Tag Archives: michael bertiaux

METAMORPH!

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“We might approach the Tarot…with a pressing concern. It could a “mundane” worry. And this is quite allright. Michael Bertiaux’s HOARD OF GOLD lessons, for example, remind us that when we are occupied with such mundane worries, our energy and attention flows in that direction. We are thus disadvantaged with regards to our deeper purpose, to become a True Resident of the Spirit World we are now only contacting.

“It would be a crippling approach, however, if we were to postpone Initiation until we had handled our earthly struggles. Vudu has never divorced itself from the flesh and blood world we inhabit. There is no need to divide the so called “Profane” from the Sublime and Spiritual. If we enter each Query with a view toward our unfolding Spiritual Vision, we can “hijack” the situation and feed its energy into our own Soul-Growth.”

-from the Metamorphic Tarot of the Spirits 

UPDATE on THE METAMORPHIC TAROT:

This Tarot has been a long time coming. Especially for those who pre-ordered in 2015. It originated as the “Lucky Hoodoo Tarot” in Wisconsin, 2014. The sketches and half done paintings were transported to British Columbia where work on them continued. At one point, the images were soaked in the waters of Kootenay Bay and cut into with blades to add texture. The Hoodoo Pilot Bardo Tarot and Bardo Bear Storytime Tarot were generated but the Metamorphic Tarot remained unfinished. It returned to Wisconsin in a snowstorm, endured a Season of Sweat and is now FINISHED.

The deck and accompanying book with tipped on color plate will be sent out to those who have ordered it by the end of the week. The deepest appreciation is sent to those who have patiently waited for their cards to arrive.

The METAMORPHIC TAROT gave birth to the Space Buddhaa Angelic Contact Tarot which is in process. This deck will have no pre-order and will only be offered after completion.

We hope those who receive the METAMORPHIC TAROT enjoy it and find in its gallery of images a Doorway into the Vuduverse.

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THE METAMORPHIC TAROT OF THE SPIRITS

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Magus of the Spirits, an Analog to the Master of the Masonic Lodge

The METAMORPHIC TAROT OF THE SPIRITS was originally conceived of as “The Lucky Hoodoo Tarot,” a visual venture into traditional Tarot structure through the lens of Michael Bertiaux’s Lucky Hoodoo lessons (from his Voudon-Gnostic Workbook). The foundation of this work was fairly simple. In these early lessons we learn of the Hoodoo “team” composed of the Spirits of the transmigrated Atlanteans Magi (the Hoo) and the Spirits of the Dead (the Doo). These entities occupy, respectively, the Western and Northern sectors of the Magical Circle of Lucky Hoodoo. As we move on in both study and practice, the Circle “rounds out” and we have all four quadrants inhabited and governed by the Major Players in the Voudon Pantheon. These arenas of Life and Being naturally gravitate toward expression through the 4 suits of the Tarot and their elemental correspondences.

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SAMEDHI GATE-Arcana 13 of the MTS

The 22 Greater Arcana, with their baseline archetypes, effortlessly lend themselves to expression through the forms of Voudon symbol and vision (similar to the African embrace and transmutation of Catholic Iconography). This approach to the System of Tarot has already been utilized with great power and beauty in Salllie Ann Glassman’s New Orleans Voodoo Tarot deck.

With the Metamorphic Tarot, I sought to develop the images as an exploration, what Bertiaux would call “research.” The creation of the deck was not after the manner of simply illustrating a particular interpretation of the cards as neatly hung onto a preestablished system. Rather, I looked into the basic energy field of each Arcana and sought to work within these as types of “Gnostic Spaces” wherein the Spirits belonging to particular zones in the Vuduverse might manifest through form. The cards, then, became a vehicle for a type of mediumship.

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THE MASTER THE LION-One of the vital links to the Ti Bon Ange which we encounter in the Monastery of the Seven Rays

Although this deck is ready to function as an oracular device, the emergence of the images was, itself, oracular. Thus, the Metamorphic Tarot exists as a collection of “research notes” in the form of a minature gallery, the conclusions of which are to be determined by the reader in communion with his or her own Spirit contacts. My personal commentary on the cards (in the accompanying booklet) is that of the “researcher” but cannot be an authoritative explanation of their esoteric content which is accessed through the forms and not defined by them.

