In the beginning there was one. From this came two and three. Two and three were polar: yin and yang. As they came from one they were the energetic expressions of the creative force, perpetually changing into each other and, through change, evolving. However, their changes needed to be controlled by some higher consciousness. Looking closer at the yin and yang symbol it is evident that its dynamic form is kept in place by a circle. This circle represents the first idea–the prima materia, the word, the origin of duality, the source of creation yet also the limitation of creative expression.

- Dr. Josef Margraf “Morphogenesis and Plant Signature: The Tao of Connectedness” (Alchemy Journal, vol. 11, no. 1, p. 8 )

The grimoire is a palingenesis. The hack and paste of overlapping ages. Some made to look old, others seeming younger in candlelight than the centuries make them. These texts are the lost, the rediscovered, the rescued from flames, and the outright invented. It is a dog-eared tarot gallery.

- Peter Grey, from his Introduction to Howlings [Scarlet Imprint]

Scarlet Imprint is putting on an event called the Summer of Love. In Brighton, on August 20th. In case you were wondering what to do on a summer evening while in the UK.

On the second night, I called out to my soul.
“I am weary, my soul, my wandering has lasted too long, my search for myself outside myself. Now I have gone through events and find you behind all of them.”

- Carl Jung, The Red Book, Liber Primus, folio ii (r).

I really need a second desk, just so I can leave The Red Book out. Let myself get lost in it a few times during the course of the day . . .

The launch party took place at the Rodriguez Guerra Art Studio, a second floor loft studio off Pioneer Square. It was a surprisingly sedate night for Downtown Seattle, and I found parking under the Viaduct–not far from a shapeless lump that made me think of the sack in the girlfriend’s apartment in Miike’s Audition. Naturally, as soon as I had that thought, the homeless man sleeping under the tattered wool blanket moved, and I whistled to keep the dark things away.

Anyway, it’s a shame I can’t get the Internet to cough up a representative sampling of Jose Luis Rodriguez Guerra’s art as it was very engaging. Born in Mexico, he came to the US as a migrant worker and eventually was able to sustain himself as an artist (and I’m cribbing from memory from an article posted on gallery wall). He works in oil on large slabs of wood and masonite, and his pictures are filled with Mexican and Mayan iconography. A number of his pieces were larger than life-sized, split into bands of warm sun-drenched colors and dark earthy tones.

He mentioned in this article that it was a shame that artists couldn’t find more spaces to showcase their art as a collective unit versus being lost in gallery with a dozen other artists, and seeing such a large collection of his work in one location really drove home that point. He has a habit of dividing his paintings into thirds, with the upper third being clearly demarcated by the horizon of his landscape, and he had arranged all the paintings so that line was at the same level throughout the room. With that sort of visual anchor, you started to look at the paintings as units within a larger narrative, and the reoccurring motifs started to emerge. Some of these visual echoes were only visible from specific points in the room–you had to stand in the corner of the alcove near the front door to see a certain repetition of a male figure, for example.

Art, in this instance, becomes not an isolated expression, but an on-going exploration that will probably take his entire life to fully articulate.

The gallery is at 80 South Washington Street, and is well worth the short detour from First Avenue if you’re wandering about Pioneer Square.

Anyway, the release of Jocus Severus. William gave a brief talk about Maier and the time period in which he lived (specifically mentioning the glorious era of Rudolph II, when it was de riguer for all alchemists and like-minded occultists to make a pilgrimage to Prague). While Maier is mainly known for his exceptionally forward-thinking “multi-media” tome, Atalanta Fugiens, Jocus Severus is an allegorical defense of alchemy. It’s an extended dialogue between a number of birds, who are set on defaming the Owl. Fortunately, the Hawk and the Phoenix wander by, and they come to the stately birds defense. This is the first English translation (done by Darius Klein, who also translated Ouroboros’ last release, Giordano Bruno’s Cantus Circaeus), and it features very nice typographical elements by artist Benjamin Vierling, who also contributed cover art and a splendid folding plate depicting all the birds who participate in this alchemical dialogue. (More details about the edition can be found at Ouroboros’ blog–this entry, in fact.)

This is the first time I’ve actually been able to get my grubby little hands on the more limited editions that William does, and while I’m the sort of reader who likes to use his books rather than look at them, I do have to admit that it was difficult to pass on the leather edition. While part of me is very involved in electronic methods of publishing, part of me really loves the feel of a well-produced book.

Atlas Obscura is celebrating March 20th by hosting a number of events around the world, all of them highlighting the Strange in your neighborhood. Check the full list of events, and if you’re in Seattle, Ourboros Press publisher, William Kiesel is presenting “Alligators and Alchemy in Cabinets of Curiosity” at the Ancient Grounds Cafe at 1pm.

There will be a brief slide show displaying some early examples of Curiosity Cabinets as well as some discussion as to the similarities shared with alchemical laboratories. All of this will take place is a cafe that is merely masquerading as a coffee house.

Ancient Grounds has a great deal of Native American masks, totem poles, tribal art, headdresses and other clothing, and other displays. And probably an alligator or two.

Books on Alchemy .. Books on Magic .. Exegeses of the Bible ..

Parts of his Oration can be found here in Latin, Italian, and English. A complete translation can be found here.

Walter Pater’s history of Pico in context of the Renaissance can be found here.