Thursday, 30 September 2010

LITANY OF SATANA BY MARK DUNN

Inspired by "Prayer to Satan" by the French poet Charles Baudelaire which I posted here some time ago.The French original and various English translations are below this post.

Mark Dunn,English paradoxical feminist magician,artist and magical theorist,develops in "Litany of Satana" a compelling interpretation of the theme of rebellion against the Christian patriarchy and its political alliances.

Mark Dunn's visual and verbal art is remarkable in his feminist interpretation of the daemonology of the magical system of Goetia in terms of an all female assembly as evident in his Dakini Daemonicon at his aptly named Goetia Girls. The Goetic assembly is traditionally understood as a constellation of fallen spirits who are yet able to to grant a range of human fulfillments,from achieving wealth and perceiving the future, to becoming learned in the arts and sciences.They have a controversial reputation that begins from their characterisation in the grimoire,a book for invoking spirits,the Book of Solomon the King, where they are described in terms at times bizarre and dreadful, coupled with a description of their place in the hierarchy of Hell,as companions and lieutenants of Satan.

Mark Dunn's vocation has been the deconstruction of this characterization of the Goetic spirits as demons and the phallocentric stance demonstrated in the male focus of how these personalities are characterized.He places himself squarely in the spirit of rebellion identified with the fallen angels whom the Goetic spirits are described as being.He correlates this conception of a primordial rebellion with opposition to the strictures of a bigoted understanding of reality and a dehumanizing manipulation of society as represented by the Judeao-Christian universe where these spirits are seen as outcasts.He also rebels against the male centred visualization of the spirits,suggesting that such an image is at best the imposition of a patriarchal mindset on essentially non-human and non-physical entities.

He develops this ontology in the process of shaping the appearance of the spirits and anticipating their behaviour to suit his paradoxical feminist orientation.In his hands all the spirits are constructed female,as sexy women drawn from various cultural zones across the world,with whom the magician engages in sexual congress,if only through the medium of imagination and dream.This erotic relationship stimulates the development of capacities in the magician which is the fruit of the exchange of energy between spirit and human emerging in the form of sex.

His commitment to identification with the feminine, which he understands, in its most exalted form, as the Feminine Inorganic Intelligence, shines forth in this potent incantatory poem.

His feminism is paradoxical because it integrates both the valorisation of the feminine and the eroticisation of the female self in terms that could be challenging to many and repulsive to some.His visual imagery is marked by graphic pornography,at times including images of violence,of teenage erotica,the situating of nubile females within the macabre iconography of the goat head and the skull drawn from Satanism,images of violent biological severance such as foetuses outside wombs,beheaded child dolls and teenage girls swallowed by crocodiles.

All these forms are interpreted in metaphysical terms,in a spirit similar to the symbolism of violence in Hinduism and Tibetan Buddhism,where Kali gives birth to her child and devours the child, depicting the unity of creation and destruction, and where the Buddhist female spirit,the Dakini Vajyrayogini, dances naked with a garland of skulls symbolizing the destruction of the limitations of ego the skulls represent.

Particularly remarkable and potentially controversial is the scope of the cultural universe he draws his imagery and ideas from.This feminine revisualisation is conducted in terms of images taken largely from Western and Asian popular culture,folklore,political and cognitive history,Western esotericism,Christianity, Hinduism,Buddhism and erotica.The images and conceptions from contemporary culture and history give a sense of immediacy of meaning to the reflections on arcane magical and metaphysical conceptions in terms of which he interprets the cocktail of graphic erotica and other challenging forms that shape his work.

His dominant artistic method is that of creating a collage of images drawn from science fiction films,pornographic fetishism,contemporary glamour celebrities,models from different races,historic themes and other sources that suggest an immersion in the palpitating reality of social existence,a far cry from classic forms of art.




The Litany of Satana

O you, the wisest and fairest Feminine fallen,
God betrayed thy destiny and deprived thee of praise,

O Satana, take pity on my long misery!

O Princess of Exile, you who have been wronged
And who vanquished always rise up again more strong,

O Satana, take pity on my long misery!

You who know all, great Queen of hidden things whom be the womb,
The familiar healer of human sufferings all as thy children,

O Satana, take pity on my long misery!

You who teach through love’s delights the taste for Heaven
To the cursed pariah, even to the leper,

O Satana, take pity on my long misery!