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The Wheel of Fortune manifests in the MTS as the Circle of Lucky Hoodoo

We are now able to take preorders for this deck and its accompanying booklet which is signed by the author and will include its tipped on color plate front cover. Order will be shipped from the US. Previously, we experienced many frustrating delays in shipments when mailing from Canada and are very happy to say that this shall be no more!

Each deck is hand cut and assembled. Book and cards are offered for $64 + post. If interested in purchase, please contact us at kylefite@yahoo.com

Vessels Of Vision: The Gnostic Artist As Magician Of The Crossroads

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Six-fold Ma’atian Mind-by Kyle Fite (private collection)

Vessels Of Vision

The Gnostic Artist As Magician Of The Crossroads

By Kyle Fite

“My adepts stand upright; their head above the heavens, their feet below the hells.”

These words, taken from Aleister Crowley’s Liber Tzaddi, describe an exalted state of consciousness belonging to the Magician who performs his Art from a place between polarities, functioning as a type of bridge between the worlds. We find this theme exemplified in many great figures epitomizing the shamanic ideal. In Vudu, Papa Legbha is Lord of the Crossroads. Hermes, as patron of Alchemy, embodies the union of Sun and Moon, the Above and Below. Abraxas and Baphomet, familiar to the Gnostics and Templars, fuse the sundry elements and kingdoms of nature into an androgynous whole. Bisexual figures, such as Loki, and those who roam between the Realms, such as Odin, also typify this theme of bringing together forces generally compartmentalized-and contrasted-as opposites.

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Abraxas instructs young art student on how to “pull it all together”

The English Artist and Poet, William Blake, observed, in his Marriage of Heaven & Hell:

“Without Contraries is no progression. Attraction and Repulsion, Reason and Energy, Love and Hate, are necessary to Human existence. From these contraries spring what the religious call Good & Evil. Good is the passive that obeys Reason. Evil is the active springing from Energy.

Good is Heaven. Evil is Hell.”

In Blake’s vision, these elements are to be wed, their “love-play” evoking the activity wherein movement from one extreme to the other turns to dynamic development and serves the growth principle underlying the rise and fall of human life on the planet. The vision is ultimately mystical and cosmic, bringing together the great polarities of temporality and eternality or Being and Non-Being.

It is the intent of this essay to examine how this recurring theme of polarity and unity relates to the Artist as Magician. The work of the Magical Artist is not simply to focus on some “arcane” subject matter for depiction but rather a process which allows him to create and bestow his work as a type of shaman. Both the creative act and resultant artistry function as gateways between the realms in that they evoke and partake of the fusion point which is the natural home of both magician and artist.

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William Blake knew how to “Break on through to the Other Side!”

To begin, we must ask: What, precisely, is “Magical” or “Occult Art?” Simple depiction of something we might regard as “magical” does not seem to warrant such a definition. This would be better understood as illustration whose subject happens to be something we regard as “arcane,” be it an archaic symbol culled from an old tome or figures shown engaging in ritualistic operations. These sorts of pictures adorn the cover of many popular books on magic and are often examples of generic illustration or graphic design. It requires neither understanding nor the active play of any occult energy to generate such images.

“Magical Art” should, by definition, partake of the quality or energy of “Magic.” It holds and radiates its own charge, something beyond the bounds of mere depiction. It is the difference between a pleasing sculpture and a fetish object in which it said that a spirit resides. The aesthetic of the latter becomes a vehicle for its indwelling force or intelligence.

Now, a firm and definitive demarcation between “Magical” and “Non-Magical” art is not entirely possible. Any attempt at doing so will crash and burn as quickly as the aesthetic conundrum as to what constitutes art itself. After a manner, all art, even the utilitarian illustrative work we mentioned above, partakes of some sort of “magical method.” But we do distinguish between such work and that art which translates the power and intelligence connected to a transcendent region of consciousness as a living verity. Therefore, we must assert and seek out certain qualities found in the generation of-and participation in-given works of art, qualities which satisfy and express the shamanic impulse and mystical need of the individual.

