Visionary Artist: Robert Venosa

Visionary Artist

Robert Venosa


Seraphim By Robert Venosa

Robert Venosa, born January 21, 1936, was an influential painter developing the styles of fantastic realism and visionary art. From a young age Robert was attracted to painting and drawing and other forms of artistic expression. He found inspiration in many images from his youth and from the emerging psychedelic culture of the 1960’s and 70’s. He says, “Anything artistic has always been an allurement and inspirational force for me, starting with the early, great Disney classics, through the revolutionary psychedelic poster art of the ‘60’s, discovering Dali and the Fantastic/Visionary artists, but most of all, through LSD, which awakened my spirit to the dormant creative power that awaited within, allowing me the vision to see the higher levels of art and my potential for creating it as well.” (Robert Venosa-

Robert Venosa was a counter culture artist because of his teachers, the people he met and the meaning reflected through his art. He was a part of a cultural revolution and an exciting scene of artists, musicians, and intellectuals from the 60’s until his death. When asked what being an artist means he replied, “It means belonging to a unique, exciting gang of outlaws. It will always be the explorers, artists, poets, curious intellectuals, musicians, and all the other existential samurai who are creatively courageous, who desire to advance their yearnings for higher truth, and who will take the leap of faith into the unknown. This jump can be inspired by many various techniques, including – and in the forefront – visionary art, which helps the observer to transcend base ideas, and enter a world of alternate possibilities.” (Robert Venosa-

robert venosa 1233

Robert Venosa

He was taught by Mati Klarwien and Ernst Fuchs (who were highlighted in earlier posts) and developed a highly impressive artistic style. He was also introduced to the psychedelic icons of the 1960’s and 1970’s through Mati Klarwein who was making album covers for Jimi Hendrix, Miles Davis and Santana. Venosa states, “”What a time (Autumn, 1970) that turned out to be! Not only did I get started in proper technique, but at various times I had Jimi Hendrix, Miles Davis, Jackie Kennedy and the good doctor Tim Leary himself peering over my shoulder to see what I was up to.” ( Robert Venosa later moved to Spain and became acquainted with his new neighbor Salvador Dali as well as the many other artists who were attracted to the Village of Cataques, Spain. Dali said of his neighbor Venosa, “Bravo Venosa! Dali is pleased to see spiritual madness painted with such a fine technique.”   (Dali

robert-venosa  red

Robert Venosa

Being an artist had a deep meaning for Robert, it was more than a career it was a spiritual path of self inquiry and direct experience of transcendent realities. The images and symbols which emerge from this inner journey are then manifest on the canvas for all to see. He feels that by painting images from the imagination he is creating a mirror which reflects a transcendent light. Through the creation of art he not only influences others but also enters into a path of self-discovery. He was always aware of the transformative power of art. He says, “One of the magical purposes of a painting is that it acts like a transcendent mirror, reflecting parts of our inner being and subtly touching at our soul. Art, at relative levels, is an emotional experience, and, if it’s not extruding detritus from our subconscious, then, hopefully, it’s opening up the channel of our superconscious and letting in some of the cosmic light. Any powerful work of art will transmit the love, dedication and energies of the artist who created it, and will enter the viewer at a depth equal to that from whence it came. Be that as it may, as an artist, I paint to discover who I am.” (Robert Venosa-

robert venosa 14

Robert Venosa

He became a well-known painter but also worked in multi-media doing design sketches from the films, Dune, Fire in the Sky and Race for Atlantis. His paintings were published in two books “Noospheres: The Paintings of Robert Venosa and “Illuminatus” with text by Terrance Mckenna. His works have also appeared on album covers by Santana, Ornette Coleman, Cynic and Kitaro.

Robert Venosa traveled the globe with his partner Martina Hoffmann, teaching their painting technique in workshops and at Naropa University in Boulder, CO. He settled in Boulder with Martina and opened an art gallery. The technique he taught is a derivative of what he learned from his teachers which is largely similar to the Flemish master painting technique known as Mischtechnik. His technique differs from mischtechnik because the material used for the under painting is caesin versus egg tempera but largely follows the same processes.

He left his physical body on August 9, 2011 after an eight-year battle with cancer. He left behind an impressive body of work which is unique and beautiful and he became an inspiration for the very growing community of visionary artists.