You whom birth Life into Death, through Sex glorious,
Have too begotten Hope, — from thy moist pithos!

O Satana, take pity on my long misery!

You who give the Witch that calm and haughty look
That damns the whole multitude around her burning scaffold.

O Satana, take pity on my long misery!

You who know in what nooks of the fruitful Mother Earth
A jealous God has hidden precious stones of wisdom to bury deep,

O Satana, take pity on my long misery!

You whose clear eye sees the deep arsenals
Where the tribe of metals sleeps in its tomb seven fold hymen seals Alchemical,

O Satana, take pity on my long misery!

You whose broad hand reveals the precipice of misogynist Abraham
Guide the sleep-walker wandering on the Churches ledge of a lie to awaken from,

O Satana, take pity on my long misery!

You who soften magically the old bones
Of belated drunkards trampled by the war horses of those whom seek to convert all,

O Satana, take pity on my long misery!

You who to console frail humanity in its sufferings
Taught us to mix Alchemy into Science to see beyond the lies of sired from out of Uruk,

O Satana, take pity on my long misery!

You who put your mark of Jerusalem, O subtle accomplice,
Upon the Mecca brow of Croesus, base and pitiless of Rome’s tilted crown,

O Satana, take pity on my long misery!

You who put in the eyes and hearts of prostitutes
The cult of sores and the love of rags and tatters bestowed by conniving Priests,

O Satana, take pity on my long misery!

Staff of those in exile, lamp of the inventor,
Confessor of the hanged and of conspirators Illuminatus,

O Satana, take pity on my long misery!

Adopted Mother Diana Lucifera of those whom in black rage
— God their blind Father drove from the Earthly paradise for all to see, but blinded they still are, all as sheep,

O Satana, take pity on my long misery!

Prayer:

Glory and praise to you, O Satana, in the heights
Of Heaven where you reigned and in the depths
Of Hela’s womb where vanquished you dream in silence!

Grant that my soul may someday repose near unto you
Under the Tree of Knowledge, when, over your brow,
Its branches will spread like a new Temple betwixt my Horns!


Mark Dunn
















From: toyin adepoju
To: Odua ; krazitivity ; nigerianworldforum ; Black_Power_Satanism@yahoogroups.com
Cc: MARK DUNN
Sent: Tue, 17 August, 2010 4:46:15
Subject: PRAYER TO SATAN


A remarkable poem by the French poet Charles Baudelaire,here presented in six translations from http://fleursdumal.org/ , a striking site devoted to Baudelaire's landmark poetic sequence Le Fleurs du Mal, Flowers of Evil, in translations that depict its force from a range of angles,along with the French original. The first translation,by William Aggeler,
is representative of the tone and imagery of the others except that of the fifth one,by Will Schmiz,which varies the imagery of the original significantly,grounding the poem in the social realities of modern capitalist society.

The poem enables one to appreciate an aspect of the metamorphoses undergone by the figure of Satan,from the formerly glorious but outcast angel in the Bible,the tempter of humanity and ultimate source of evil,exemplified by his despicable portrayal in the 14th century by the Italian poet Dante Alieghiri's Divine Comedy,to the doomed heroic figure of the 17th century English poet John Milton's Paradise Lost who declares it is 'Better to rule in hell than serve in heaven',to the exemplar of creative rebellion of Baudelaire's prayer to and praise of Satan in his 19th century collection.The attitudes embodied by this poem recur in contemporary adaptations of Satanism and associated ideologies and practices as a spiritual path in Western culture.

Baudelaire's history in relation to Flowers of Evil,from which this poem comes, makes him emblematic of the Promethean spirit he attributes to Satan.Like Prometheus,the Greek mythical figure chained by Zeus,the head of the Olympian gods,to the Caucasus Mountains while an eagle feeds daily on his liver,for stealing fire from Zeus and giving it to humanity, Baudelaire's publisher and printer were successfully prosecuted for the perceived immorality of this collection, the poet fined and some of the poems banned in France.But as the Wikipedia Baudelaire essay describes it, 'Nearly 100 years later, on May 11, 1949, Baudelaire was vindicated, the judgment officially reversed, and the six banned poems reinstated in France'





