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Exhibiting Blake: The Prints of Serge Arnoux

Robert Campbell Henderson — who has already shared his intriguing discovery of an unexpected French connection with the legacy of William Blake in two previous posts for us at Finding Blake — brings us up to date with his project to print the Blakean plates created by Serge Arnoux.


To recap, back in September 2018 Robert was rummaging in a scrap yard in the south of France for metal to make printing plates and stumbled across a bundle of paper-wrapped copper. On opening the first parcel Robert glimpsed what turned out to be a lost body of works by French artist Serge Arnoux. The plates depicted Arnoux’s interpretation of William Blake’s ‘Proverbs of Hell’ from The Marriage of Heaven and Hell. Finding Blake has been following the progress of the gradual reprinting of the plates and his research to try and establish why and how they were made. Robert has now reprinted all of the plates and has featured the full series of prints on his website along with the corresponding translation of the text.

Box set of The Proverbs of Hell' interprétations by Serge Arnoux
Box set of ‘The Proverbs of Hell’ interprétations by Serge Arnoux

Blakean plates 

Robert explained the technical aspects as follows: “The prints were etched on thick copper plates size 33cm x 24cm. They were made using the intaglio technique of hard ground and acid, whereby the ground is applied to a plate to protect it from the action of the mordant and drawn through with a fine needle. The longer the hard ground plate is exposed to the acid, the deeper and wider the line becomes. Everything has to be done in reverse and there is little room for error. This is particularly the case when working with text. A lot of the engravings contain some very fine lines and Arnoux when printing them actually adopted a technique to ink known as ‘a la poupee’ – a French term literally translated as ‘by the dolly’. It is usually more associated with dabbing and wiping different colours on different parts of a plate. Having now re-printed them, I can see why it could be effective. Based on the pristine condition of the plates, I also think that, for whatever reason, many of them never actually made it to the etching press — that is, until now!”

Detail of the copper plates with engravings by Arnoux.
Detail of the copper plates with engravings by Arnoux.

You can also see the prints until June 29th as part of the exhibition ‘Temporal Traces – Magical Manuscripts’ at L’Atelier Melusine, La Trimouille 86290, France.

'Resurrection' 25 prints based of 'The Proverbs of Hell' William Blake engravings by Serge Arnoux. Salvaged, re-printed and hand coloured by Robert Campbell Henderson
‘Resurrection’ 25 prints based of ‘The Proverbs of Hell’ William Blake engravings by Serge Arnoux. Salvaged, re-printed and hand coloured by Robert Campbell Henderson

Temporal Traces – Magical Manuscripts

Below is an extract from the press release for the exhibition:

“The exhibition is replete with history and magic, and follows an elegantly traced timeline spanning two millennia, and comprises a rich mix of visual and sound-based works which include tracings of original ancient Coptic and Greek papyri made by The Coptic Magical Papyri (University of Wurzburg) and Raquel Martín Hernández, alongside the original copper etchings made in the mid-twentieth century by Serge Arnoux, inspired by William Blake’s Proverbs of Hell, and re-printed by Robert Campbell Henderson in 2019.

These prints and tracings occupy the first two floors of L’atelier Melusine, alongside an antique colour catalogue of plates by William Blake, in an eerie dialogue which demonstrates the similarity of the images despite the enormous temporal breach between their creation dates ……. “

Poster for the exhibition
Poster for the exhibition

You can view the prints and read more about the exhibition on Robert’s website at www.photokennel.com.

He tells us that the story still has a long way to run with connections to America and further exhibitions planned. He has also used the plates as the basis of some new work, creating a series of colour interpretations of all the engravings using computer painting techniques. Finding Blake plans to cover the development of the project in future posts.


Notes

Robert Campbell Henderson is involved in printmaking and photography, just for the fun of it. Before 2000 he never really made any art as he was, in his own words, busy with the “day job.” At the age of fifty he did an MA Photography, followed by a burst of activity participating in exhibitions and setting up an art gallery in Norwich, UK. He retired to the South of France in 2006 where he taught himself printmaking and set up his own darkroom and print studio. You can explore his work at www.photokennel.com.

