Unus Mundus
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After being frequently asked questions about specific aspects of my art, I have decided to include an explanation of the thought process behind my bigger pieces. Below is a brief explanation covering some of the details included in "Unus Mundus", but is by no means all of them.
One World
Loosely inspired by the “Tool” song 46&2 and, by extension, the works of Carl Gustav Jung. The title can be translated to mean “One World” and refers to a concept Jung would write about which describes an underlying unification between the psychological and physical domains, perhaps where consciousness itself is fundamental, not space-time (linking to another area of my interest: Panpsychism). The “One World” concept can also be connected to alchemy, hence the inclusion of the alchemical symbols which are explained in deeper detail in the sections below.
Other inspiration for this piece was from the idea put forth by Nietzsche, quoted by Jung as:
“No tree, it is said can grow to heaven unless its roots reach down to hell.”
I tried to convey this, as well as the other concepts, not only through the roots and branches, but also through the combination of opposites within the centre of the piece, which can be viewed as what Jung referred to as part of the “individuation” process, or “integration of the shadow”.
Details
Triquetra
The central image consists of the triquetra, or the three becoming one (largely associated with the Christian trinity and prevalent in Christian symbolism, however is a symbol which which far predates Christianity). The symbol is broken down into three main panels (bottom left, bottom right, and top centre) as wells as a centre panel, all described in detail below, contained but not bounded by the circle (the symbol of one).
Nature (Bottom left)
This panel represents man’s relationship with the natural world/cosmos. A way of life that is lost to a vast number of people in the modern age, Jung recognised the virtues and psychological benefit of a simple way of living in his later life. This can be attributed to many various factors, however connection to the natural world, for better and worse, seems to be a consistent calling to the human psyche, which we seem to be straying further from with each technological advancement (mostly in the name of “convenience”).
The drawings consists of natural, rounded patterns inspired by forms found in nature. The apex of the panel shows an open hand with closed eye within the palm. The hand representing openness to the universe/divine and the closed eye signifying a lack of knowledge. Put simply: possessing wisdom but lacking knowledge.
Reason (Bottom Right)
In complete contrast to the nature panel, this shows man being obsessed with reason leading to a line of thought where humans can become conquerors of the natural world and their own nature. An obsession with what can be done, disregarding whether it should be done (some label this as “scientism”). This hubris causes the chasing of a utopia that will be instigated by humans themselves, unlike the nature panel, where the utopia will be ushered in by “the gods” or “god’s will”.
The designs in this panel are sharp, angular, unnatural patterns that give it a robotic look, to indicate the possible loss of the very attributes that make us human. Above the human figure is a closed hand over an open eye: the opposite of the nature panel. Indicating a possession of knowledge with a lack of wisdom.
Heart (Centre)
Tying each section of the triquetra together, uniting the opposites, is the panel at the centre displaying a human heart. This was placed to indicate the biological constraints by which we operate. Whether we are embracing our nature or running from it, those very instincts inescapable either way.
Enlightenment (Top Centre)
This can be viewed as a combination of the nature and reason in perfect balance and harmony, achieving a heightened state of being. Open to both spiritual and logical endeavours this state exists in a state of peace as and within the cosmos as one.
The patterns here are a mix of the designs from the nature and reason with a fractal pattern flanking the figure, a symbol of the infinite. Above this is a flaming eye and shattered hand, indicating the abandonment of the very constraining terms of “knowledge” and “wisdom” as described previously.
Roots to Branches
Reaching up and reaching out from the triquetra are the branches of a tree acting as an extension of the patterns emanating from the centre. Like the juxtaposed figures in the left and right panels, the branches have patterns that alternate between a wrapped, curved design versus a disjointed, jagged design. The branches ascend toward the top of the piece to the heavens while the roots extend downwards toward hell.
Heavens
The top of the drawing is the combination of a number of alchemical symbols. At the fore is the philosophers stone with circle, square, and triangle in unity. This is representative of physical and spiritual transformation, enlightenment, and perfection.
Emerging from the philosophers stone to the left and right are the upward and downward pointing equilateral triangle symbols. Individually, these are the elemental symbols of fire and water respectively, however combined they can be another symbol of unification, forming the “as above, so below” symbol (commonly referred to as the Star of David, or Seal of Solomon).
Hell
Each root reaching to hell holds between it an alchemical symbol for a celestial body and their metal counterpart. This is to represent the incorporation of each of the symbol’s aspects into being. Hell is represented at the bottom of the piece by the ouroboros wrapped around the alchemical symbols for the tria prima or “three primes”: Mercury, Salt, and Sulphur. I chose this because of their connection with the “Law of the Triangle” (continuing the imagery of threes). Some of the meanings attributed to these which relate to this piece:
These were placed in “hell” because of a belief in some alchemical circles that these three elements were the cause of all illness and disease, occurring in all substances, and that by separating, purifying, and recombining them, it would result in a complete rejuvenation of the substance (hence “as above, so below”)