The Litany of Satan
O you, the wisest and fairest of the Angels,
God betrayed by destiny and deprived of praise,
O Satan, take pity on my long misery!
O Prince of Exile, you who have been wronged
And who vanquished always rise up again more strong,
O Satan, take pity on my long misery!
You who know all, great king of hidden things,
The familiar healer of human sufferings,
O Satan, take pity on my long misery!
You who teach through love the taste for Heaven
To the cursed pariah, even to the leper,
O Satan, take pity on my long misery!
You who of Death, your mistress old and strong,
Have begotten Hope, — a charming madcap!
O Satan, take pity on my long misery!
You who give the outlaw that calm and haughty look
That damns the whole multitude around his scaffold.
O Satan, take pity on my long misery!
You who know in what nooks of the miserly earth
A jealous God has hidden precious stones,
O Satan, take pity on my long misery!
You whose clear eye sees the deep arsenals
Where the tribe of metals sleeps in its tomb,
O Satan, take pity on my long misery!
You whose broad hand conceals the precipice
From the sleep-walker wandering on the building's ledge,
O Satan, take pity on my long misery!
You who soften magically the old bones
Of belated drunkards trampled by the horses,
O Satan, take pity on my long misery!
You who to console frail mankind in its sufferings
Taught us to mix sulphur and saltpeter,
O Satan, take pity on my long misery!
You who put your mark, O subtle accomplice,
Upon the brow of Croesus, base and pitiless,
O Satan, take pity on my long misery!
You who put in the eyes and hearts of prostitutes
The cult of sores and the love of rags and tatters,
O Satan, take pity on my long misery!
Staff of those in exile, lamp of the inventor,
Confessor of the hanged and of conspirators,
O Satan, take pity on my long misery!
Adopted father of those whom in black rage
— God the Father drove from the earthly paradise,
O Satan, take pity on my long misery!
Prayer
Glory and praise to you, O Satan, in the heights
Of Heaven where you reigned and in the depths
Of Hell where vanquished you dream in silence!
Grant that my soul may someday repose near to you
Under the Tree of Knowledge, when, over your brow,
Its branches will spread like a new Temple!
— William Aggeler, The Flowers of Evil (Fresno, CA: Academy Library Guild, 1954)

Litanies of Satan
Wisest of Angels, whom your fate betrays,
And, fairest of them all, deprives of praise,
Satan have pity on my long despair!
O Prince of exiles, who have suffered wrong,
Yet, vanquished, rise from every fall more strong,
Satan have pity on my long despair!
All-knowing lord of subterranean things,
Who remedy our human sufferings,
Satan have pity on my long despair!
To lepers and lost beggars full of lice,
You teach, through love, the taste of Paradise.
Satan have pity on my long despair!
You who on Death, your old and sturdy wife,
Engendered Hope — sweet folly of this life —
Satan have pity on my long despair!
You give to the doomed man that calm, unbaffled
Gaze that rebukes the mob around the scaffold,
Satan have pity on my long despair!
You know in what closed corners of the earth
A jealous God has hidden gems of worth.
Satan have pity on my long despair!
You know the deepest arsenals, where slumber
The breeds of buried metals without number.
Satan have pity on my long despair!
You whose huge hand has hidden the abyss
From sleepwalkers that skirt the precipice,
Satan have pity on my long despair!
You who give suppleness to drunkards' bones
When trampled down by horses on the stones,
Satan have pity on my long despair!
You who, to make his sufferings the lighter,
Taught man to mix the sulphur with the nitre,
Satan have pity on my long despair!
You fix your mask, accomplice full of guile,
On rich men's foreheads, pitiless and vile.
Satan have pity on my long despair!
You who fill the hearts and eyes of whores
With love of trifles and the cult of sores,
Satan have pity on my long despair!
The exile's staff, inventor's lamp, caresser
Of hanged men, and of plotters the confessor,
Satan have pity on my long despair!
Step-father of all those who, robbed of pardon,
God drove in anger out of Eden's garden
Satan have pity on my long despair!
Prayer
Praise to you, Satan! in the heights you lit,
And also in the deeps where now you sit,
Vanquished, in Hell, and dream in hushed defiance
O that my soul, beneath the Tree of Science
Might rest near you, while shadowing your brows,
It spreads a second Temple with its boughs.
— Roy Campbell, Poems of Baudelaire (New York: Pantheon Books, 1952)