Astral Circus By Robert Venosa

Enlightenment By Robert Venosa

Yage Guide By Robert Venosa

Robert Venosa 12

Robert Venosa


Parasamgate By Robert Venosa


Robert Venosa

Ayahuasca By Robert Venosa

Shroom Glow By Robert Venosa

Angelic Awakening By Robert Venosa

Angelic Conformation By Robert Venosa

Robert Venosa

Links to articles featuring other artists mentioned above.

Ernst Fuchs-

Mati Klarwein-

Martina Hoffmann –

More links to Robert Venosa (has a great list of resources)

Visionary Artist: Ernst Fuchs

Visionary Artist

Ernst Fuchs

Ernst Fuchs Self Portrait

Visionary art or fantastic art has become a long standing movement with masters both past and present. Ernst Fuchs is one of the living elders of this painting movement. His works, life and teachings have been an inspiration for generations of emerging artists. His students are among the best known visionary artists and they too push into inner territories of imaginative artistic expression. His impact upon the contemporary visionary art scene cannot be understated. The quality and reception of his work as well as The Vienna School of Fantastic Realism has inspired many people world-wide. Ernst Fuchs remains one of the most influential visionary artists and professors of art in the world today.

Ernst Fuchs was born in 1930 in Vienna. He has produced many hundreds of paintings, recorded music, designed architecture and is a co-founder of the Vienna School of Fantastic Realism. He brilliantly displays the visionary vistas of the human imagination with surreal themes and spiritual symbolism. He is a professor and artist teaching the techniques of the Flemish masters and his students include Mati Klarwien, Robert Venosa, Martina Hoffman, Amanda Sage and Maura Holden.   In 1972 he acquired the derelict Otto Wagner Villa in Hütteldorf, which he transformed into the Ernst Fuchs Museum. The villa was inaugurated as the Ernst Fuchs Museum in 1988. Ernst Fuchs is still teaching and painting to this day.

Ernst Fuchs The Angel Of History

Ernst Fuchs depicts the world of imagination.  He explores themes of eternity, mysticism, life and death. The inner visionary vistas are brought to life through the art.  His works seem to tap into a deep seeded wisdom sown in the past. This Wisdom depicted in his work is about spiritualism, religion and imagination all seamlessly woven together with a historical perspective.  Fuchs’ support of fantastic art also supports the human desire to explore the inner cosmos and to see the fluid exchange between the inner realities.

Ernst Fuchs Adam and Eve Under The Tree of Knowledge

He teaches and paints using a painting technique known as Mischtechnik. Mischtechnik utilizes small amounts of paint applied with glazes using egg tempera. This application of paint can be seen in the works of his students (see previous posts Maura Holden and Mati Klarwien) and the Flemish masters of old. The thin layers of pigment are separated by the transparent glazes creating depth and vivid colors which are ideal for the visionary realms of fantastic art.  Fuchs utilizes this traditional technique for painting and through it feels a connection with the master painters of old. As though by studying proven techniques of the past he is carrying on the lineage of that painting tradition and carrying with him the lexicon of master painters.

Ernst Fuchs Transfigured Christ

Ernst Fuchs Wedding of the Unichorn

Ernst Fuchs Adam Mysticus

Ernst Fuchs Battle of the Gods That Have Been Transformed

Ernst Fuchs Moses and the Burning Bush

Ernst Fuchs The Divine Jerusalem

Ernst Fuchs Cherub With an Amethyst

Ernst Fuch Cherub With the Cross of Jerusalem

Ernst Fuchs Cherub Face With Orange Colored Horns Of Flames

Ernst Fuchs The Glorious Mysteries

Ernst Fuchs The Whore of Babylon

Ernst Fuchs Transformations of Flesh

Ernst Fuchs The Angel of Death Over the Gate to Purgatory

Ernst Fuchs Crucifixion 1950

Ernst Fuchs Christ

Ernst Fuchs Behind Veronica’s Veil

Ernst Fuchs Deadalus and the Nymph From the Lohengrin Cycle

Ernst Fuchs Anti-Laokoon

Ernst Fuchs Job and the Judgement of Paris

Ernst Fuchs Satan’s Heaven

Ernst Fuchs The Spirit of Mercury

By: Transpersonal Spirit

Links to artists trained by Ernst Fuchs:

Mati Klarwien-

Martina Hoffmann-

Robert Venosa –

A. Andrew Gonzalez –

Maura Holden –


‘Ernst Fuchs Speaks’ by L. Caruana.

