|or "the Art of the Demon-defence"
Demons are negative ways of thinking, bad energies and own projections, inside and outside, and they are quiet existent in the moment of perception. Those are the dark forces in us, whom we keep away basically from our consciousness, but outside of ourselves leave them to assume concrete shape, in which they turn then against us. Those are the spirits, which we do not only call, but even produce.
In the Tibetan Buddhism (Vajrayana) one knows the five spirit-poisons: Hate, envy, greed, pride and anger. And these demons we meet also in the Bardos (Intermediate-Death-State). Those are thus negative radiant effects, which normally extract themselves from the check by consciousness, but are undermining the well-being and preventing or making more difficult the spirituals development. Every obstacle on the way to obtain the freedom is finally demonic.
Demonfrights are natures of the light in the robe of the dark and are decorating and protecting cult places of most diverse religions and cultures, and as Gourgouls the elixir of life, the water, pours from them. Mixed natures, which scare only the enemies but not the initiates.
In China one places mirrors in the window - the demon frightens itself before its mirror image. For the northamerican Indians there are the stakes - representations of protection-spirits, which usually embodies the mystic ancestor animals of a trunk. In the Vajrayana one knows the racing and angerfull divinities, like Mahakala and Kalachakra. One visualised these in the spirit or integrates them in mandalas on canvas (Thangkas), on charms with the name of the carrier or in passing mandalas from colourdust on the soil. Then there are the haircrosses, spidernetlike objects gotten caught in those the demons.
"Notre Dame" in Paris is famous for its theurgic art.
The discovery of these mixed natures also at the cathedral of Cologne and the search of their significance and origin brought me finally to my "Arte Theurgica", as I freely translated the art of the demon-defence. Thus my works appears also sometimes archaic, not only because I operate preferentially with bones, sculls, horns and such a thing. The first jewelry of mankind were manufactured from bones. In Shamanism there is the faith that one can create new life from the bones of dead animals and also humans.
I try with my abilities and experiences, the appropriate motivation, much intuition, my mental energy and natural materials to create objects, which are strong enough to work against negative energies. I operate on a sybiosis of the cultures and legend in addition:
"Who calls me an eclectic does not insult me, but acknowledges me in that varity of the fantasy:
namely in my handicraft of senses, to unite contradictions of the cultures between east and west;
in my head - in my handycraft of senses."