Litany to Satan
O wise among all Angels ordinate,
God foiled of glory, god betrayed by fate,
Satan, O pity my long wretchedness!
O Prince of Exile doomed to heinous wrong,
Who, vanquished, riseth ever stark and strong,
Satan, O pity my long wretchedness!
Thou knowest all, proud king of occult things,
Familiar healer of man's sufferings,
Satan, O pity my long wretchedness!
Thy love wakes thirst for Heaven in one and all:
Leper, pimp, outcast, fool and criminal,
Satan, O pity my long wretchedness!
Of Death, thy brave leal wanton, Thou didst breed,
Sweet madcap Hope to charm our idle need,
Satan, O pity my long wretchedness!
Thy gift, that bland imperious glance that hallows
The damned, and damns the blest about the gallows,
Satan, O pity my long wretchedness!
In coigns of miser earth veined with dead bones
Thou knowest what jealous God hid precious stones,
Satan, O pity my long wretchedness!
Thy fierce eyes pierce deep arsenals in which
The tribe of metals sleep, entombed and rich,
Satan, O pity my long wretchedness!
Thy broad palm cloaks the precipice's edge
For sleepwalkers, poised on a building's ledge,
Satan, O pity my long wretchedness!
Thy magic softens bones of drunkards struck
By hooves of horses on a speeding truck,
Satan, O pity my long wretchedness!
To cheer him, Thou didst teach frail man, Thy friend,
How aptly sulphur and saltpeter blend,
Satan, O pity my long wretchedness!
Thou, skilled accomplice, Who dost stamp thy mark
Upon the brow of Croesus, harsh and stark,
Satan, O pity my long wretchedness!
Thou Who didst lend the eyes and hearts of whores
Their love of tatters and their cult of sores,
Satan, O pity my long wretchedness!
Thou, sage's lamp and exile's staff, serene
Guide to those kneeling by the guillotine,
Satan, O pity my long wretchedness!
Father to those whom God the Father's vice
Of vengeance drove from earthly paradise,
Satan, O pity my long wretchedness!
Envoi
Glory and praise to Thee, Satan, on high,
Where Thou didst reign, in Hell where Thou dost lie,
Vanquished, silent, dreaming eternally.
Grant that my soul some day rest close to Thee
Under the Tree of Knowledge which shall spread
Its branches like a Temple overhead.
— Jacques LeClercq, Flowers of Evil (Mt Vernon, NY: Peter Pauper Press, 1958)

The Litanies of Satan
O thou, of all the Angels loveliest and most learned,
To whom no praise is chanted and no incense burned,
Satan, have pity upon me in my deep distress!
O Prince of exile, god betrayed by foulest wrong,
Thou that in vain art vanquished, rising up more strong,
Satan, have pity upon me in my deep distress!
O thou who knowest all, each weak and shameful thing,
Kind minister to man in anguish, mighty king,
Satan, have pity upon me in my deep distress!
Thou that dost teach the leper, the pariah we despise,
To love like other men, and taste sweet Paradise,
Satan, have pity upon me in my deep distress!
O thou, that in the womb of Death, thy fecund mate,
Engenderest Hope, with her sweet eyes and her mad gait,
Satan, have pity upon me in my deep distress!
Thou who upon the scaffold dost give that calm and proud
Demeanor to the felon, which condemns the crowd,
Satan, have pity upon me in my deep distress!
Thou that hast seen in darkness and canst bring to light
The gems a jealous God has hidden from our sight,
Satan, have pity upon me in my deep distress!
Thou to whom all the secret arsenals are known
Where iron, where gold and silver, slumber, locked in stone,
Satan, have pity upon me in my deep distress!
Thou whose broad hand dost hide the precipice from him
Who, barefoot, in his sleep, walks on the building's rim,
Satan, have pity upon me in my deep distress!
O thou who makest supple between the horses' feet
The old bones of the drunkard fallen in the street,
Satan, have pity upon me in my deep distress!
Thou who best taught the frail and over-burdened mind
How easily saltpeter and sulphur are combined,
Satan, have pity upon me in my deep distress!
Thou that hast burned thy brand beyond all help secure,
Into the rich man's brow, who tramples on the poor,
Satan, have pity upon me in my deep distress!
O thou, who makest gentle the eyes and hearts of whores
With kindness for the wretched, homage for rags and sores,
Satan, have pity upon me in my deep distress!
Staff of the exile, lamp of the inventor, last
Priest of the man about whose neck the rope is passed,
Satan, have pity upon me in my deep distress!
O thou, adopted father of those fatherless
Whom God from Eden thrust in terror and nakedness,
Satan, have pity upon me in my deep distress!
Prayer
Glory and praise to thee, Satan, in the most high,
Where thou didst reign; and in deep hell's obscurity,
Where, manacled, thou broodest long! O silent power,
Grant that my soul be near to thee in thy great hour,
When, like a living Temple, victorious bough on bough,
Shall rise the Tree of Knowledge, whose roots are in thy brow!
— Edna St. Vincent Millay, Flowers of Evil (NY: Harper and Brothers, 1936)