Norman Hathaway and Dan Nadel. The Electric Banana: Masters of Psychedelic Art. Grafiche Damiani, Bologna, Italy. 2001.

Rolling Thunder

Rolling Thunder

Rolling Thunder By Hank

Rolling Thunder By Hank Grebe

Rolling Thunder was an aboriginal North American medicine man born into the Paint Clan of the Cherokees. The Paint Clan was the clan of the medicine people, Rolling Thunder’s grandfather was a traditional chief and medicine man. Rolling Thunder’s life was dedicated to the performance of ceremonies, rituals and healing to honor the Great Spirit. He was trained in the traditional way to be a medicine man. He began learning the medicine path from a young age and became an inter-tribal medicine man with teacher from many tribes. Rolling Thunder had a message to share with the world about and he introduced many American’s to a world the likes of which they could not imagine, the world of a North American aboriginal medicine man.

The history of cruelty toward American Indian society is an outrage and a despicable injustice on the part of the U.S governments and others. Rolling Thunder became involved in legal battles with the U.S. Government over land rights and was a vocal supporter of American Indian rights. He spoke at the United Nations and also at the World Symposium on Humanity. This political involvement made the U.S. government nervous and Rolling Thunder was being watched by the CIA.

Rolling Thunder was foremost a medicine man and could help cure illness using a medicine tradition very different then the allopathic medical system in hospitals today. He was willing to demonstrate his abilities to heal others and this drew a great deal of interest from sections of the American public and curious scientists. He would give herbal remedies, suck illness out of peoples and sometimes lay hands on the person,  in many of these cases the result was improved well-being for the recipient but for others it may have no noticeable effect.

Rolling Thunder saw the entire ecosystem of the Earth as one living entity of which we are a part, the stars and the heavens are included in this organism. In order to heal the entire picture must be taken into account. Our actions toward the soil, plants, animals, space and each other has a huge impact on our well-being and happiness. These subtle factors are always considered in the awareness of the medicine people. The most important factor is a deep respect for the whole web of life. This respect and appreciation is expressed through daily ceremony and continuous awareness of the preciousness of all life. In traditional American Indian view all life is a part of the Great Spirit and by honoring all life we honor the Great Spirit.

Rolling Thunder says; “Too many people don’t know that when they hurt the Earth, they harm themselves, nor do they realize that when they harm themselves they harm the earth… understanding begins with love and respect. It begins with respect for the Great Spirit, and the Great Spirit is the life that is with in all things… Such respect is not a feeling or an attitude only. It’s a way of life. Such respect means that we never stop realizing and never neglect to carry out our obligation to ourselves and our environment …” (Krippner, Villoldo pg. 58).

Rolling Thunder

Rolling Thunder

Rolling Thunder’s way had a deep spiritual dimension. The Great Spirit has all the power and all of us are a part of that Great Spirit. Ceremonies and prayer are performed for spiritual reasons. The spiritual dimension is the most important requirement for a traditional American Indian medicine person and the Indian medicine way cannot function without the spiritual. His cures and herbal medicines work not just because of the chemical components but primarily because of the spiritual medicine he infused.

Rolling Thunder says, “Every physical object in nature has a spiritual side; therefore, these objects can be spiritual helpers to the medicine man. The medicine man must know the laws of nature and understand the spiritual side of things, then these objects can be a helper. This is why my medicine cannot be duplicated. One fellow I doctored had my herbal mixture analyzed and discovered what plants were in the mixture. He thought he had discovered one of the secrets of my medicine, and put together a similar mixture. Well, that mixture did not work. He had duplicated the physical part of the mixture but did not know how to handle the spiritual portion…When I find a plant I have never seen before, I can hold it in my hand and tell what its uses are. It will communicate with me. It will sing its songs and reveal its secrets.” (Krippner Villoldo pg. 61 – 62).

For Rolling Thunder this spiritual dimension opens into expanded human potential such as communication between plant and human, past lives, telepathy, spirits, healing and other interesting abilities. Rolling Thunder drew a lot of attention to himself because of his ability to heal others using spiritual healing methods which western medical doctors had never seen.   He was open to using his spiritual medicine to help people regardless of race or religions and allowed other to observe on some occasions. Rolling Thunder believed that helping others helps the whole of the earth to live in greater harmony regardless of race.