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The Art of Sean Woodward in which aesthetic content is put into ritual use 

We now need to establish what the magician is, what constitutes his “Magic.” As there is great variance in understanding these simple words, we wish to achieve some degree of clarity from which to proceed.

We find in the great magical figures alluded to above that element of “in-betweeness.” There is within these mythic personas an integrative network bridging the gap between areas of experience typically held at bay from one another. These gaps are established by the observation and reinforcement of contrast. Although this contrast is necessary for our world to maintain its existence, it remains a double-edged sword. On one hand, it provides consciousness with a field of operation whereby its unfoldment and evolution may occur. On the other, it forms the material prison of some Gnostic philosophies by subjecting limitless spirit to the limiting conditions of a dualistic universe functioning in space and time. The Artist as Magician steps outside of the confines of the latter description to serve the former.

Returning to Liber Tzaddi, Crowley wrote:

“I reveal unto you a great mystery. Ye stand between the abyss of height and the abyss of depth. In either awaits you a companion; and that Companion is yourself. Ye can have no other companion. Many have arisen, being wise. They have said ‘Seek out the glittering image in the place ever golden and unite yourselves with it.’ Many have arisen, being foolish. They have said ‘Stoop down unto the darkly splendid world and be wedded to that Blind Creature of the Slime. I who am beyond Wisdom and Folly, arise and say unto you: achieve both weddings! Unite yourselves with both! Beware, beware, I say, lest ye seek after the one and lose the other!”

Within these poetic verses we find the adept not only reconciling the worlds but achieving complete union with all forms of life, for “ye can have no other companion.”

We have here something of a triad. The above and below are united within the one consciousness. But the one consciousness is also united with both the above and below. We are not speaking solely of dissolving the opposites into unity but rather achieving the Gnosis of unity’s union with duality!

When this is understood, the magician may shift from zone to zone at will. Loki, a male giant, may become a female horse. In the Christian Mysteries, Spirit may be transmuted into physical substance via the Mass. In the realm of art, pictures and paintings may become gateways to realms beyond those of which their material elements are made.

Blake knew this and wrote of his own art:

“If the Spectator could Enter into these images in his Imagination approaching them on the Fiery Chariot of his Contemplative Thought, if he could Enter into Noah’s Rainbow or into his bosom or could make a Friend & Companion of one of these Images of wonder which always entreats him to leave mortal things as he must know then would he arise from his Grave, then would he meet the Lord in the Air & then he would be happy.”

If one may enter into such a work of art, it follows that its denizens may also enter into our own world! Furthermore, we are not simply dealing with entities as such but energies of which the art may serve as transmitter.

Michael Bertiaux, in his Voudon-Gnostic Workbook, elaborates on this theme of artist as magician in the paper entitled “What do we mean by the science of Gnostic physics?” He outlines 16 points which provide clarity and direction for the “Gnostic Artist” whose work is to embody the function of the magician. This paper would serve as a wonderful meditation and guide for any artist who is pursuing this approach to their work.

Bertiaux writes:

“The Gnostic artist is also a magician for he materializes thought forms in all that he does. These materializations are not always conscious, hence he is also a type of medium.”

This is a very important point as it indicates that the artist-magician is doing much more than representing esoteric concepts in visual forms. This would be a wholly intellectual endeavor and the Gnostic-artist is concerned with the formation of a vehicle through which actual energies may pass. The methods of Surrealism are implied in the latter portion of this statement.

Bertaiux continues:

“The Gnostic artist is also a magician when he allows the divine energy of creative and cosmic illumination to enter into his multi-dimensional consciousness and thus awaken the angels of their inspiration, which reside in the higher mind fields.”
Both the creation of the art and the experience of its content draw from these “higher mind fields” and it is this double action which constitutes the magical nature of the art.