Litany to Satan
Oh, you, most remarkable of angels
Driven from the divine crush of the skies —
You were the first exile.
The billions have followed,
Either into new lands or immediate graves
You heal our discontents
And make us strong through
Hate and anger of our masters
And the weariness of the days
The cancer victims, young beauties with ulcers
Alcoholics who won't be content with their O.K. jobs
Would be happy to give themselves up to the paradise
You maintain below.
Through your agent, Death,
You give us hope and
The curiosity to see tomorrow;
The guilty have their calm photographs
Printed in the newspaper. It is our joy
To see them. Satan,
Whose hands-on the perishable —
Guides drunken feet to cars
Encourages tired whores
Broke drug addicts to score again
Violent alcoholics to hit away
Sends those who want love,
Terrible lovers —
Take pity on our pain?
We are exiles, too!
Prayer
Satan, a prayer to you because we cannot reach anyone else.
Only we are left to remember your unfair loss.
This hell we do not accept silently.
Help us take more apples from the tree —
Let nothing remain unseen!
When you shoot out
To flower again
Remember us not as brute but as
Ones who accept the torture
Again and again.
— Will Schmitz

Les Litanies de Satan
wisest and fairest of the Angels young,
o god whom fate betrayed and left unsung,
Satan, have pity on my long despair!
o exiled Prince borne down by many lies,
who, conquered, ever mightier dost arise,
Satan, have pity on my long despair!
o thou who knowest all things, who dost reign
in nether worlds, who healest all men's pain,
Satan, have pity on my long despair!
thou who to pariahs and lepers dost
reveal, through love, the heaven they have lost,
Satan, have pity on my long despair!
thou who with Death, that old and mighty trull,
begot us Hope, so mad, so beautiful!
Satan, have pity on my long despair!
o thou who gives bandits, doomed to die,
the brows which damn a nation, standing nigh,
Satan, have pity on my long despair!
o though who knowest in what crabbed zones
of earth, God locked away the precious stones,
Satan, have pity on my long despair!
o thou who seest through the deep dark walls
where sleep the metals' buried arsenals,
Satan, have pity on my long despair!
o thou whose hands upon the housetop keep
the abysses veiled from those who walk in sleep,
Satan, have pity on my long despair!
o thou who savest from the horses' feet
the poor old drunkard fallen in the street,
Satan, have pity on my long despair!
o thou who showest suffering mortals how
to mix the salts and sulphur — blessèd thou
Satan, have pity on my long despair!
thou who dost brand in subtle friendliness
the brows of rich men base and merciless,
Satan, have pity on my long despair!
o thou who hussies' eyes and bosoms chill
with lust of blood and love of rags dost fill,
Satan, have pity on my long despair!
staff of the exiled, torch inventors woo,
confessor of the gallows' plotting crew,
Satan, have pity on my long despair!
o foster-father of us all, who share
God's primal curse, and lost our Eden there,
Satan, have pity on my long despair!
glory and praise to the, in heaven above
where thou didst reign, and in the abysses of
thy Hell, where thou art brooding, silently!
grant that with thee my soul, beneath the Tree
of Knowledge may find rest, when, o'er thy brows,
like a new Temple it puts forth its boughs!
— Lewis Piaget Shanks, Flowers of Evil (New York: Ives Washburn, 1931)

