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Friday, August 31, 2012

Illustrated Spell: Angular Velocity

Illustrated spell

Purpose: Designed to increase the effect of joint action and coordination in order to effect a change in direction -- in this case a change in the direction of my thinking in order to gain perspective on a situation.

Materials: Acid free rag paper, pencil, ink, watercolor. Currently unmounted as I look for a better framing solution.

Method: Charged throughout the drawing, inking, and painting process.

Photograph: Photographed in muted daylight. Boy photographing these is challenging!




IV Bromius
Angular Velocity, 2010
ink and watercolor on paper, 20 x 16 inches


Tuesday, August 28, 2012

Illustrated Spell: Mainspring


Illustrated spell

Purpose: Designed to help foster a sense of balance and peace during times of tension.

Materials: Acid free rag paper, pencil, ink, watercolor. Currently unmounted as I look for a better framing solution.

Method: Charged throughout the drawing, inking, and painting process.

Photograph: Photographed in muted and somewhat uneven daylight. These pictures were very challenging to get decent pictures of because of the color palette and the natural undulation of the paper. I think I need to set up a light box.


IV Bromius
Mainspring, 2010
ink and watercolor on paper, 20 x 16 inches


Introduction to my illustrated spellcraft

While my sigil paintings are relatively self explanatory, the illustrated spellcraft drawings benefit from a little introduction. These drawings are one part poetry, one part magical invocation, and one part illustration (in the style of Victorian technical drawings). The language, the illustration, and the symbolism should all work together to further the spell, conveying a message in both the magical and mundane sense. Like other magic meant to hang on your walls, these spells are inward focused, about the desires and needs of me and my household. For a spell aimed at or intended for another person, it could be crafted and gifted to the recipient.

A note on sharing these spells. I'm a firm believer in the 'be silent' aspect of working spell craft. A lot of the magic I do is not and will not be shared. Some may be shared after successful completion of the working but not before. Still, I subscribe to Alan Moore's idea that magic is most closely associated not with science, but with art. And audience is a critical component of art. To work in the world, the art must been seen, heard, experienced by an audience. The whole point of a painting or drawing is that it be hung and shared. And this is appropriate as art deals in metaphor and symbol. The sigil or spell on my wall isn't necessarily or even likely to be experienced as magic.

More on magic and art to come, as it's a topic I'm fiercely interested in. Until then, I'll be sharing three spell illustrations in coming days.

Sunday, August 26, 2012

Seasonal Rituals and Sigil Work

I've always been extremely obsessed with lunar and solar cycles. And even from my childhood in the desert Southwest (where the seasons are very different from the typical agricultural cycle) seasonal change was a huge driver for my emerging religious and magical practice. But it wasn't until I lived in Minnesota that I really understood the traditional "wheel of the year" that most Wiccans and Pagans use by default. The weather in Southern Minnesota replicates those traditional holidays very closely and living there was the first time I really understood Imbolc or Lammas. The other thing I learned from living in Minnesota was the importance of seasonal rituals as part of the passing of time. From spring cleaning, garden tilling, gutter cleaning, leaf burning, holiday light hanging / removing, and hanging storm windows, the people I saw who grew up in that landscape (where there were large extremes between different seasons) had these rituals that they'd grown up with and that they just naturally kept up as part of yearly maintenance for their households.

No, most of these rituals weren't deliberately magical, but they did have meaning beyond just the act itself and were conscious acknowledgements of natural changes (and it's not really a stretch to put a sigil for safety on your snow tires every autumn, is it?). For many of  the people I met, these activities were also time markers. A way of anchoring themselves in the cycle of time. When I lived there I was still young and didn't appreciate the march of years and rhythmic traditions of people with a more defined sense of place. I was still focused on motion and change through action. Hey, I came from a tradition of striking out to new frontiers without the bulwark of family, so it's no wonder my 20s found me and my partner doing the same.

