When we consider the interface between magic, the visual arts and publishing nobody does it better that Fulgar Esoterica. Tenacious as Frater Perdurabo himself, since 1992 this small team has been working deligently away, bringing great esoteric art to wider audiences. Publications such as Zos Speaks! were instrumental in bringing the name of Austin Spare back into the mainstream artistic cannon without playing down the occultism of his work.

I & Myself in Yoga Austin Osman Spare

Recent ventures have included the outstanding Abraxas journal which, far from being the same old waffle about goetic spirits and spooky sigils, instead showcases some of the great occultist/artist practioners from the past and present. If you’re connected with the contemporary ‘occult scene’ in Britain it’s really refreshing to pick up a copy of Abraxas and discover a whole host of practioners who are of the ‘artist magician’ variety (and not a roll-call of the same old names, writing basically the same old guff.)

Later this year there are plans for a major exhibtion I:MAGE 2014, Travelling with Unfamiliar Spirits at The Cob Gallery, London from 21 October 2014 – 2 November 2014. In advance of the event there’s plenty of bloggage from some of the partcipating artists. Here for example artist/occultists Jesse Bransford and Max Razdow share with us their record of dream incubation using the Icelanding Seiðr paradigm.

Have a browse round the Fulgar site and, if you an artist, you may want to get in touch. The zeitgeist means a re-evaluation of magical art is in the air, and usually this means the art produced by esoteric practioners (rather than by artists who are inspired by occult motifs). Moreover this isn’t some recuperation by capitalist culture (the preditory art world looking to make big bucks from our magick$) but a movement in large part inspired by practioners within both the artworld and academic community.

Totentanz.
Charlotte Rodgers
Mixed Media with Crane’s head,fox bone and Turkey Chick.
Image by Marc Aitken

Recent events such as the Magickal Arte exhibtion in London, the purchase of work by Genesis P-Orridge by Tate Britain, the Visions of Enchantment Conference  and launch of Black Mirror are part of this movement. There seems to be a real renaissance in the art of magick, and whether as an audience member, academic, artist or occultist there looks to be a rich, strange and rewarding journey ahead.

JV