Meta-Forms is a demonstration of artists pulling visionary information from the universe we all live in.  The art making is a mode of mediation and translation with the artist being the translator.  We look at the work of these three artists, in this case, three artists who are compelled to make the intangible tangible without stripping it of its mystery and realize they have made their own worlds visible to us as a service.  It is a gift, it is an offering, it is fraught with dark and light messages.

André Breton and Jean Dubuffet never concluded how to categorize spiritist, spiritualist, and occult spiritual art.  It danced along the edges of Art Brut, but it was not always created by self-taught artists. The work of these makers can better be described as Proto-Surrealist. Their art was not made to demonstrate Surrealists precepts, yet it embodied everything the Surrealists sought in their own work—pure psychic automatism, pulled from their dreams, the occult, visions, astral traveling and on and on.

The three artists in this exhibition are not part of a movement or any universal philosophy.  The work touches on many metaphysical discourses but the artists create on their own initiative, it comes from the ethers and the shadows, it is redolent with the voices of a perceived Other.

Each of these artists invokes silence to prepare for their spirits.  None of them defines those various muses because the process involves the creative power of immersive surrender. 

Catherine Garrigue sets a minimal stage: her table, her chair, the paper, and her hand.  This is the mise-en-scène of her quiet theatre.  The result is a dark visual poem of the charged silent, but intensely populated shadow world of a dimension where her memories, her present and her amorphous future merge in pulsing clarity.  Her multitudes are set free by the drawings.

Cara Macwilliam paints in the throes of her activated occult practice.  Her ancestry is Celtic and immediately present in the creation of each painting.  The work is activated by internal and vocalized chanting.  According to her the ritual process is not easy to separate from the painting itself.  She surrounds herself with ethereal beings, a cohort of ancestral influence including her recently passed father and her paternal grandparents. Her relationship with the materials of artmaking is animistic.  They are alive and interactive with her own spirit.

Noviadi Angkasapura lives in the vivid homeground of his Indonesian spirits.  There is constant conversation coupled with a musical sense of visual free improvisation.  His spirits are omnipresent.  They do not wait to be summoned but manifest at their own numinous will.  They teach and the act of drawing and then distributing those drawings is blessed by their guidance.  Angkasapura draws every day.  The act itself becomes a fulfillment of his own Spirit’s mandate that he seeks balance and natural justice

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