Les Litanies de Satan
Ô toi, le plus savant et le plus beau des Anges,
Dieu trahi par le sort et privé de louanges,
Ô Satan, prends pitié de ma longue misère!
Ô Prince de l'exil, à qui l'on a fait tort
Et qui, vaincu, toujours te redresses plus fort,
Ô Satan, prends pitié de ma longue misère!
Toi qui sais tout, grand roi des choses souterraines,
Guérisseur familier des angoisses humaines,
Ô Satan, prends pitié de ma longue misère!
Toi qui, même aux lépreux, aux parias maudits,
Enseignes par l'amour le goût du Paradis,
Ô Satan, prends pitié de ma longue misère!
Ô toi qui de la Mort, ta vieille et forte amante,
Engendras l'Espérance, — une folle charmante!
Ô Satan, prends pitié de ma longue misère!
Toi qui fais au proscrit ce regard calme et haut
Qui damne tout un peuple autour d'un échafaud.
Ô Satan, prends pitié de ma longue misère!
Toi qui sais en quels coins des terres envieuses
Le Dieu jaloux cacha les pierres précieuses,
Ô Satan, prends pitié de ma longue misère!
Toi dont l'oeil clair connaît les profonds arsenaux
Où dort enseveli le peuple des métaux,
Ô Satan, prends pitié de ma longue misère!
Toi dont la large main cache les précipices
Au somnambule errant au bord des édifices,
Ô Satan, prends pitié de ma longue misère!
Toi qui, magiquement, assouplis les vieux os
De l'ivrogne attardé foulé par les chevaux,
Ô Satan, prends pitié de ma longue misère!
Toi qui, pour consoler l'homme frêle qui souffre,
Nous appris à mêler le salpêtre et le soufre,
Ô Satan, prends pitié de ma longue misère!
Toi qui poses ta marque, ô complice subtil,
Sur le front du Crésus impitoyable et vil,
Ô Satan, prends pitié de ma longue misère!
Toi qui mets dans les yeux et dans le coeur des filles
Le culte de la plaie et l'amour des guenilles,
Ô Satan, prends pitié de ma longue misère!
Bâton des exilés, lampe des inventeurs,
Confesseur des pendus et des conspirateurs,
Ô Satan, prends pitié de ma longue misère!
Père adoptif de ceux qu'en sa noire colère
Du paradis terrestre a chassés Dieu le Père,
Ô Satan, prends pitié de ma longue misère!
Prière
Gloire et louange à toi, Satan, dans les hauteurs
Du Ciel, où tu régnas, et dans les profondeurs
De l'Enfer, où, vaincu, tu rêves en silence!
Fais que mon âme un jour, sous l'Arbre de Science,
Près de toi se repose, à l'heure où sur ton front
Comme un Temple nouveau ses rameaux s'épandront!
— Charles Baudelaire

Thursday, 15 July 2010

TIME AND TRANSCENDENCE: A JOURNEY AROUND OUROBORUS 2



A similar motif but not as powerfully realized.Not as imaginative.Again,erotic image of  a female.Scantily dressed girl,in this case with mouth  slightly open in delight,self satisfaction or to speak?Again the rocking horse motif,but this time ridden by the girl not the girl as rocking horse;the ouroboras again framing the image of the girl on the rocking horse and the same pentagrams dancing within the various points in the image.

TIME AND TRANSCENDENCE : A JOURNEY AROUND OUROBORUS









This painting represents the visual art of  the English artist, magical theorist, writer and practicing magician Mark Dunn, at his best. The power of the painting emerges from the transformation of the  erotic centre of the pattern of line and colour  through conjunction between  incongruous elements which focus the erotic but divert it from a merely sensuous value to something disturbing and difficult to define.

The painting is beautiful because of the harmony realized through its elements, discordant  as these are  taken individually. The smooth skin and lovely face of the woman  lend the painting a sense of the delights of life contradicted by the cruel bit on  the woman's mouth, framing her face in what looks like a lock, with a menacing looking club topping the facial structure. The sensuousness of her skin is reinforced by her erotic pose, a pose rendered incongruous since the legs metamorphose  into the body of a decorated  rocking horse. Questions spring to mind. What kind of fantastic creature is being suggested here? A creature or a state of mind or of being? The presence of the child, sitting with such princely ease atop this fantastic form while holding  a riding crop in his  small hand, amplifies the pattern of incongruities that constitute this painting, while embodying its surreal power.

