Image Making As Architect of Meaning

These encounters are archetypical ones, enacted in the tearing open of a void, and the cultivation of the imagination. The image disrupts / disobeys, yet mirrors / amplifies the corresponding supraliminal stimuli of the day world. It is only in such disarray, that an excitation might occur, unafraid of the archetypical storm facing courage in the appearance of the Image. The mundus imaginalis offers an ontological mode of locating the archetypes of the psyche, as the fundamental structures of the imaginative phenomena that are transcendent to the world of sense in their value if not their appearance. That the fundamental nature of the archetype is accessible to imagination first and first presents itself as image. Its exposition must be rhetorical and poetic, its reasoning not logical, in neither aspiring to social adaptation nor personal individualising, but rather as a work of the image, to restore imaginal space.

Union Seminary Quarterly Review, 2016

2005

This paper details the findings of a project that focused on illuminating how one o f Australia’s leading graphic-novelists, Marcello Baez, created the ideal o f the monster and the monstrous in his best selling text, Diablo. The interviews with Baez revealed he deliberately inserted a series of symbolic elements in his visual storytelling; in particular he deliberately underpinned his text-illustration journey with what he considered to be generic view o f what constitutes a more global ideal o f the monster in the Western World. However, during the course o f the interviews an ideographic set o f highly personal fears relating to the concept o f the ‘monstrous’ also emerged. Unaware that he had unconsciously inserted these manifestations of his “false self, or mask””' , Baez recognised that he had also centred on a deeply held view o f the monstrous that centred on sexuality, the binding o f time and the need for an affirmation o f living. While this paper gives further weight...

2008

2018

2007

2012

Pictorial and visual elements are special types of archaeological data that transgress boundaries: between us and the past and between the material and immaterial. Traditionally, images have been discussed in terms of what they represent, mean or symbolize. In this volume, the authors explore other ways in which images a!ect and engage the beholder and the modes in which they are entangled in past worlds. The articles comprise examples from various regions and time periods and include a diverse array of topics including northern European rock art of the Neolithic and Bronze Age, anthropomorphic aspects of ceramic pots and "gures in gold, erotic themes on children’s burial vessels, and nineteenth-century rock art created by quarantined sailors in Australia.

TRANSSTELLAR JOURNALS, 2018

The origins of literature in areas as diverse as the Far East, East, Middle East, Mediterranean, Europe, America and Africa is seeded in a great body of oral histories’ myths, creation myths and legends, many of which were subsequently put into written form. They preserve a vast reservoir which is drawn on by writers since the emergence of literary culture in various parts of the world.