Alpha Analysis Selection, 1997

Painting series. Tempera paintings on painting board – various sizes

Alpha Analysis is not a series in the conventional sense, but rather an interior cartography that seeks to visualize the structures of consciousness, its altered states, and transformative thresholds through a symbolic visual language. As a key phase within the Hermetic Cycle, it operates in the liminal space between psychedelic experience, meditative focus practices, and archetypal symbolism – where selfhood, vision, and ritual converge into a shared syntax.

The individual works form a unified mental and spiritual field: a pictorial world where geometry, distorted self-portraits, crystalline and kite-like shapes, mask-like faces, mudra-inspired hand gestures, and cross-shaped compositional structures become components of a mental topography. Alpha Analysis explores the “primordial” architecture of consciousness – hence its title – where the boundaries between personal and collective, sacred and secular, iconic and abstract have not yet fully separated.

These works are not illustrations, but intermedial thresholds: they do not depict, they transmit. The symmetrical patterns, radiant forms, and mirrored facial constructs are not reflections of reality, but attempts to unravel it. Consciousness is conceived as a sensory field – one in which disintegration, emptiness, and identity dissolution are not destructive forces but prerequisites for transformation.

At the heart of the series stands Horror Vacui, a conceptual fulcrum that articulates the experience of ego-suspension not as a void of loss, but as a gateway to initiation. Other works – featuring kites, beams of light, and ritualized gestures – explore how consciousness can be focused, directed, and expanded into transpersonal states. The repetition of formal elements – face, hand, cross, halo, vent – does not establish a closed iconographic system, but a resonant visual language, in which every form echoes another and every direction connects.

A core premise of the series is that all religious and spiritual traditions – both Eastern and Western – share a common ontological root. The works do not strive for a theological synthesis, but rather for a visual expression of deep-structural equivalence: the dissolution of dualities such as good and evil, and the revelation of unity beneath divergent doctrines. In this sense, Alpha Analysis becomes an exercise in syncretic seeing – a visual hermeneutics that seeks to transmute inner experience into formal structure.

What sets the project apart is that it emerged during a liminal period of spiritual experimentation – before any clear path or tradition had been embraced. This was a time of risk, intuition, and raw visionary exploration, characterized by the use of entheogens, encounters with Eastern philosophy, and prefigurative focus exercises that would later crystallize into the discipline of zazen. Seen retrospectively, the series constitutes a kind of spiritual prehistory: a preparatory terrain for meditative practice.

Alpha Analysis is thus a document of threshold experience – a system of pictorial constructions that attempt to compress subjective vision into collective formal codes, thereby generating an internal mythology all its own.