Rolling Thunder says, “Traditional people cannot be healers of any kind unless they understand spirituality. Native healers recognize the spirituality of all things that have life… Spirituality would be defined as complete peace, perfect balance, and harmony with oneself as well as all living things… It means understanding the relatedness of mankind with all other forms of life.” (Rolling Thunder 16).  “Healing is a spiritual thing; I believe in healing the whole being…They (medicine people) look at the original cause of a particular illness. All physical trouble beings on a spiritual level.” (Rolling Thunder 20).

Rolling Thunder says that he does not preform the healing but rather the Great Spirit works through him. Rolling thunder said, “Many times I don’t know what medicine I’m going to use until the ‘doctoring’ is going on; I sometimes can’t remember what I’ve used. That’s because it’s not me doing the ‘doctoring.’ It’s the Great Spirit working through me.” (Krippner Villoldo pg. 56 -57).

To Rolling Thunder the whole creation is one Great Spirit of which all things are a part. The world is not purely material but rather there is a powerful and primal spiritual side to all things. This spiritual dimension is integral part of reality and when understood leads to greater wisdom, knowledge, sacrifice for others and humility before all life. Rolling Thunder was not a pacifist and worked diligently to spread his message and to open greater justice and understanding for his people. He was generous in sharing information to other cultures about his own people’s way.  He shared his people’s vision of life with the world showing how the spiritual dimension is real and alive and how we need to start by honoring all life.


By: Transpersonal Spirit


Boyd, Doug. Mad Bear Spirit, Healing, and the Sacred in the life of a Native American Medicine Man. Touch stone Simon and Schuster. NY. 1994.

Boyd, Doug. Rolling Thunder A personal Exploration into the Secret Healing Powers of an American Indian Medicine Man. Delta Book NY NY 1974.

Krippner, Stanley and Villoldo, Alberto. The Realms of Healing. Celestial Arts, CA. 1976.

Rolling Thunder. Rolling Thunder Speaks A Message for Turtle Island. Clear light Publishers Santa Fe NM, 1999.


Shamanismshaman 1

The shamans were the first healers and holy peoples on Earth. Many writers speculate that shamanism is at the root of all the world religions and at the root of all healing practices. Shamanism also is cross cultural. It has wide spread use across the time encompassing human history. The shaman frequently ventures into the furthest regions of consciousness at will. Their experiences are the foundation of much of our civilization. The shaman is an important piece of the community in non-industrialized world and held it together with their ability to heal and to utilize extrasensory powers. The shaman is ancient, its beginnings can only be guessed because its past extends deep into prehistory. Shamanism could in fact be the first healing art and the shamans could be the first mystics, saints, doctors, yogis, magicians and healers in human history.

The shaman is the first “technician of the sacred” according to Micea Eliade. The shaman is a specific kind of healer found primarily in non-industrialized communities; however, a growing number of industrialized peoples are developing the abilities of shamanic healing despite the lack of lineage transmission. Michael Harner a western anthropologists describes shamanism in the introduction to his classic book, The Way of the Shaman. “Shamans – whom we in the “civilized” world have called “medicine men” and “witch doctors” – are the keepers of a remarkable body of ancient techniques that they use to achieve and maintain well-being and healing for themselves and members of their communities. These shamanic methods are strikingly similar the world over, even for peoples whose cultures are quite different in other respects, and who have been separated by oceans and continents for tens of thousands of years.”(Harner Pg. xvii).


Stanislav Grof the foremost research of non-ordinary states of consciousness, comments on shamanism saying: ”shamanism, the oldest spiritual system and healing art of humanity…. Accomplished and experienced shamans are able to enter into a trance state at will and in a controlled way. They use it for diagnosing diseases, healing, extrasensory perception, exploration of alternate dimensions old reality, and other purposes. They often induce holotropic states in other members of their tribe and play the role of “psychopomps” – provide the necessary support and guidance for those traversing the complex territories of the beyond.” (Grof 2000 Pg.7-8).

