Coming up this May 31st in Girona Spain is the World Ayahuasca Conference. The Conference gives a platform to Indigenous healers such as Manari Ushigua, ethnobotanists such as Terrence Mckenna, anthropologists such as Jeremy Narby, and many others to gather and share their work, thoughts and direction for our Earth’s Sacred Plants and the lessons they offer us. Psychoactive plants were not always demonized and considered dangerous…. This demonization came primarily with European colonialism when it grabbed the America’s. For other cultures, these plants have been held sacred for hundreds if not thousands of years. Traces of substance, artwork and paraphernalia have been found in ancient sites from the Americas to Egypt. Just recently traces of Ayahuasca were found in a shaman pouch carbon dated at over 1000 years old. These teacher plants were held in the highest esteem and usually reserved for the Priests and Priestesses. Today in indigenous societies the plants are still primarily taken by priests and curanderos. The psychedelic tourism and recreational use of these powerful plants is to be discouraged. Used with reverence these plants connect us to our Higher …
This beautiful guilded painting “Mother Earth”, by David Hewsen, is 4 X 8 feet and was installed, on the 9th of January, in the entrance of a heart center for a hospital in the United States.
Painting – “Templo Sacrosanto” by Pablo Amaringo
There are a number of human experiences — I am thinking of such things as hallucinations, lucid dreams, visions, out-of-body experiences — that are characterized by presentness, detail, externality, and three-dimensional explorable spacefulness. We can call these visionary experiences. Such visionary experiences appear to be a central and consistent component of shamanism generally — most prominently, for example, in the ayahuasca shamanism of the Upper Amazon
Underlying the intricate geometric patterns of great complexity displayed in the art of the Shipibo people is a concept of an all pervading magical reality which can challenge the Western linguistic heritage and rational mind. The Ethnologist Angelika Gebhart-Sayer, calls this “visual music”.
The common motif across her vast body of work is the interconnectivity and conscious relationship of humanity with the plant realm.
Apparently, ayahuasca can push the human mind to heights of creativity that by far exceed those encountered ordinarily. I myself have realized this in conjunction with a vision in which I was guided through an exhibition displaying the works of an entire culture.
Painter Daniel Mirante explains some of the meanings and symbolism in his latest artwork ‘Chanting Down Babylon’ in a video journey through the artwork.
The late Pablo Amaringo trained as a curandero in the Amazon, healing himself and others from the age of ten, but gave this up in 1977 to become a full-time painter and art teacher at his Usko-Ayar school. Pablo left us this November 2009, and this interview is posted in homage to this great Artist and great Man.
A number of artists have attempted to render the striking visual experiences that occur after ingesting ayahuasca or DMT. In the Upper Amazon, there are both indigenous artists, whose traditional work consists largely of abstract patterns, such as those found on the now well-known pottery, clothing, and other household goods of the Shipibo; and visionary artists, mostly mestizo, whose work is characterized by detailed representations of spirits, trees, animals, objects, and participants in ayahuasca healing ceremonies. These latter works fall almost paradigmatically within what has now come to be called outsider art, sometimes naïve art, and sometimes visionary art — direct, intense, content-laden, narrative, enormously detailed, personal, idiosyncratic, two-dimensional, and brightly colored.