Tezos

Page 7: Caput Mortuum – Anatomy of an Alchemical Blindness

Creator

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Description

in my alchemical process. It is the residue, the dregs, the black earth that remains at the bottom of the crucible after the spirit (the academic form) has been burned away. I. Description: The Face as a Field of Ruins 1. The "Sub-Realistic" Matter The image does not show a face, but the geology of a face. We see a thick, mangled digital "materia prima," echoing the impasto of oil painting but with an impossible fluidity, unique to digital. * The features: They have become tubular, visceral, root-like. The "Bargue" line (cold, precise) has exploded to become organic and chaotic. * The Center: We can still discern the central structure of a skull or a mask (the dark eye sockets, the axis of the nose), but it is invaded by visual noise. It is identity that collapses. 2. Chromatics: The palette is earthy and complex, typical of the Nigredo phase, which shifts towards Cauda Pavonis (Peacock Tail – the iridescent colors that appear on decaying matter): * Grays and Clays: The base is ashy, reminiscent of combustion residue. * Vivid Flashes (Red/Blue/Yellow): These are not decorative colors, but chemical indicators. The red of blood/fire, the blue of water/spirit, the yellow of sulfur. They struggle within chaos. 3. Dynamics (Movement) The image is static but suggests extreme turbulence. It is a "freeze-frame of an explosion or implosion." The serpentine lines (a possible reference to snakes, chthonic symbols) suffocate the human form. II. The Theoretical Link: 1. Homer's Blindness (The Alchemical Black) This image represents what Homer sees. He does not see the surface (the Bargue model); he sees the seething energy of atoms and myths. * Textual curation: "This is not a portrait of Homer. It is an X-ray of his blindness." Where we see skin, he sees tumult. This statement itself echoes my synesthetic vision of art history through a subrealist reinterpretation (that which preceded realism). 2. Oxidized Copper Visually, the grayish greens and browns of the image evoke raw copper ore extracted from mines. The Caput Mortuum here is literally the slag, the waste from the copper mine from which gold (pure form) is later extracted. Conclusion: > Digital matrix on a virtual canvas. > "Here lies academicism. The Poet's face has been returned to the earth. This apparent chaos is not destruction, it is fermentation. In this tangle of lines and chromatic viscera, the ego dissolves. This is the Materia Prima: the clay from which the new man will be fashioned. | Technical Details | Specifications |: | Primitive Materials | Clay, Acrylic on Wood (Combine Painting) | | Transmutation | Digital Animation | | Alchemical Stage | Nigredo (Caput Mortuum) | | Process | Coagulation (Earth) & Sublimation (Digital) | | Video Format | 8K mp4 | 1 minute | 7680 x 4320 |