I want to say thanks to whoever reported the link to my interview by The Wild Hunt on facebook. In the first 24 hours the interview has gone viral and my blog hits have skyrocketed.

Censoring artists is always a terrible thing for the artist themselves: on an emotional and personal level. That said,  it’s great publicity for them too. Some of the most well-known living artists are controversial, actually there was an art movement called the “Shock” that went out its way to cause controversy. Guess what? It worked.

I’m not going out of my way to do this, our art is devotional in nature, intended for the gods, but attempts at iconoclast in this era is only spreading the gods more.

So my sincere thanks to whoever reported me.

Shock of the Old and the Mysteries of Decorum

(Note: I’m going through my old blog and republishing choice articles here. Eventually the old blog will be deactivated.)

Cock and Bull – Damien Hirst

I think art theory is a wank, I despise reading and writing about it. Last night however I found myself on a conversation level discussing art theory, I said something like: I suppose we’re now the Post-Shock* generation. It won’t be long until we become so jaded we’ll be Nietzsche’s last man, epitomising nihilism.

I came to this conclusion as I find the shock movement well and truly banal. Although I never gave it much credence in the first place. Apart from that, the population has been exposed to the internet for at least two generations, where in a matter of keystrokes one can witness videos and images of abuse of humans and animals, of any sexual fantasy one can imagine, of seeing sacred mountains and holy places.

Apparently we’ve been exposed to all the mysteries the world has to offer and if we do observe something sacred we respond to it in jaded manner.

The problem with this behaviour is we fail to see the beauty of it. It’s like owning a painting you really like in your living room, you love that painting, but after years and years of seeing it, it simply becomes part of your environment and no amount of contemplation can return you to the of point feeling you had when you first saw it.

Over exposure in general does this to you. For myself I’ve been experiencing a fear that I’ve seen too much art. I no longer experience the flutters of amazement, of awe, when I look at new art.

Then there are greater implications to this problem. We forget that others have not experienced what we’ve experience. We fail to recognise mystery for what it is and freely talk about things without consideration to the effects it may have on others.

You see this is what I hate about art critics and art writers. When I go to a gallery I never read or listen to the guides, because they are stripping the magic away from the art by dictating what it means to you. The value of art should be found by the admirer alone. Two people can look at one painting and see it in a completely different light.

There are so many voices out there talking about stuff, about movies, TV shows, art – giving away spoilers – that when we’re struck with something that should be just between initiated we fail apply proper decorum.

This is an issue we should all be actively conscious of.

*The Shock Art movement was an art movement in the late 1980 throughout to the 2000’s where artists would deliberately create ‘shocking’ art to arouse the public’s emotions and cause controversy.

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Ask Pentheus about authority.
Ask Pentheus about authority.

Last week’s discussion on devotion has gone in a predictable direction of the authority of the gods, and priests, and also the agency of devotees.

Now, before I begin I am not a priest, at least not by the modern ideas of a priest. I do however adopt priest-like roles. These roles are temporary, like an actor playing a character in a play. In this priest role I do not deal with mortals, I deal with the gods. I also have other roles where I sometimes deal with people the main being the Dionysian Artist, the other is a mentor with knowledge of the Mysteries. If these roles grant me authority it is because someone is applying that authority to me, I speak only from my own experience and relationship with the gods. I never impose myself onto others, I only offer suggestions – if a person follows through with those suggestions that is no longer my responsibility and in no part my authority.

I do however believe in authority: the authority of the gods, the authority of our ancestors, the authority of history, the authority of myth, the authority of art. Compared to these forms of authority I don’t believe I have the right to claim my own authority because in the end I am just a speck of stardust, this then leads to claiming that I have my own agency which again I don’t believe in as this is ignoring nature, ignoring that the ultimate authority, and truth, of life is death.

At some time in this life I must submit to death, just like everyone else, it is not something I can revolt against, it is not something I can contest with political ideologies. To believe otherwise is presumptuous and self-delusional. After my death the gods will still be here, hopefully I’ll contribute something to them, which is my goal.

Now what does this mean to the gods? I don’t know for sure, I can tell you that I have been given divine praise for my efforts, it’s been acknowledged, but there is nothing stopping the reader from discounting my claims. What I will say with a definite is that the art I’ve made has resulted in friends, family and strangers discussing the gods, which in turn continues the Zoë of the divine – this is admittedly a human component of devotional art, but one I like.

As a result of knowing the truth of life, I don’t put much stock in fame and success. It’s a mere side effect that is short lived in the spectrum of the gods. This is why I’m a devotional artist because in my tiny amount of time on this planet I can think of no reason to live other than serving the gods.