Perhaps the most important statement in Bertiaux’s paper is this:

“Each work of art comes alive and lives according to the rules whereby he has brought it into existence… There exist certain spells for causing certain things to happen in each Gnostic universe. Each artist must know these if he is to be a Gnostic artist…The Gnostic artist is both a mystical magician and a magickal mystic because he experiences both the total form and total content of each and every universe which rises from his creativity as a work of art.”

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Artwork by Rev. Michael Bertiaux, uniting Worlds at the Crossroads

This connection between magic and mysticism is critical to the artist tapping the “higher mind fields” and then imbuing his work with its life. Hence, we began this essay by addressing the theme of the polarization and unity in the higher god-forms. These beings may all be considered Masters of the “Crossroads,” that is to say that metaspace in which magic and mysticism fuse into a single art.

The magician is first a mystic for he has apprehended the nature of the perceived universe. This is “Lila” or illusion. The notion of permanence is apparent only and seen to have no basis in the perpetually changing energy fields of life itself. Beyond this illusion is the Gnosis of the energy field in its fullness and totality. One experiences something of Cosmic Unity which is beyond the conditions determining the play of Lila in the perceived universe.

The question, then, becomes what to do with the illusory universe. Many mystics, having perceived the changing and temporal nature of the world, have sought refuge in the changeless principle. From Buddhism to Christian Gnosticism, there has been a retreat into the fullness which may be called everything from Nirvana to the Kingdom of Heaven.

The world, however, must have some basis, some origin or source whereby it comes into being. If the changeless principle is all pervasive it follows that the insubstantial and changing universe is one with it. Thus it is has been written that Samsara is Nirvana and “Earthly Desires are Enlightenment.”

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Despite an expected penchant for the exotic, Crowley would find fields of inspiration in the natural world as seen in this landscape

By dissolving the notion of a fundamental divide between unity and duality (which only creates a new duality), the magician is able to experience and bring eternity into time. Illusion is coeval with perception and perception is acted upon to initiate further change in the universe. This particular change, however, is not automatic and following the unconscious rhythms of nature. Instead, it emerges from the will and direction of the magician. This will and direction is liberated through the enlightenment which harmonizes the individual mind of the mage with the cosmic mind of which all seemingly isolated areas of consciousness are seen as part.

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We are able to see with more than the Human Eye

The states of Gnosis described above cannot be induced by the simple application of a specific one size fits all formula. Furthermore, even describing such a state stretches the capacity of language. Hence, Gnostic literature inevitably becomes poetic, moving towards the crossroads between the mind’s intellectual comprehension and the direct knowing of the deeper mind or heart. It is like the challenge of describing how to ride a bicycle-and then going on to give expressing to the thrill and experience of the same. Along the way, the intellectual understanding must melt and surrender to a type of feeling or intuiting which brings things into alignment.

Beyond the challenge of guiding one into such a state, there is a wonderful simplicity as the actual process clicks into place. One has no longer simply imagined an experience. One has experienced and known it. It is now infusing the consciousness. In the case of Gnosis, consciousness is transformed into a vehicle of superconsciousness. Dualities are seen in context of the Unity that sustains them as that same Unity is understood in its dualistic manifestations.
From this “Interzone,” we engage with our art. Perception is enhanced and forms are generated within this crucible.
For myself, the recognizable image is offset with abstraction and symbolic form. It is crucial that these forms be more than metaphor. They need to carry their own charge or life outside of the individual mind. Blake got at this when he emphasized that his work was not “allegory” but “Vision.”

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The Coinologist by Kyle Fite-The lifepulse of any theme may fuel form, transforming both

The symbols-or sigils-thus generated may begin with a definite thought or intention. As Crowley wrote: “Every intentional act is a magical act.” There is, however, the question of how successful or how powerful the magic or spell will be. At times, this intentionality rises from deeper levels within the psyche to impose its form or energy via automatic technique as we often see in the drawings of Austin Osman Spare.