Directly below the bizarre central tableau is  a snail or sea shell, its curve engraved with Roman numerals in the   sequence of a clock, pierced at the centre of its spiral form by the downward tip of one of the triangles of a pentagram, itself inscribed with unusual  letters.  Could the spiral form, in alignment with the image of the shell clock, complicated by the integration with the pentagram, suggest anything about patterns? The motif of patterning unifies spiral, clock and pentagram. The spiral evokes abstract pattern, the snail, biological pattern, the clock, temporal pattern and the pentagram inscribed with letters suggests the integration of consciousness and symbolism aspired to through the use of patterns in magic.

Particularly unsettling is the image of the unborn child as it looks in the womb, on the extreme left, directly below the woman. The delicate limbs, tender toes and large head of this image of a human being in terms of its appearance in  the first environment in which human life emerges evokes  the womb and,by implication,  sources of life. Its presence outside the womb  suggests  danger for the growing life and makes the unborn child  less like a beautiful form than   a deeply disturbing, almost nightmarish  figure on account of its yanking out of its nurturing context in the womb outside which its survival is delicate. This hint of nightmare is amplified by the turbulence of disjointed forms  emerging from the maelstrom  behind the central figures of the painting.


The background,at the back of the space where the boy and his mount are positioned seems to be a maelstrom from which images are forming with turbulent energy.

This maelstrom is centered in the massive image of an ouroboros, a snake coiled up in a circle.


The evocation  of nightmare by the image of the unborn child, reinforced by the disturbing fate of the woman, is   rendered tolerable by the colour that suffuses the entire painting, giving it an overlay of calm beauty through carefully modulated tones  and patterns of light without dispelling the discordance that constitutes the painting; a discordance represented by faces disjointed from bodies; faces arrested in moments of reflection, as the boy’s face next to the foetus, or a face with lips parted in speech, as the woman at the top right; faces simply looking, as the eye on the top left; a face  pensive as the little girl whose head is visible next to the gazing eye; discordances unified by the image of the snake whose coils shape the centre of the painting, the entire length of  its triple coils inscribed with strange designs that suggest an unusual  hieroglyph, its mouth open in a visual form that adds a sense of power to the dynamism of its coiling shape; a unity focused ultimately in the most weird tableau of the nubile naked woman horse and her strange rider.

The sense of mystery evoked by the bizarre universe created by the painting is amplified by the fact that it is pervaded with abstract forms that suggest a language removed from conventional communication, such  as the form directly behind the rump of the rocking horse. The form glows with a dull blue light as it is suffused by a grey haze. It is constructed of a sequence of three crosses of which the central one is capped by the line that forms the top of the rectangle that encases the crosses, the rectangular top shaping into triangles and circles, as the right side of the form extrudes into two soaring arabesques that flank a central ornate pillar formed of a base of three lines that soar out of the left and right to surround a small half circle.

The effect is dramatic and mysterious.

The unborn child  does suggest life in the most potent form known to human beings while the clock evokes the passing of time. What may the biological patterns of the snail like spiral suggest in relation to the biology evoked by the unborn child, still waiting in the womb of time to emerge?

The uoroboros suggests the possibility of  alignment of  the primal creativity of life evoked by the unborn child with conceptions of natural and cosmic form suggested by the ancient symbol of the coiled snake.

The lines that come most readily to my mind in connection with this bizarre beauty are  W.B.Yeats phantasmagoria:

“…twenty centuries of stony sleep 
…vexed to nightmare by a rocking cradle, 
…what rough beast, its hour come round at last, 
 Slouches towards Bethlehem to be born?”

All changed, changed utterly:
A terrible beauty is born.”


It is tempting to explain these motifs in Mark Dunn's art, but I will not. Explaining meanings of a work of art might help to destroy its mystery, leading the person explaining and the person being explained to to conclude, wrongly, that they  have understood, have grasped that work. It is ultimately more effective to let the work of art reveal itself or to  the experiencer and the work of art collaborate in its revelation or recreation in the experiencer's consciousness.

To that effect,I  shall say nothing more for the time being about this painting and move on to other Mark Dunn works.

To create a bridge that will take us into the universe he has created, let us enter into a verbal analogue by Dunn to  the surreality of this painting:

Around the Circle the Masks within Masks speak a Rune leading to a Rune to yet another Rune along the endless Rune etched scales of the Serpent Dragon Circled Ouroboros, at whose midst the Unknowable one of all potential who rides a Spider of an Eight-Legged Horse weaving Webs of Associations myriad to Glide over.