Grof also notes how ancient and universal shamanism is he writes: “Shamanism is extremely ancient, probably at least thirty to forty thousand years old; its roots can be traced far back into the paleolithic era… Shamanism in not only ancient, it is also universal; it can be found in North and South America, in Europe, Africa, Asia, Australia, Micronesia, and Polynesia. The fact that so many different cultures throughout human history have found shamanic techniques useful and relevant suggests that the holotropic states engage what the anthropologists call the “primal mind,” a basic and primordial aspect of the human psyche that transcends race, sex, culture and historical time. In cultures that have escaped the disruptive influence of the Western industrialized civilization, shamanic techniques and procedures have survived to this day.” (Grof f2000 Pg. 9).

The One Eye of Love By Ishka Lha

Shamanic trance

The shaman is not just one who can enter non ordinary states of consciousness but enters specific non-ordinary states in order to heal, diagnose, contact spirits and receive information. Mircea Eliade used the term “ecstacy” to describe these non-ordinary states of mind achieved at will by the shaman but notes: “…any ecstatic cannot be considered a shaman; the shaman specializes in a trace during which his soul is believed to leave his body and ascend to the sky or descend to the underworld.” (Harner pg. 21).

It is important for the shaman to be able to function in society and to work with the consensus reality of the average person. The shaman also has the ability to voluntarily alter his consciousness and enter into another reality. Micheal Harner calls this other reality a “Shamanic State of Consciousness”. Carlos Castaneda called it, “non-ordinary reality”, Stanislav Grof calls these states holotropic (moving toward wholeness) states of consciousness and others have suggested “extraordinary states of consciousness”. Many of the shaman themselves call it “the spirit world”, “the other world”, “the ultimate reality” or “god”. In the west we recognize this reality to be that of the mystic and often confuse the mystical reality with madness.

The career of many shamans begins with a spontaneous psychospiritual crisis (“shamanic illness”). This is a powerful visionary state during which the future shaman experiences a journey into the underworld, the realm of the dead, where he or she is attacked by evil spirits, subjected to various ordeals, killed and dismembered. This is followed by an experience of rebirth and ascent into the celestial realms.  “The shaman is transformed from a profane into a sacred state of being. Not only has he effected his own cure through this mystical transmutation, he is now invested with the power of the sacred, and hence can cure others as well. It is of the first order of importance to remember this, that the shaman is more then merely a sick man, or a madman; He is a sick man who has healed himself, who is cured, and who must shamanize in order to remain cured.” (Mckenna pg. 5).

Journey of the Wounded Healer by Alex Grey

Journey of the Wounded Healer by Alex Grey

Spirit communication

Shamans work with spirits which exist in another dimension of being which is not always visible to the ordinary person. This other world has many realms like the underworlds, celestial realms and more. These various realms are filled with spirits with whom the shaman communicates. The shaman is chosen by the spirits and can develop their skill without training in some cases. Other times an elder shaman will guide the young shaman to learn from the helping spirits. The elders select particular people for the shaman training and can recognize the signs of a future shaman from a very early age.

Graham Hancock notes, “Shamans acquire supernatural helper or guides – spirits who teach them how to become great healers. These spirit guides almost always appear… and frequently begin to play a role in the future shaman’s life while he is still a child long before his initiation.”(Hancock  Pg. 138).

Shaman's Last Journey by Andrew Rosinski

Shaman’s Last Journey by Andrew Rosinski


Shamanism may be an example of a collective archetype or myth which manifests physically in cultures around the world. It is the story of the healer, magician and hero. The shaman appears around the globe and their story and life seem like myth to those unfamiliar with the subject. Joseph Campbell is the foremost authority on myth and comments, “It will always be the one, shape shifting yet marvelously constant story that we find…It would not be too much to say that myth is the secret opening through which the inexhaustible energies of the cosmos pour into the human cultural manifestation. Religion, Philosophies, arts the social form of primitive and historic man, prime discoveries in science and technology, the very dreams that blister sleep, boil up from the basic, magic ring of myth… The symbols of mythology are not manufactured; they cannot be ordered, invented, or permanently, suppressed. They are spontaneous productions of the psyche, and each bears within it, undamaged, the germ power of its source” (Campbell Pg. 1). This is a great description of this mysterious shaman and shamanism in general.

There is much more to be said about the world of the shaman and this brief article simply outlines general terms and qualities of shamanism. In reality all shaman are different and each one has their own way of healing and communicating with the spirit world. In different cultures the shaman will be very different from another distant culture, yet there are similarities. In India the shaman and the yogi may be one and the same. In Japan the Buddhist meditation master can play the role of shaman. In the United States the Native American medicine man is shaman.