In my own working method, the symbol or image, once projected and “objectified” on paper must then be vivified or “woken up.” Here the original idea or impetus dissolves into a wholly aesthetic embellishment of form.

The artist is now overriding the intellect. Salvador Dali once admonished artists to never think about painting while painting. As paradoxical as this may sound, it points us in the right direction. Only the artist-as magician-can bypass the confines of mental comprehension to establish himself as a bridge between the outward activity and the inward reality. Similarly, the British Magician, Kenneth Grant, offers these words: “It is immaterial whether or not the artist is consciously aware of the direction of his work. It may even be essential to its accomplishment that he is not aware, for an artist manifests his creative power (Shakti) only in his absence.” It is no surprise to find in Grant’s works a tremendous regard for the imagery of the surrealists.

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Dali’s work reminds us that LOOKING is LISTENING

Returning to the notion of the Shaman, we are not exclusively concerned with the creative process for the Gnostic-artist, crucial though it may be. Its reflex is a birth into the world whereby it rises into an independent life. To be strongly imbued with vision and power is to see it communicate to the minds of others, above and below the threshold of the conscious and reasoning mind. The artist is therefore opening gateways whereby human consciousness may ripple into a more expansive field of action. He is a type of evolutionary agent in time and space, forging links between areas of experience which, if held at bay, would otherwise gravitate towards stasis and stagnation.

Such breakthroughs necessitate destruction of old patterns. Hence, surrealism’s precursor was the Dada movement, which could be extraordinarily violent, blasphemous and wholly irrational. It was the breaking down of aesthetic limits and viewpoints in a grand sense, tearing the whole edifice down, spurred on by some inner intensity and vitality. From the ruins, surrealism moved of its own volition to the exploration of the psychological roots of image and form. This not only opened the gates to exploring Freudian themes but began to give rise to images generative of their own iconography. The heart of religion and magic was being excavated from its prison of dogma and returned to the cauldron of its birth.

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Ernst Fuchs, in whose “Spiritual Surrealism” the Sacred and Sensual are wed

Thus we find the Artist-Magician as an essential figure in the modern era, the shaman not entirely embraced by the tribe. Reason, repression and control still abound in the form of Archons who, equating change with destruction and having no awareness of life beyond their isolate form, wield massive weaponry against the unkillable spirit that pulses at the heart of Life. Without liberty or death, the Terra becomes a torture chamber of endless agonies for this spirit. Hence arise the Gnostic visions of a world-prison from which one must escape.

Escape, however, is not found by rejecting the world. Instead, the Artist-Magician makes use of the creative means at his disposal to enter more deeply into the situation, stirring up and ultimately liberating the Light which has been overshadowed, not by outward circumstances but an inward darkness. The Artist is ever involved in a dual process: he is pushing himself to see with ever widening degrees of vision and he is bringing into the world objects and images which resonate with this Vision-power latent in all human beings.

In his talk, On My Painting, the German Expressionist Max Beckmann expressed this thought:

“What is important to me in my work is the identity that is hidden behind so-called reality. I search for a bridge from the given present to the invisible, rather as a famous cabalist once said, ‘If you wish to grasp the invisible, penetrate as deeply as possible into the visible.’ ”

I read these words as a teenager and was baffled by them. Twenty years later, they have become vital to my personal path as both an artist and a spiritual being. Alongside the paper on Gnostic Physics by Michael Bertiaux, this short essay by Beckmann should also be read in its entirety. It is one of the most profound, passionate and poignant statement a Gnostic-Artist might encounter. For two decades, Beckmann’s words have followed me, pushing me more deeply into their meaning. It is not an issue of familiarity or intellectual comprehension. Rather, one must know and live the spirit in this brief essay. It does not lead to some single point of “enlightenment” but opens a door into a hallway leading to further doors, continuing points of breakthrough, initiation and growth.