You can read Robert’s previous posts for Finding Blake: Serge Arnoux, Surrealism and William Blake and William Blake and Serge Arnoux.

Blake in the Midst of Rebellion!

Finding Blake creator and filmmaker James Murray-White takes us to the ongoing International Rebellion of people in London and other cities around the world, organising against ecological and climate emergency — and finds Blake there.


Most readers will be aware there is an International Rebellion in progress, headed by climate change activists Extinction Rebellion. Here in London, five key sites are being successfully held and blockaded to stop traffic and to show society that we need to change our habits, we need to act as a community, and we need to do it now!

Extinction Rebellion
Extinction Rebellion

Stephen Micalef and the William Blake Congregation have been part of the action in Oxford Circus.

Stephen Micalef holding quotes in Oxford Circus
Stephen Micalef & …

In the midst of a lively continuous party at the Oxford Circus the other evening, and just yards from the house in South Molton Street where William and Catherine lived for many years — Blake was in the middle of the crowd! Of course he was; he would be: Blake advocated for a complete revolution of the mind, the human soul and consciousness, and of the capitalist destructive system that has befallen us. Blake’s visionary spirit came out of the unrest of his age, when the Industrial Revolution was really hotting up and emissions of carbon were starting the damage to our ecosystem that we are living with now, and which threatens all of our species and the entire planet.

... the William Blake Congregation holding quotes in Oxford Circus
… the William Blake Congregation holding quotes in Oxford Circus

So, of course, Blake is right there in the midst of this partying Rebellion: he is stirring us all on for change!

Rebellion

 


Notes

There is more information about the International Rebellion at the Extinction Rebellion site; the action started on Monday 15th April — taking place on the streets of cities all over the world, from Auckland to Accra, Mexico City to Vancouver — to demand that governments take necessary action on the global Climate and Ecological Emergency.

In her poem and post for Finding Blake, Modest Things, poet Salli Hipkiss brings her own life-long love of William Blake to her growing concern with the problems of climate change and other environmental threats to human and other life

Blake & Nature Spirituality: 3 — Pantheisticon

In this series for Finding Blake, James Fox has described psychological experiences he later came to understand through William Blake’s writings. The series is adapted from a talk James gave to the Mental Fight Club — a charity assisting recovery from mental illness through inspiring creative events and projects — and in this final part he outlines Pantheisticon, a Blakean-inspired project he is working on for cultivating the experience of feeling at home in the world. 


In my previous posts, l described my own experiences of both the manacled egoic state (Blake’s Satanic mills) and the liberated ‘mystical’ state (Blake’s awakened Albion). I then elaborated Blake’s doctrine of the four zoas, relating them to underlying ideas of the psyche that may be met with in various belief systems throughout history and across cultures. (See also my previous post, Divine Madness.)

My own response to Blake’s vision and the task he announces is a manifesto, a programme of practice and study, to effect a nature spirituality. I call it Pantheisticon, a term I’ve borrowed from the eighteenth-century philosopher and pantheist John Toland.

The four zoas in Pantheisticon
The four zoas in Pantheisticon

Based on the four zoas and working with these functions or aspects of ourselves, this Pantheisticon manifesto includes four components: a mental engagement with natural philosophy (which corresponds to Urizen); a sensual engagement with the landscape (which corresponds to Tharmas);  an intuitive engagement with the Imagination (which corresponds to Urthona); and an engagement of the feelings through the artistic expression of mystical experience and philosophy (which corresponds to Luvah or Los).

Urizen: mental engagement 

The first component of Pantheisticon is mental engagement with natural philosophy. I use this term instead of ‘science’, not to be deliberately archaic, but to emphasise that this is an activity of the ratio when it acts in the service of spiritual nourishment. In our study of natural philosophy we draw on the products of the ratio as applied to the natural world.