To get a better picture of shaman’s around the world one needs to study each individual shaman and compare their way with that of others. In future articles I will give examples of shamans from other cultures so one can see the differences and similarities play out.  To see some examples of yogis from India who often take on a similar role as that of the indigenous shaman as healer and psychopomp please read my saints of India article series.

By: Transpersonal Spirit

susan seddon boulet - shaman


Boyd, Doug. Mad Bear Spirit, Healing, and the Sacred in the life of a Native American Medicine Man. Touch stone Simon and Schuster. NY. 1994.

Campbell, Joseph, The Hero With a Thousand Faces. Bollingen seres XVII, 3rd ed. New World Library, novato, CA. 1949, 1968, 2008.

Castaneda, Carlos. The Teachings of Don Juan A Yaqui Way of Knowledge. University of California Press. 1969. 1998.

Elide, M., Shamanism: Archaic Techniques of Ecstacy. Princeton, NJ.: Princeton University Press, 1964.

Grof, Stanislav. The Cosmic Game Explorations of the Frontiers of Human Consciousness. State University of New York Press. 1998.

Grof, Stanislav. Psychology of the Future Lessons from Modern Consciousness Research. Suny Press Albany NY. 2000.

Halifax, Joan. Shaman the Wounded Healer. Crossroad, NY. 1982.

Hancock, Graham.  Supernatural Meetings with the Ancient Teachers of Mankind. Rev. ed. The Disinformation Company LTD. NY, NY. 2007.

Harner, Michael. The Way of The Shaman. Harper San Francisco. Tenth anniversary edition. 1980, 1990.

Ingerman, Sandra. Shamanic meditations Guided Journeys for Insight, vision and healing. Sounds True CO. 2010.

Krippner, Stanley and Villoldo, Alberto. The Realms of Healing. Celestial Arts, CA. 1976.

Mckenna, Terence. Food of the Gods The search For the Original Tree of Knowledge A radical History of Plants, Drugs, and Human Evolution. Bantam Books. 1992.

Wesselman, Hank PH.D, The Bowl of Light: Ancestral wisdom from a Hawaiian Shaman, Sounds True, Boulder Colorado, 2011.

Visionary Art: H.R. Giger

Visionary Art

H.R. Giger

Spell II By H.R. Giger

H.R. Giger is an established master in the realm of sci-fi, surreal art, and visionary art and is the inventor of the Alien creatures from the famous film series Aliens. Unlike other artist focused on non ordinary states of consciousness Giger displays the hellish realms of the subconscious, or the bad trip.

The Spell I By H.R. Giger

H.R. Giger shows the incredible pain of alienation from each other and nature. Displaying humanoid figures who are deformed part alien, part machine engaged in sadomasochistic eroticism.  H.R. Giger is a master of displaying the dark side of human nature and the dark side of the inner journey.  H.R. Giger himself is not a dark and twisted person but rather intelligent, friendly and humorous. He sees his work as art therapy allowing him to come to resolution with the dark side of his psyche. His artwork often triggers emotions and reactions with-in the psyche of the viewer challenging them to understand themselves more deeply.

The Spell IV By H.R. Giger

Many of H.R. Giger’s work deal with the themes of birth, sex, violence, alienation and death, these same themes are major topics of discussion in our contemporary times. The images of Giger do seem to reflect the mentality of the 20th century. The ‘malignant violence’ of modern culture is unique to the human kingdom and shows the shadow side of the human mind emerging into the material affairs of the world. In fact, now humanity is the number one threat to human survival. Giger’s work deals directly with the deep psychological drives that may expose the core wounds afflicting human kind. Humans have become a part of the machines they have create and they alienated themselves from the natural world and from our mind and body.

Famous psychological researcher Stanislav Grof specializes in non-ordinary states of consciousness and utilizing their healing potential;  he has written a lengthy essay ( can be read here: on the psychology of the realms portrayed in Giger’s work. Grof has experienced and has heard recollections from his clients describing the states of being represented by Giger’s work. Clients in deep trace from breathwork or psychedelics will experience extreme terror, fear and anxiety along the path the healing deep psychological wounds. Many times these images of the grotesque are related to overwhelming stressful events from the past which have left a traumatic imprint upon the clients mind.  In order to help clients heal from trauma they must face the full charge of their experience in order for it to be resolved and healed.