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The Art of Max Beckmann, mingling the Mundane and Mythic in the alchemy of composition

As stated above, the Gnostic-Artist is not one who simply expands his own understanding and personal power as an independent being. His growing awareness of the unity of all beings, human and otherwise, infuses an ongoing creative work which is given to the human race as a type of gift. He, too, partakes of this activity. As Blake wrote (again, in his Marriage Of Heaven And Hell):

“The worship of God is, Honouring his gifts in other men each according to his genius, and loving the greatest men best. Those who envy or calumniate great men hate God, for there is no other God.”

Human society is in grave need of this shamanic activity especially in its present state of turbulence and uncertainty. I was once going through a difficult period in my life and came across a quote at my local library. I regret that I do not recall the author but the gist was this: When you are lost, go back to the time when you knew what you were doing and begin again there. The true artist is perpetually engaged in this process and his return to the “time of knowing” is transpersonal. As an artist, I know this to be true. I have created works that I have come to regard highly and works that I turn away from in time. Yet “time tries truth” and I find that particular works were simply midwifed by my hand. They arose from some resonance with the larger vision and therefore they can speak, independent of myself, to others on that same level. This is not a cause for self-regard but self-examination. A gateway was passed, a threshold crossed. Initiation is endless and one must always be a moving towards the next breakthrough. On one hand, we may have achieved a “mastery” of the level behind us. This mastery, however, propels us into the challenges of what lies ahead. We rely on the sum of our acquired wisdom and skill to navigate the difficulties at hand. In doing so, we look back to where success arose. It speaks to us from our past and offers guidance into the future.

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Paul Klee-A True Gnostic Artist, he always knew what he was doing!

The Gnostic-Artist has been with us since time immemorial. The most ancient of artifacts and markings on the walls of caves show this. Image has been connected to experience and thereby amplified our adventure in the world. The subconscious mind does not distinguish between fact and fiction. It simply responds with attraction, repulsion or indifference. The conscious mind is overburdened with stimuli from an artificial environment, constructed to restrain those powers which initiate change. The whole scenario is one of love against fear with the great irony of fear’s agenda being so self-defeating. The woes it seeks to combat have been engendered from its own loins.

On the other hand we have the Magi. Millennia have seen the development of schools of thought, techniques of attainment, ways of walking the winding way. As these inventions ossify, the artist arises to follow impulse and intuition. His impetus is not an idea but an inspiration. He will be Dada to Convention and Surrealism to Dogma. Every member of this Cultus, whether he knows himself as such or not, is busy fashioning windows and gates into the Otherworld. Like Jacob’s ladder, powers from Beyond pass to and fro via these turnstiles Matter is becoming Spirit and Spirit is becoming Matter. These sublime transformations are not unlike William Blake’s view towards “a world in a grain of sand” and “Heaven in a wild flower.” Passing through these Gates is not an arduous task. It is simply a shifting of inner vision. As the New World comes into focus, we discover a proliferation of possibilities and a Vessel of Endless Vision to those who would drink from the same.

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Baptism in the Holy Ghost by Kyle Fite (private collection)

THE LUCKY HOODOO SPIRIT WINDOWS

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Spirit Window of the Eastern Gate (without Sigil)

For sometime now, I have felt indebted, beyond requisite offerings, to the Spirits of Lucky Hoodoo for their continued Presence in my Life and Work. I knew there was a project of some sort which I would set about alongside them, not as “pay back” but as a cooperative labor which would serve the extension of the Hoodoo Empire in Spacetime.

As Sovereign Grand Master of the OTOA-LCN, I have, of course, worked with numerous students of this highly organic system of Spiritism but, as Rev. Michael Bertiaux has, himself, been quick to emphasize, the Path of Lucky Hoodoo is both real and operative outside of any group or magical order which might wish to contain it. OTOA-LCN, therefore, serves as a “Magical Machine” in the field of Hoodoo Research but never holds the “secrets” from those working outside of its Sanctuaries. This simply cannot be done for it is the Spirits Themselves who reveal their Mysteries through Mediumistic Communion.

