Hallucinogenesis: the Spontaneous Generation of Hallucination
| Now, we introduce you to the art of: Stephen Randal Casals |
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| About Stephen Casals (Click Spiral) |
| Coming Attractions! (Enterprises that we are to be getting into) Soon you will find a page (as soon as I figure out how to do it) from which you will be able to order prints on paper or clothing like t-shirts. Now that there is one new artwork up, how about corresponding to us and letting us know what you think!? (click on Make Contact) |
| LogoRhythmatic Patternal Eggs Emanating From My Beating Heart (c)1999 Drawn in 1987, photocopied in 1997, photographed onto clear acetate for screen printing in 1998, finally screen printed onto t-shirts in 1999, and lastly, digitally photographed and processed in Photoshop in October 2005, this picture is a teaser of the real thing, originally drawn on lined notebook paper. The original has been lost [Stephen also painted the picture used for the background of the main page of this site.] (He also is playing the Didgeridoo that you may be listening to.) |
Hint: Try
Looking at the
painting upside
down and both
sideways
directions.
There are
completely
different images
embedded on
top of
eachother that
do not disturb
each other's
alternate
realities.
Looking at the
painting upside
down and both
sideways
directions.
There are
completely
different images
embedded on
top of
eachother that
do not disturb
each other's
alternate
realities.
| "Grey Matter" (c)2000 Artist Comment--"Started in 1997, this painting began as an experiment. It has since grown to be a life-long obsession. It is still not finished. All of the imagery is complete (the layers of interlocking images, that is) but they all have to be shaded and worked so that they have a photographic quality. Some parts of the painting are complete, and some are just sketched in. But all of it's complexity is total. For some of the very micro-images, a jeweler's glass and a single beard hair (as a brush) were used to paint them. Back way up and find "The Foot" or "The Buffalo Head", then get real close and try to realise that every single strok of the brush that you can see--even the most minute--are intentional strokes supporting a multi-leveled matrix of interwoven realities composed of faces, scenery and subjects of all kinds. Be careful! This One Hurts! A friend of mine once described this painting as, 'kicking me around the entire surface of the painting.' He said, 'I get in to one small part, then it tosses me around to another part and before I can stay there long, I'm thrown into another dimension of the same area, then tossed back and forth until I'm finally just kidked right out of the whole thing. Then I take big breath and jump right back in for another round.'" |
" Hallucinogenesis " 1998