Grof’s research has revealed that the birthing process itself causes considerable trauma for the majority of humanity. In non-ordinary states of consciousness the person will relive the biographical traumas and later, may, find them linked to the birthing process, in essence the individual was traumatized from birth and the absence of integration of these traumas has led to cultural pathology. The various phases of the birth process have traumatic impact and are associated with visions, sensations, and behavioral patterns of a certain character. The visions related to this traumatic material in the psyche and the images associated with it are coincidentally depicted by H.R. Giger.

H.R. Giger uses the symbols of inverted stars, coiling serpents and other symbols borrowed from spiritual traditions. These symbols show that he is still speaking of the spiritual journey but he is focused on processing and revealing the shadow side of the transcendent experience. As the spiritual energies increase the process of purification also intensifies and hidden secrets and unknown drives with-in our individual and collective consciousness move into our awareness. These visions of the shadow are so powerful that they often frighten people away from spiritual journey, psychedelics and their own mind leading one into a state of denial or repression. Repression of the material arising from the subconscious leads to pathology and ultimately one reaches a breaking point where these subconscious drives manifest externally . By processing the material which arises internally we can free ourselves from the need for these subconscious drives to enter our external world.

Stanley Krippner likes to speak about the shadow side of the spiritual and mystical experience when he reminds us that many are driven to kill by an experience with God. They will believe that god told them to kill a certain person or to commit suicide and they will go out and kill. H.R. Giger reminds us all of this shadow side of the spiritual realm and even shows how art therapy can help to heal these wounds and make our spiritual experiences positive transformations. He is a example of how these repressed realms of our minds can become a work of art.

Alien Monster IV By H.R. Giger

Alien Monster V By H.R. Giger

Lilith By H.R. Giger

The Shiner By H.R. Giger

Spiegelbild By H.R. Giger

ELP II By H.R. Giger

Landscape VIII By H.R. Giger

Alister Crowley By H.R. Giger

Heiroglyphs By H.R. Giger

Jericho By H.R. Giger

Li II By H.R. Giger

Landscape XIV By H.R. Giger

Necronomicon V By H.R. Giger

Witches Dance By H.R. Giger

Links to H.R. Giger


H.R. Giger’s Necronomicon, Morpheus International; First US Edition edition (January 1, 1993)

H.R. Giger’s Necronomicon II, Morpheus international; first Us edition 1993.

H.R. Giger’s Biomechanics, Morpheus International; 2nd edition (January 1, 1993)

Stanislav Grof, The Visionary world of H.R. Giger,

HR Giger Icons by H. R. Giger and Stanislav Grof M.D. Ph.D. (Jun 1, 2002).

Stanley Krippner, audio interview at the institute of noetic sciences.

Psychedelic Poster Art: Victor Moscoso

Psychedelic Poster Art

Victor Moscoso

Victor Moscoso 1968

Victor Moscoso is an academically trained artist who emerged as one of the most respected psychedelic poster artists. His posters turn traditional colour theory on its head. He used his training in colour and simply did the opposite of what he was taught. He created evocative, vivid, erotic, patterned posters designed for the newly emerged psychedelic culture of San Fransisco in the late 1960’s. He utilized hand made font, photo collage, and op art to create a new aesthetic portraying psychedelic consciousness. He created “slow read” posters where the text was nearly unintelligible unless times was taken to stare into the image and sort out the dazzling effects of the contrasting colours and intense patterns.

Many of these posters were displayed in rock concert halls like the Matrix, Avalon Ballroom and the Fillmore. These concerts had improvisational rock music and elaborate light shows with coloured lights, projections and strobe lights. The poster’s colours would appear and disappear as the various coloured lights shined upon their surface further adding to the dynamics of the posters and the psychedelic aesthetic of the time.

Moscoso created works which are classic examples of the peak of psychedelic poster art and commercial graphic design. He changed the rules and developed a visual lexicon which juxtaposed psychedelic art and the traditional arts of the past. He moved from the simple design and subdued colours of the past to hot colours and use of the artistic hand.