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Spirit Window of the Southern Gate (detail)

What CAN be done, however, is active contribution to the growing body of material being created, conjured and conveyed through ongoing magical practice in this arena. Some of our findings must remain private only because they are wholly personal. Others might be fruitfully shared with the larger community in the same fashion that one might contribute to any journal of research. There are opportunities for exciting exchange in the “marketplace” with an eye toward enhancing our own ontological experience.

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LEGBHA-LUAGE (without Sigil)

Initially, I had anticipated some sort of written endeavor, branching off from the Introductory material given by Rev. Bertiaux at the opening of his magnificent Voudon-Gnostic Workbook. This was never envisioned as any sort of “improvement” on the work of the Master but rather an elaboration in which I could give expression to my own individual exploration and extensions of Hoodoo Working in an esoteric vein.

From this desire (and also to address some particular problems expressed to me by students of the LH Grimoire), I began penning the “Becoming Hoodoo” series with the intent of examining the not always apparent connections between the raw and amoral sorcery of elemental Hoodoo magic and the high ideals of Seven Ray Monastery Gnosticism.

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Spirit Window of the Northern Gate (without Sigil)

These essays were produced piecemeal and anthologized via a number of small occult publications. As I was asked about these by many who were unable to purchase the books in which they appeared, I have put up most of the written material here on my blog that they might be enjoyed by all.

After arriving in British Columbia this past autumn, it became clear that there was further work to do along these lines and it would be during travel over the waters of Kootenay Bay that the Hoodoo rose up to delineate the next phase of this work.
It began simply enough with a series of drawings intended to be used on my own altarspace. From this bout of sketching, directions came in as to how this simple series of images could unfold into an ongoing work of use to others who were, likewise, connecting with the Spirits in their own homes and lives. From this impress I have designed, painted and assembled the LUCKY HOODOO SPIRIT WINDOWS which are meant to be actively used in conjunction with the LH Altarspace of the VGW.

The four Spirit Windows may certainly be enjoyed on their own merit as art pieces, although the intent behind them is for active use in esoteric work. In writing up a commentary on the use of these images, I found that I had returned to the “Becoming Hoodoo” project with a stand-alone entry in which I could continue sharing from my personal vision of the Hoodooverse. I moved rapidly from a pamphlet to a paper and the result is the small volume entitled SPIRIT WINDOWS.
In writing this first of a new series of booklets in the Voudon-Gnostic tradition, I’ve continued to take the approach which has developed in the Becoming Hoodoo papers, blending information, personal anecdote and vision. These booklets will also contain commentary by Michael Bertiaux selected, respectfully and with blessing, from many private communications over the years.

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Resurrection (from the LH Tarot-forthcoming)

We are presently offering these images for purchase as part of a SPIRIT WINDOW package which consists of the following:

1) The four Spirit Window images (each plate sigilized by hand and mounted on heavy stock)
2) The Spirit Windows Book of Commentary & Instruction with tipped on and signed color plate of LEGBHA-LUAGE
3) One LH SPIRIT CONTACT COIN sealed in its own handpainted COINFLIP
4) One bag of handmade LH incense used in the consecration of the above items (also intended to be applied in conjunction with Hoodoo Ritual).

The SPIRIT WINDOWS package is offered at $55 + shipping. This is a LIMITED SERIES of TWENTY FOUR packages only and will not be reproduced after these are gone.

If interested in obtaining and working with these, please contact us at kylefite@yahoo.com.

Wishing you all Blessings of the Spirits on your Soulquest!

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Dry Bones Dance (from the LH Tarot-forthcoming)

SPACE HOODOO COMIX # 1: WAKE UP!

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The first issue of Space Hoodoo Comix is now available. Starring Little Hoodoo & Little Space, Aleister Crowley, H.P. Lovecraft, Spacebuddhaa Jedrik, Kenneth Grant, LAM, a non-descript Jehovah’s Witness and Kyle Fite (whose guts are duly torn out by Crab-Aliens from the Nameless Nebula).

There’s blood, bones and bodily fluids. And Toast. All packed into 24 pages with full color cover and tipped in color plates.

