by Ben Koch
Everyone on the planet who is aware of the tragic events ten years ago today has in some way acknowledged this anniversary. As with anything so charged, there are extremes–on one end we have pious and patriotic outpourings, while at the other end of the spectrum it’s an opportunity to decry conspiracies of the military-industrial complex.
Those mystically-inclined among us would suggest stepping back from either extreme and using this anniversary as a chance to probe the collective consciousness that surrounds this event in the hazy boundaries between past, present and future.
Visionary artist Alex Grey provides the perfect entrance. His 1989 painting, “Gaia,” depicts the twin towers amid two ominously hovering airplanes on the dark side of a light/dark contrast.
Another goosebump-raising case is that of the sculptor Michael Richards and his piece “Tar Baby vs. St. Sebastian” (1999). It depicts the artist being impaled by several airplanes as he stands stiff and erect like a tower. This wouldn’t be especially relevant except for the fact that HE PERISHED IN THE COLLAPSE OF THE TOWERS SOME TWO YEARS LATER, where he had a studio.
Alex Grey himself, in his newsletter Cosm, suggests that, “precognitive flashes are possibly more accessible to artists and creative intuitive thinkers, like an antennae into the collective consciousness.” It seems reasonable that those engaged in a daily stretching of individual consciousness would tend to be open to the patterns within the frequencies of deeper transpersonal levels of being.
How many of today’s more striking and “off-beat” pieces of art might be glimpses of future collective destinations?