Technology enables us to probe the world beyond the limits of our own senses:

new and strange creatures are revealed in the depths of the oceans;

life forms such as bacteria that are too small for us to see with our eyes are brought into experience through the microscope;

spacecraft provide us with a view of the atmosphere which, whilst beautiful in itself, reveals it to be the thinnest of envelopes, its apparent vulnerability and preciousness to all life on Earth made plain;

the Apollo programme enabled humans to watch the Earth rise from the Moon — and the beauty and preciousness of our planet, a droplet of blue in a bottomless void, is shockingly revealed to us;

and the great space telescopes peer beyond the stars of our galaxy and reveal the universe to be a soup of galaxies, each containing billions of stars — a glimpse towards the infinite and the eternal.

All this provides an awesome spatial and temporal backdrop to our own sense of being: it is Urizen rehabilitated; it is the rational faculty nourishing our spiritual selves.

The world is a manifestation of the infinite, and our particular human experience of the world we divide into the solid, the liquid, the gaseous and radiant energy. These elemental forms of our experience — earth, water, air and fire — we explore in our first component of Pantheisticon — the mental engagement with natural philosophy, or science — as we familiarise ourselves with the principal forms, processes and histories of our rocky world, its oceans and rivers, its climate, and that supreme source of energy without which there would be no life — the Sun.

We also familiarise ourselves with the basic nature of organic life, of the kingdoms of life and the history of their development. Finally, we familiarise ourselves with the universe beyond our little planet. Not extensive in-depth study; we do not become experts in these different sciences. But we gain sufficient of their essential flavour that we obtain a mental grasp of our place in the world and experience the awe, beauty and wonder of the forms that are all around us.

A Dartmoor Grove. Photograph by James Fox
A Dartmoor Grove.
Photograph: James Fox

Tharmas and Urthona: sensation and intuition

Having utilised the power of the intellect through natural philosophy to grasp our place in the natural world and engage with its forms and processes, we proceed to our second component of pantheisticon: we inject into this mental engagement with the wider world the power of our faculty of sensation.

We venture into the landscape and experience those elemental forms most vividly, at first hand: the touch of a rock – its hardness, its smell, the little crystals embedded in it glistening in the Sun, the colourful strange lichens spreading across it. We hear the bubbling of the brook, we smell its earthy cool wetness rising up. We hear the bleat of a lamb, the swoosh of a crow cutting through the air. We feel the breeze on our face, hear it stirring in the trees. We feel an expansiveness in our hearts as we look up, the horizon stretched away, and we feel the warmth of the Sun on our skin.

In our third component, we engage our power of intuition. We find ourselves a secluded place where we will not be disturbed. We may be by a stream in a wood; we may be on a cliff top; but we are comfortable as we sit facing the Sun. We seek now to open ourselves to what Blake calls Urthona or the power of Imagination: to allow into our awareness that which seems to come from nowhere; to enable ourselves to become vessels as it were for spontaneous, intuitively received insight. This is the source of spiritual awakening. We cannot make it happen at will. Indeed trying to will it is a sign that the mental-ego is active — yet it is precisely this ego that must be annihilated, or at least disempowered.

So we close our eyes, we observe our body as a vessel empty of thoughts, and we simply observe the feeling of the movement of the breath inside that vessel; returning the attention when we discover it has been hijacked and taken outside the body into the world of ideas of things.

We maintain our meditation for fifteen minutes, or more. Then, we contemplate the intention of the practice, the spiritual ambition or goal one might say, which is to cultivate a mental state of clarity and tranquillity and to use the good qualities we happen to have in the service of others, and of oneself.

This is a process that disempowers the ego and allows the opening of one’s awareness to the intuitive and the imaginative. This results in the enhancing of the sensual experience of the place and a sense of existential immersion in the natural environment. It might even lead to mystical experience or the spiritual awakening to oneself as both divine and eternal. It is also the occasion in which one can become aware of those desires, those forces of nature, whose realisation as action in the service of others provides a purpose in life — a felt joy, meaning and vitality that arises when these forces flow through you.