With the first issue, we’ve “set the scene” and are looking forward to how it will all unfold. Similar to David Lynch’s approach to the creation of his masterwork, Inland Empire, I do not have an extensive “script” that’s been mulled over and now requires arduous crafting into a finalized form. The story and its delivery are one thing. The angle taken has me thinking of what William Burroughs wrote about NAKED LUNCH:

Most books are written as if they’ve HAPPENED. This book is HAPPENING.

And it IS.

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I have about as much an idea as to where it’s all going as I do with this “real life.” Sure, I’ve got plans and am on my Path. But the first hour of every day is enough to let us know that the unexpected and unpredictable can and will rear its hydra head without warning. Best to take a stance where we dance with it. Or at least effectively improvise our battle plan.

As an artist, I’ve had the frustrating experience many a time where someone would express repulsion and horror over some “dark image” I had created-and then chuckle at the seeming “whimsy” of another. Yet from my own creative center, the energies may be wholly opposite of what appears at first sight. A gothic image, running with black blood and cryptic sigils, may have been knocked off while I was listening to some upbeat song. On the flip, a cartoony scrawl might connect to levels of hard-earned experience gained with no small amount of suffering and painful rebirth.

I’m contemplating the writing of a commentary to go alongside Space Hoodoo Comix down the line. There is actually a lot of precision behind the seeming nonchalance. For example, the single panel where Rev. Michael Bertiaux gets “a letter from England” is based on a memorable phone call I had made right after Kenneth Grant had died.

ken

There is an off-handed and even parodic treatment of LAM in this first episode. LAM is an easy “target” for jabs, jibes and jokes. It’s my personal opinion that there may well have been some off-color humor in Crowley’s mind when he drew the image that so impressed young Grant. Despite all of this, I experienced a series of events in conjunction with LAM years back which resulted in extensive meditative work, wearing me down into exhaustion and “Breakthrough Breakdown.” To this day, the “Cult of LAM” remains a bristling source of ever-deepening esoteric exploration transmitting both beauty and Gnosis on the edge of human awareness.

So where we see the pissed-off Guru of All Things Daathian sitting on his little zafu-asteroid, it may seem as if I regard the entire theme as a lark. Nothing could be further from the truth.

lam

In comics, we can slash right into the subject. A few lines can effectively form the necessary associative link in a viewer’s mind to communicate data. This data is then put into a context where it takes effect. Even if the reader simply “gets the joke” and laughs, the dynamic evoked has proven remarkably effective.

Magic runs along these lines (no pun intended). It’s ALL communication (which is to say CONTACT). Bring two things together and there is the manifestation of a third thing. Yes, it’s sort of Hegelian. But there is always such chaotic potential when Thesis & Antithesis meet. The resulting Synthesis is not restricted to a single mathematical outcome, prepackaged and predictable. It may, however, be guided in its formation.

And THAT is Shamanic Activity.

I wasn’t thinking of any of these things when I was kid and drawing my own comics in gradeschool. But there is one thing I wish to note as I look back on those days. I created my comics at breakneck speed, writing and drawing as quickly as possible. What I was really doing was calling up the experience of READING the comic even as I was MAKING it!

Fast forward and inclinations remain the same. Whether it’s comics or poetry, essays or fiction, I go toward the place where I can enter into the creative space and work my way out from there. I like the story of Jack Kerouac cranking a ROLL of paper into his typewriter so he didn’t have to be interrupted by the chore of adding new sheets when he’d reach the bottom.

You don’t need any dead weight when chasing the muse. And you want to catch her while she’s ovulating. It’s All in the Egg…so Shake a Leg!

Just cuz Will ain’t cryin’ “Because” doesn’t mean it don’t know what it DOES!

 litleh

Each issue of Space Hoodoo Comix will end with an “Editorial” with further reflections on these and many other topics.

Issue # 1 (“Wake Up!”) is printed, with all its horror, humiliation and humor, in black and white with hand-signed color cover and two signed tipped in color plates along with Hoodoo Pilot affirmation card. First issue with color prints being offered for $15 + post. Contact us at kylefite@yahoo.com to get your copy.