partly on personal associations and observations of artists who have been known to mix their artistic practice with esoteric rituals. It reflects a concern about the intentions behind the artwork, questioning whether the use of occult symbols is a genuine artistic exploration or a more calculated effort to exert influence or control. Such a viewpoint challenges the traditional boundaries of artistic expression, raising ethical questions about the role and impact of the artist’s personal beliefs and practices in the creation of their work.
So, while many artists use occult symbols as a means of personal expression or cultural commentary, there exists a critical perspective that views this practice as potentially manipulative. This viewpoint posits that some artists may be engaging in a form of ritualistic or superstitious use of art, where the incorporation of occult symbols serves as a tool for embedding magical practices or intentions within their work, thereby influencing how the art is perceived and received.
My Journey Regarding Art and the Occult
My artistic journey regarding art and the occult began as an endeavor to act as an empty vessel, a channel through which inspiration could flow freely, often likened to creating from a trance-like state. This approach, while deeply personal and spiritual, was akin to channeling art, where the creative process was less about deliberate intention and more about being open to external influences. Historically, this method resonates with the shamanic role artists once played in society, serving as seers who transcended the ordinary and communicated profound truths from beyond the veil to the masses.
However, my current mission marks a significant shift from this earlier approach. I now strive to demystify the art-making process, focusing on empowering artists to discover and harness their own unique voice. This change reflects a broader transformation in the role of artists in society.
While artists were once regarded as mystical intermediaries, today’s world, with its revelations and myriad complexities, offers abundant material within and around us to fuel artistic exploration. The modern artist’s quest is not so much about unveiling hidden realms but rather about uncovering and articulating the nuanced truths that exist in plain sight – in our daily experiences, our interactions, and our introspections.
In this new paradigm, the artist becomes an explorer of the immediate, the tangible, and the personal, seeking to uncover layers of meaning in the familiar and the mundane. This approach champions self-expression, critical thinking, and a deep engagement with the world as it is, encouraging artists to delve into their surroundings and their psyche to create art that is both authentic and resonant. It’s a journey of turning inwards and outwards simultaneously, of understanding that the profound and the ‘hidden’ can often be found intertwined with the ordinary, waiting to be discovered and expressed through the unique lens of each artist’s perspective.
This evolution in my artistic philosophy is not just a personal transformation but a reflection of a larger shift in how art is perceived and created. It’s a call to artists to embrace their individuality, to draw from the richness of their experiences and insights, and to recognize that their power lies not in external sources or mystical revelations, but in their ability to observe, interpret, and express the world through their own, unique voice. This is the essence of contemporary art-making – a celebration of the individual as both creator and muse and the acknowledgment of the profound that lies within the grasp of our everyday experiences.
I’ve gone on and on about the history, examples, and my take on the subject of art and the occult, what do you think?