Seated upon a Cubic stone of measured Space-Time whose Light be fixed be but one of many a stone throne, all as one simultaneous to ride as an Eight-Legged Mare, which be tethered to a Tetrahedron World-Tree at the midst of the Cube enclosed by a Dodecahedron. 

Many a Dodecahedron Universe to Seer while to ride the Eight-Legged Mare at whose centre be one’s inner Star of a Sun behind the Sun of Singular Eye whose Light travelled faster at the Ending of a Beginning, Beginning of an End leading to yet another Beginning Ouroboros, Travelling without Moving...

Two Dimensional of Mandala pylon Two Horses becomes Three Dimensionsal to envisage of Spider weaving webbed fusion leading to a Cube, to thereby Glide into a World Tree of Nine Dimensions...

An Association of Gliding Imagination leads one to a Cube of a 'Tardis' to go further still of Multiverse Associations, for the one whom rides the Cube is Unknowable of many Masks... Grimnir...


What I find delightful here is its mantic form, the chant created through repetition and accentuated through the idiosyncratic use of capitalisation; an imagination of mythic proportions; the manner in which it piles images upon images, one strange image after another; provoking the  mind to try to assemble the jigsaw of  images in order to  arrive at some coherence out of a form similar to S.T.Coleridge’s  description of watching the English actor  Edmund Kean’s acting as being like  reading Shakespeare by flashes  of lightning.

The incantatory rhythm, the  sacerdotal atmosphere generated through the diction and structure of the passage suggest that a journey of some sort is taking place, a journey not so much in time and space as  in consciousness, a journey that is operating in relation to the rhythmic progression of the passage, a rhythm that  evokes the idea of ‘“travelling without moving” by riding  a“ Spider of an Eight-Legged Horse” which is also  a “Cubic stone of measured Space-Time “, while the “Eight-Legged Mare” is described as  “tethered to a Tetrahedron World-Tree at the midst of the Cube enclosed by a Dodecahedron”.

This incantatory rhythm/flow  suggests the rhythm of Mark Dunn’s technique of expansion of consciousness through  which he describes himself as ‘travelling without moving’ by entering into other dimensions through the effects of attuning his consciousness withthe being of non physical entities through the act of chanting a sound that resonates with the nature of these beings ,something like a name, while meditating on visual symbol associated with them. Within that context, the mind becomes for  Dunn the eight legged horse of Odin,the Norse god who used that horse in travelling between the various worlds  constituted by Yggdrasil,the World Tree/the tree of life which constitutes  through its branches the various worlds and dimensions in the cosmos, while at its roots were Mimer, the well of wisdom and the three sisters who weave the fates of humans. The ideational rhythm between the interdimensionality of the tree, the subject of relationships between the course of a human life in terms of  the existence of various possibilities available to one in relation to the coexistence of multiple realities and the quest for access to sources of wisdom to enable one traverse these dimensions is at the core of Dunn’s thought and visual and verbal imaginative world.

The image of a ‘Cubic stone of measured Space-Time’ is particularly impressive because it sums up most powerfully the unity of space and time, a motif central to Dunn’s work, evoking as it does the history of human engagement with these fundamental constituents of material and mental existence. The cube represents spatio-temporal coordinates in which the meeting of the lines that make up its four sides suggest, in an abstraction from actual experience that is yet ideationally vivid, the fact that motion in space implies temporal activity or moving through time, and that time and space are interrelated through the revolutions of the celestial bodies, as well as the changes undergone by spatial forms in the context of time. The cube, therefore, can be seen as made up of lines in which each line represents either time or space and the constitution of the right angles of the cube by the meeting of two lines evokes the constitution of material existence by these immaterial forms and the effects of that on human consciousness.

The  “Spider of an Eight-Legged Horse weaving Webs of Associations myriad”,the Spider weaving webbed fusion leading to a Cube, to thereby Glide into a World Tree of Nine Dimensions...”





which the rider ,the “Unknowable one of all potential” the “one whom rides the Cube is Unknowable of many Masks... Grimnir...” whose activity is further evoked in terms of  “Many a Dodecahedron Universe to Seer while to ride the Eight-Legged Mare at whose centre be one’s inner Star of a Sun behind the Sun of Singular Eye whose Light travelled faster at the Ending of a Beginning, Beginning of an End leading to yet another Beginning Ouroboros, Travelling without Moving...”