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June 18, 2013


Section: Song of Andradimus- Thiel


One might well ask: “Do we need another ism?” I will answer that with another question: “Do we continue to need gifts?”  Yet, Spirrealism, as an art movement, makes the claim that it is art endowed with breath of spirit.  It is spiritual gift. Now, the red flags are flying high, or, at least, a bold yield sign. Why are the warning indicators immediately thrust before us?  That is because we are inherently suspicious of spiritual gifts. Oh, we will readily accept the latest, new and improved version of iPhone, which will render the previous model obsolete, but a spiritual gift through painting? What can we do with it? Can we buy and sell it? Is it functional? Why do we need new art? Why would we need a new idea in the arts? Isn’t painting dead? Furthermore, why would we want or desire a new spiritual art movement?

From the introductory statement: “Spirrealism is not a religion.” We can, oh so easily, anticipate the next, premature, sophistic, accusatory question: “Then, it’s new age?” I might be tempted to answer with yet another question: “ Is that better than old age?” The New Age genre has, rightly, been saddled with widespread dismissal due to the excess of attached, farcical baggage that accompanies that parody of a movement. Isn’t it better to renew the Old Age, rather than throw it out with yesterday’s bath water?

“Renegade expression” is one of the descriptive components used in Spirrealism’s premiere manifesto.  Yet, preceding that idiom are the words: “beauty diaphanous.” Those two sets of phrases are hardly contrarian. They can, and should, be transcendently complimentary. The orthodox and the provocative conjoin in Spirrealism, the way the Second Testament can potentially unify with the Hebrew Scriptures. Spirrealism edifies that restless Sanctuary and, in so doing, applies salve to the pigment.

Our sanctuary is the quintessential ancient of ancients. Restoration abides within. Of course, the texture of our sanctuary demands that we do not flinch from the possibility of provocation. It is merely possibility. We do not aim for it, nor do we concern ourselves with any such likelihood. Firework displays are, inevitably fleeting, rendered superficial phenomena. If provocation is the consummation of an initial exposure, let us render it an incandescent provocation.

I was first introduced to L. Thiel Hewlings via a forum, through which we began dialoging art spirit. Over the course of a year, these exchanges intensified, and shifted, quite spaciously. Occasionally, turbulence was the result of such seismic explorations, but these were perpetually invigorating challenges.  Eventually, we astutely discerned the genesis of collaboration.

L. Thiel Hewlings is authentic peer in Spirrealism. However, she is not a peer I unquestionably edify. She would not have me reduce her to such plaster pedestal. Nor would she afford me such an insulting simplification. She is too faceted for that.

I have seen her work evolve from something I merely found a slither of interest in to work that incessantly confronts me. Our discourses, our collaborations have reaped egalitarian essence.

It is not by mere coincidence that L. Thiel and I found our hymn of the pearl in John’s Samaritan woman at the well model. I bandy back and forth with her and her work. Of course, the two are inseparable. I see the latent element of autobiography when I encounter the canvases of one Photini: Woman discovered at the well, waiting at the well, returning to the well.

Photini-  Thiel

Thank you, Alf. Beautiful sharing. Like Jean-Francois, Vincent, Diego, Franz Marc, and countless others, we can only make our pictures speak.

Well, my own work, I am risking my life for it and my reason has half foundered because of it – that’s all right – but you are not among the dealers in men as far as I know, and you can still choose your side, I think, acting with Humanity, but que veux-tu? (From a letter found on Vincent)


Sections from Weeping Prophet- Thiel



Collection can be viewed in full at


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