But now that I'm older, more settled, with a family of my own, I absolutely see the value of these acts. Time tends to blur as you age and especially buried in the busyness of parenting. Having these stakes in the ground are a reminder of the slow steady march of the seasons. That I can make these actions magical is a bonus. It's a way of preparing myself and my household for seasonal change and coming into tune with it.

Next to my front door, I have the following plaque (picture taken from a site where you can buy your own):


I originally purchased this from the local Pagan / Newage shop about ten years ago. It had been dropped and chipped (it's plaster) and so was massively discounted, but I touched it up with paint and it's not noticeable. Each arm of the cross represents a different season and there are four hangers on the back, so you can rotate it throughout the year. The description on the site I got this image said that the current season goes at the top, but that doesn't make sense as the image is only upright at the bottom so I always have the current season at the bottom of the cross.

Anyway, I've been hanging and rotating this thing for a decade now. This is much longer than most of my personal rituals and it's built up something of a magical charge. I don't rotate it on a fixed schedule, but based on the local environment and my intuition of when the seasons are actually changing. And what I've found through this process is that deliberately acknowledging the seasonal change through magic is extremely good for me. I don't live in Minnesota anymore, but I do live someplace that has four seasons with distinct energies. When I'm in harmony with these energies, I feel better and things go more smoothly. When I fight against them, then things are more difficult. And knowing this, I find that openings in our family's schedule appear that allow me to do the work I need to in order to transition.

One of these quarterly transitions usually involves updating the various charms and sigils around the house and switching them out as necessary, refreshing certain perishable components, and giving everything a good cleaning/cleansing. This is also the time to retire any sigils that have served their purpose, either because the goal  was met or the situation changed enough so that the original goal is no longer necessary (I'm always surprised at how frequently the latter occurs). And naturally it's a time to start thinking about upcoming goals in order to create new sigils.

The summer has been busy this year, but the tide is turning (I need to change the calendar today) and I'll be doing more art and craft in the coming months. I have my quarterly goal clearly in mind and am planning a working this weekend to create some sigils and take some photos of existing artwork.

Wednesday, August 15, 2012

Sigil Painting: ... is the Key

Love sigil

Purpose: Designed to draw love into a household and increase the love inside it. Not focused on any specific individual or charged to create new love.

Materials: Cadmium oil paints, the most brilliant and long-lasting, can be toxic if not handled with care (much like love itself).

Method: The sigil was charged during the painting process, specifically during the addition of the detailed line work.

Photograph: Photographed in natural, if muted, daylight. The colors are somewhat more brilliant in person.


IV Bromius
...is the Key, 2012
oil on stretched canvas, 18 x 24 inches


Monday, August 13, 2012

Sigil Creation Process

My process for creating sigils uses a magical alphabet that I created, based on the English alphabet. I find a short phrase or word for what I want, transcribe it into the script, and then combine and morph the results. The process is intuitive and based loosely on Spare's methodology, but using the alternative alphabet and without eliminating duplicate letters. I than charge the sigil in an appropriate fashion. For painted versions, the act of painting itself charges the sigil as the painting process easily results in a directive trance state.

Painted sigils should represent the item desired in a archetypal way and be aesthetic enough for an attractive painting (balanced, etc.). I choose the medium, material, and color to match the goal. I'm not in the habit of destroying my sigil paintings, so I reserve them for objectives that have a long duration or are ongoing goals. While I have experience with negative sigil work (banishing or repelling magic using sigils), I wouldn't create painted sigil for this purpose because of the time investment in the painting itself.

During the painting process, the partially charged sigil begins to generate the appropriate energy in the house, which I can then tap to continue empowering the sigil. This process allows for an extremely high level of empowerment in a kind of feedback loop. This process also continues after the painting is complete. Unlike some magic work, sigil paintings are meant to be hung openly. The energy they exude helps manifest that energy among members of the household, which is then reabsorbed into the painting.

In this way, the sigil paintings are like rechargeable batteries that are connected to the energy system of the place they are hung. Much like the battery in a hybrid car, which is recharged by application of the brakes while driving. It helps that our household is full of magic users, however I believe this would work well, and subconsciously, in any location.