Monday, February 27, 2012

Emanations: Second Sight Cover Concept

Recently, Kai Robb sent me his draft of the cover art for Emanations: Second Sight. When he finishes the project, I'll post the art work here. In the meantime, here is Kai's description of his over-all concept, and the eight thematic image groups represented in the work:
The basic notions behind it stemmed from 'Emanations' and 'Sight', thus the repeated eye motifs -- each eye serves as the 'heart' of the smaller emblems within the main emblem, which is based upon Otz Chaiim (The Tree of Life) of Qabalah. Each of the Sephiroth of the Qabalah are in a state of constant creation, via emanations (a key word in the concept) flowing down from the Superior worlds into the Inferior worlds -- As Above, So Below. However, I've sought to strip much of the 'mysticism' in this emblematic version, and rather, attempted to render each sphere as a 'generative' concept. To give a basic idea of the corresponcence:

1) The seed/eye image at the bottom (physical life) - Malkuth (The Kingdom) - Earth

2) The lunar/uterine image above it (reflection, source of life) - Yesod (Foundation) - the Moon

3) The city section (organizing direction) - Hod (Splendor) - Mercury

4) The nature/trees section (chaotic growth) - Netzach (Victory) - Venus

5) The sun wheel at the centre (connection, cycles, link between the crown and the kingdom) - Tiphareth (Beauty) - The Sun

6) The storm above the city (motion, power) - Geburah (Strength) - Mars

7) The galaxy over the trees (form) - Chesed (Mercy) - Jupiter

8) The mouth - Da'ath (Knowlege) and the Abyss

The nautilus, the ammonite, and the temple between them represent Binah (Understanding), Chokmah (Wisdom), and Kether (the Crown), the Sephiroth which lie beyond the Abyss. These are the 'God spheres' in short -- and I chose to combine them as three-in-one, hence one 'eye' heart for the three of them -- although the nautilus and ammonite have eyes of their own.
After studying Kai's draft alongside his description, the only meaningful thing I might add (at this point) is that I am amazed he has been able to integrate so much into a single unified image. Some might raise their eyebrows and question the integrity of such an undertaking. "After all," they could say, "isn't this sort of thing merely the recapitulation of old concepts, and for the sake of suggesting something hermetic?" My response is to smile as if to convey some deep stillness, and then slowly and softly say, "Ah, well. But what does this question have to do with beauty?"


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