If a feeling of reverence towards our natural surroundings has arisen through this meditation process, we express this by a simple devotional ritual of sensually engaging with the presence of the Infinite and its elemental manifestations. For example, the placing of the lips to a rock, the placing of a hand in a stream, feeling the breeze on the face and inhaling deeply of it, facing the Sun and feeling its heat on the skin, and, by shielding the eyes from the Sun, we see the azure dome of the sky: we become aware of the stars and the cosmos beyond, a vision towards the Infinite – which is eternal, unmoving, all-pervasive, and which manifests itself to us as this fire of the Sun, this air of the breeze, this water of the stream, this earth of the rock and of all the living creatures and ourselves made thereof.

William Blake self-portrait 1802
William Blake self-portrait 1802

Luvah: artistic expression of mystical experience 

Finally, in the fourth component of pantheisticon we concern ourselves with the artistic expression of mystical experience and models of the mystical conception of the universe. This may be through the mediums of literature, poetry, painting or music, and concerns the expression of our own experiences, if we have had any, and also the experiences of others, so that, in the words of John Middleton Murry which I quoted in Universal Awareness, the first post in this series, about moments of mystical experience, “if we have not known them, there — in those four simple lines [of Blake’s poem] — one is offered to us”.

About others’ experiences of feeling profoundly at home, of a sense of existential immersion, in the world, we may read for example the English mystic Richard Jeffries. We may engage with its expression in poetry, in the English Romantics (e.g. Tennyson, Shelley, Wordsworth); or in painting (e.g. Turner, van Gogh, Caspar Friedrich), or in music (e.g. Vaughan Williams, John Tavener, Beethoven).

We examine the basic pantheistic model of the universe, before comparing it with other theological/cosmological models, such as the panentheism found in Kabbalah, Sufism and Christian mysticism. We then focus on the expression of pantheism in Eastern mysticism, in modern physics, in the work of Friedrich Nietzsche and finally in the poetry and painting of Blake.

Being at home in the world

Those are the four components of my manifesto of study and practice, of natural and mystical philosophy, of meditation and landscape experience. No doubt some will find this pantheisticon eccentric, peculiar even. But there is a serious point behind it, which is this. We modern men and women, we sons and daughters of Albion, cannot return to the Stone Age, before Urizen became misplaced.

Home for the pantheisticon: Earthrise from Apollo 8, December 1968 Photograph by Bill Anders / NASA
Earthrise from Apollo 8, December 1968
Photograph: Bill Anders / NASA

We cannot remove from the world or our memory all that our excessive and misplaced ratio has brought about. But I share Blake’s vision, which is of a future in which we have awakened from our present human condition of feeling shut out from the sense of being at home in the world, and instead find ourselves living in our day to day world as one that is experienced as suffused, more or less, with the Countenance Divine; a living in which we have ceased to experience ourselves as separate, finite beings, trembling and sick in fear of the annihilation we suppose is inevitable, and instead experience all things, creatures and human beings, the Earth and the heavens above, as suffused with divinity: as radiant, at one and timeless.

And from this springs inevitably a sense of care towards our precious environment, and a compassion towards all creatures and human beings. Then we awaken spiritually. Then we begin to feel at home in the world once more; to open ourselves to the creative forces of the imagination which provide us with our purpose, joy and vitality.

My manifesto is an attempt to help bring about this kind of spiritual awakening which would avert the increasing psychological, social and environmental damage that our misplaced Urizen is causing. Pantheisticon is a Blakean-inspired re-imagining of nature spirituality for the twenty-first century. 


Notes

James Fox is a philosopher and former researcher at the Open University and is a co-author of A Historical Dictionary of Leibniz’s Philosophy (Scarecrow Press, 2006). He is now mostly interested in mystical texts, especially pantheistic nature-based doctrines and practices which he sees as key to transforming our conception of ourselves in relation to the world: a transformation that can lead to the spiritual experience of total at-homeness in (at one with) the natural environment and hence to the feeling of a reverence and duty of care towards that environment. Prior to pursuing philosophy, he held a position in a climate research department at the UK Meteorological Office.

You can find out more about John Toland, the eighteenth-century philosopher, and his original writing on pantheisticon at Wikipedia.