Childhood (2002)

pencil on paper

Flutist (2002)

pencil on paper

Crossing (2003)

8.5x11, pencil on paper

This little creature is a crossing sign. I hold the opinion that if enough people on the road keep their eyes peeled for it, eventually it will manifest and strut across the road (hopefully not end up as roadkill). I believe the Australians similarly invoked their Koalas, Platypus, and kangaroos. What other explanation is there for the emergence of such wondrous evolutionary anomalies than manifestationary crossing signs?

He Holds the Mystery and Offers Understanding (2003)

9x13, pencil on paper

Entheogenesis (2003)

pen and ink on paper

Tree Communication (2003)

acrilic on cotton paper

Communication with the Other (2003)

9X13, White pencil on black paper

The Psychedelic Stranger (2003)
9X13, white pencil on black paper
Venturing into the unfamiliar, he is surrounded by things that look like things that have names, but are distinctly not those things.

Amanita Vision of KG's Voice (2003)
9x13, oil pastel on black paper

Intro to Ayahuasca (2003)

9x13, colored pencils on black paper

Dancing Krishna Juggling a Pixililated Cosmos (2003)

colored pencil on black paper

Saucermind (2003)
acrylic on cotton paper

Joy Totem (2003)

acrylic on cotton paper

In-Flight In-Formation (2003)
oil paint on cotton paper

BiZarre BraZil (2003)
8.5x13, pencil on paper

Vision of KG (2003)

Oil paint on cotton paper

Polotree (2003)

9x13, oil pastel/colored pencil/white ink on black paper

Sonic Space-Crafting (2003)

8.5x13, pen and inkon paper

All hail! The bringer of light! (2003)

acrylic on cotton paper

Psychically Inhabited Material (2003)
8.5x13, pencil on paper

Radiohead/Sprryling (2003)
9x13, white ink and pencil on black paper
Upon awaking,
your eyes opened inside a mind
your heart opened inside its meaning
and beat a world to being
that never was before
and could not have been any other way.

The Entity Ayahuasca Disguised as a Little Taurus (2003)

acrylic on cotton paper

Conception (2003/04)

9x13, colored pencil and white ink on black paper

For(e)father (2004)

chalk pastel on black paper

Biomechanical Dreamfactory (2003)
9X13, colored pencils and white ink on black paper

Guardian/Ambassador (2003/4)
9X13, colored pencil/oil pastel/white & black ink on black paper

Growing Old in the Garden (2003)
8.5X13, pencil on paper

Unborn (2004)

9X13, colored pencil and white ink on black paper

Ingrown Reflections, Outward Projections (2004)

Oil pastel on cotton paper

Thought as Frightful Matter (a shadow of the real world cast into wonderland) (2004)

8.5X13, charcoal and ink on paper

The Observer (2004)

acrylic on canvas


Finder (2004)
(formerly Seeker (2003))
acrilic on canvas board

The Creative Process (2004)
pen and ink on paper
The artist at work

The Mirror of the Many (2004)
pen and ink on paper

Transdimensional Cultural Influence (2004)
white ink on black paper

Conduitional Love (2004)
white ink, oil pastel and colored pencils on black paper

Processing (2004)

9X13, pen & ink on paper

I think this is me, baphometized, newly arrived in NC, sitting in a hotelroom, deeply engaged in consciously processing events, documenting my way into the clearing. The mind releases, disperses equally through all time, floating back towards the emptiness that is its nature, while the body documents the journey, tying together each impulse or thoughtless awareness, storing them away one at a time, dot by dot. Consciousness becomes creative—thought becomes action. Without viewing the whole, but trusting it is there, the pre-sent gathers itself bit by bit from a leaking future. At the center lies our life-within/death, and what that is exactly, is what we try to express...

Camouflage (2004)
pencil on paper

Ayahuasca Dream (2004)

It is true that once you have experienced the dimethyl-tryptamine world of Ayahuasca, you can easily revisit those places in a dream. Just recently I dreamt I had drank instant Ayahuasca (just add water) and was walking through a colloseum or ampetheatre that was really a movie theater playing ego reels of classic film noir. The audience was sprawled on the grassy lawn like they were at a festival, its open air. I look up and shift into a nuisance of new sense of focus that sort of zoomshifts into the night sky where noctilucent rainbow infused clouds twine along. Its kicking in. I do three cartwheels and on the third one on cue exclaim, "a splinter!"and pull it from my palm. The crowd jeers as if I am the movie they are watching, I feel all their energy pass through me, I laugh along. Then lung-baloons floated inflated overhead in electric colors that I was lucidly able to study, just like were I influenced by the brew.

The picture above was also inspired by an Ayahuasca dream. In that one, I was voyeuristically present in the Jungian jungle of the dark Unconscious, where an Amazonian healing ceremony was being held. It was ambient and dark, the aether crisp with spirit and warmth. The soothing chatter of insects flooding the senses. The shaman places his hands on the head of a young man, who exhails all his ailments into the air like rivets of light and particles that ascend, lighting the surroundings on their way up. I had been taping the dream on a video camera. This is a device I find I've used more often to perpetuate the dream long enough to imprint descriptions of some parts, mapping my way to the surface of waking. I call this process DMTivo or dreamtivo. When I showed the tape of the healing ritual to others, it was as if they saw something entirely different than I. "The chameleon," they said; "Oh, yeah, the chameleon."
What I have been told approximates a quatl (at right top center) was influenced by a friend's experience on DMT. He had mentioned hallucinations pouring out of each orofice... and most notably, a rift in reality, bleeding colors outward to form the wings of a feathered serpent.

Artwork and Writings © 2001-2007 Michael R. Jacobs

© Artwork Michael Jacobs | Web Implementation - Ben Goliwas