Victor Moscoso Avalon Ballroom 1966 Big Brother and the Holding Company

Victor Moscoso Avalon Ballroom 1967 The Doors, Steve Miller Blues Band

Victor Moscoso The Matrix 1967 Janis Joplin with Big Brother and the Holding Company

Victor Moscoso

Victor Moscoso

victor moscoso

Victor Moscoso

Victor Moscoso

Victor Moscoso KMPX Radio

Victor moscoso

Victor Moscoso Rites of Spring 1967

Victor Moscoso

Victor Moscoso


Gastaut, Amelie and Criqui Jean-Pierre. Of the Wall Psychedelic Rock Posters from San Fransisco. Thames and Hudson 2005.

Hathaway, Norman and Nadel Dan. Electric Banana Masters of Psychedelic Art. Damiani. Bologna, Italy. 2011.

Owens, Ted and Dickson Denise. High Art: A History of the Psychedelic Poster. Sanctuary Publishing Limited. 1999.

Visionary Art: Fred Tomaselli

Visionary Art

Fred Tomaselli

Glassy, 2006
Mixed media, acrylic and resin on wood panel
12 X 12 inches

Fred Tomaselli is a part of the contemporary art scene showing at major galleries and museums around the world. He uses collage, painting and objects like marijuana leaves, pills of ecstasy, photos and other materials under an epoxy resin. The works are often very large in scale and are highly detailed using collage and painting. He likes to make multiple realities to intermix in the images and attempts to be ambiguous about the reality of the work to get the viewer to be aware of their own perception. He states, “For me art is primarily about perception and how it modifies perception… The picture is a window to another reality and there is this other world represented in a painting, This concept dovetailed uncannily with the rhetoric coming out of psychedelic drug culture, it also intersects with the idea of losing one’s self in this other place. Like something was so great you were diminished in by it. That sort of danger tangentially related to drugs and art. For me, when I started to putting psychoactive material in the work the pot leaves and that sort of thing, I was really thinking about rearranging the use value of those objects instead of traveling through the blood stream to alter consciousness they travel through the eyeballs… You can use them over and over again instead of it being consumed dissolved and excreted… they can be inexhaustibly psycho active.” (Fred Tomaselli except from interview at

Abductor, 2006
Leaves, photocollage, acrylic and resin on wood panel
96 X 78 inches

Fred Tomaselli says that his own psychedelic experiences have transformed his perception and inspired some of the imagery in his works.  The work invokes the sense of dissolution of boundaries and the micro and macro colliding. Often it is difficult to tell if the image is portraying the vastness of a star filled universe or the infinite combinations of chemicals the make up our environment and bodies. Human beings composed of thousands and geometrical chemical molecules creating the vary substance of who we are shown in a backdrop of deeply layered pattern freeing the viewer from the need to relate to observable landscape.

Halo of Flies, 2006
Mixed media, acrylic and resin on wood panel
18 X 18 inches

Avian Flower Serpent, 2006
Leaves, Photocollage, Acrylic, Gouache and Resin on wood panel
84 X 72 1/2 inches

Guilty, 2005
13 X 13 inches
Edition of 100

Geode, 2006
Leaves, photocollage, Acrylic, gouache and resin on wood panel
24 X 24 inches

Fred Tomaselli

Fred Tomaselli (American, b. 1956). Untitled (Expulsion), 2000. Leaves, pills, insects, acrylic, photocollage, and resin on wood panel, 84 x 120 in. (213.4 x 304.8 cm). Collection of Peter Norton

Fred Tomaselli, Hummingbird Bird, Courtesy of James Cohen Gallery

Fred Tomaselli

Detail of Fred Tomaselli’s work

Fred Tomaselli, ‘After Utah Saint’, Iris print, 46.3×33.7cm, 2000.

Fred Tomaselli

Fred Tomaselli (American, b. 1956). Big Raven, 2008. Acrylic, photocollage, and resin on wood panel, 84 x 72 in. (213.4 x 182.9 cm). Private collection, courtesy of the artist, White Cube, London, and James Cohan Gallery, New York

Fred Tomaselli (American, b. 1956). Echo, Wow, and Flutter, 2000. Leaves, pills, photocollage, acrylic, and resin on wood panel, 84 x 120 in. (213.4 x 304.8 cm). Albright-Knox Art Gallery, Buffalo, New York. James G. Forsyth Fund

By Transpersonal Spirit