TEUFELSKUNST Occult Art Shop and Blog

Art Prints, small edition

I’m sorry if you have been browsing the Teufelskunst website and found that most of the items listed here are sold out. This is because I have been working mainly on commissions since some months and had little or no time to add new ready-made items. However, there are still some incense blends as well as amulets available and of course the herbal supply continues.

But there is also a sign of new things to come. Find added NEW a small color print edition of my plant “soul-paintings”:

The original paintings are done with plant juices and blood. The images are ca. 110 x 150 mm, the paper format is A5. Protected inside simple black carton and envelope. Available are 10 copies of each. Nice price for all three: 13 Euro + shipping!

NOTE: I am also preparing an offer for mounted and signed prints of the “Regina Amandrakina” art. The passe-partouts for these measure 400 x 300 mm and the prints themselves will be ca 305 x 230 mm. Estimated pricing: 39 Euro + shipping
http://teufelskunst.com/catalogue/art/prints/

I’m also working on more new items to offer here the coming months! More news tba soon…

August 31, 2015

Posted In: Art, Pflanzenkunst

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Interview with Angela Edwards

Death Shrine To The Holy Whore - Part 4, Meta Morf Festival, Trondheim Norway
Death Shrine To The Holy Whore, Part 4 – Meta.Morf Trondheim art biennale, Norway

“Life is too short to care what other people think about you or your work.”

The first time I meet Angela Edwards is in London earlier this year. We are both participating in an esoteric art event, which is taking place inside an old tower that once used to be a church. In the top floor of this tower Angela has built a bizarre altar to Pomba Gira. Whoever makes it up here, is confronted with a highly controversial set-up.

We are in this former church tower, outside and through the open windows is blowing a cold wind and I look at this shrine installation composed of dozens of vulvic clay sculptures, glazed in fleshy colors and accompanied by various sigil drawings (in that context known as pontos riscados, scratched or marked points through which the spirits are invoked). The shrine is illuminated by candles, there are rose petals scattered over and between its elements and its overall aura is red – the color of blood, life, love and war. The place feels warm, whereas the temperature in the rest of the tower has dropped noticeably. We light candles, burn rose-scented frankincense and I am left wondering. We talk.

Angela mentions her daily devotional practice with the different Pomba Giras, female entities in the folk-magical traditions of Umbanda and Quimbanda, which act amongst others as protectors of prostitutes, gays and people living on the fringe of society. I learn Angela has been a sex worker and lost friends on the streets. And slowly this installation begins to make a lot more sense. I remember a moment, in London, years ago. I knew nothing about Quimbanda, or the nature of these spirits. And I still have no explanation for why I reacted the way I did. It was the first time being confronted with a few drawings of such pontos and I suddenly found myself overwhelmed by a profound all-encompassing sadness. There is no rational explanation for the intense emotions I was overcome with, why it drove tears into my eyes. But it may have been the vague notion of a thousand sad life stories never to be told. Today I also know that, despite all, these are proud spirits, who have their own rules. I pay the shrine a few more visits, lighting or re-lighting candles. Now there is no sadness here.

We get back in touch a few months later. Angela sends me two paintings and through a lucky circumstance I also get a copy of her Tantric Brute Grimoire. I start following her work more closely. Finally there is someone in the esoteric art scene determined and not afraid of crossing the border to modern art, passionate about pushing the limits. Her works are raw. Her brush strokes are thick and dynamic, her artistic expression sometimes bold, other times complex in detail or even playful. She is one of the most prolific artists I know. The fleshy tones, aggression and weird compositions of her paintings and other creations strike a chord with me. Despite the pain and struggle involved I find them strangely beautiful and inspiring. Liking her work is “acquired taste” as she puts it. If you have not heard of her or seen her work before, please be aware that her art is not for the faint of heart. If you are sensitive to graphic content or gore you should not proceed. There is a lot of pain and violence and passion involved.

In May this year you participated in the Meta.Morf art biennale in Trondheim, Norway, where you performed the third part of your ‘Death Shrine To The Holy Whore’ series. How did it go? Did you recover well?

It was an interesting experience and I felt a very open-minded environment for the work. Normally I have so many issues performing in mainstream / alternative venues due to health and safety, or I cannot get Arts Council funding for my type of work with the real bodily risks involved. My work is dangerous physically and controversial, meaning few places are open to my performance concepts. It was nice to be involved in a supportive environment that understood the concepts of the work and accepted them. I also was happy to perform on the same line up as musicians I admired such as Ze’v, a key figure in the early industrial scene, and for my piece collaborate with Cotton Ferox. Cotton Ferox‘s work I was aware of through the White Stains album of Crowley sex poetry they collaborated on with Genesis P Orridge. I thought working with them, even on an improvised performance, would add for me to the interest of this project.

I often plan my performances for months in advance, the amount of preparation work after the original conception of an idea is draining. So for like four months before a piece all my energy goes into planning thinking and realising. Though the problem is, as my work is not staged in the literal sense, all the planning I do or meditation or research towards a performance, cannot shape the outcome of the organic sate of the ritual. Often nothing, even with all this prep work, turns out as I planned or thought it would visually, the work takes on a life of its own outside of myself and my ego or restrictions placed upon it as an artist.

When I perform I reach an entranced, focused state and I often do not remember an actual performance or what it felt like, as I work outside of my body. For months I am terrified of the risks concerning my work but in actual practice I distance myself or these thoughts from the work. The Norway performance was similar to my previous performances. I cannot remember a lot of the hour-long ritual, I placed nails ripped in my arms, masturbated and pinned over a hundred roses with hypodermic needles to my vagina, but I remember nothing in that state of consciousness. I think it takes me at least though, from these acts, two months to recover. For most of the time I am gentle and treat my body well, but physically this kind of work is draining and intense and scars are like wounds, an occupational hazard. This is why I can only physically do these types of rituals, two a year max. It’s not something that can be staged every month or week, like most – even transgressive – body art pieces that I see. I also do not believe in repeating this type of work more than once. What I strive for and do believe in are transgressive, spiritually enlightening experiences that push the self to true limits or mortality. The work is for real concerning real risk, like Abramovic’s early work and a true vessel for my exploration of sex, death and human fragility as an artist.

Could you tell us even a bit more about the concept behind your performance art and what kind of actions it involves?

I am currently working on an ongoing set of pieces concerning sex, death, sacred sex work and the human condition. These performances are all installations based around exploring these concepts. So far there are four pieces of performative installation works, or extreme body art, in the Death Shrine to The Holy Whore body of work. I plan on continuing this work and already have the ideas for the next two pieces planned out. When I find a venue, I plan on continuing this ritual, then exhibiting all the combined extreme performative rituals as a final film. So far this project is already three years in the making. I am looking at the final piece of work being complete in around ten years min, it’s an ongoing piece of major work. The project has mainly involved extreme body art and sexual acts regarding ritualistic transgression. I like to think of these pieces as a human self-portrait or, as Francis Bacon executed in his paintings, a portrait in flesh of the Human condition. The project has involved many actions regarding sex and death, including my labia being stapled shut, anal / vaginal full penetration, burials under earth, nails being inserted in my arms, with masturbation afterwards and a two-hour cutting ritual with my whole body covered in cuts by a scalpel.

Do you sometimes feel discomfort showing yourself naked – and perhaps vulnerable – in front of an audience consisting mostly of strangers?

I think as artists we always show our vulnerability to the audience, whatever medium, a performance artist just uses the medium of their own body rather than a sculptor with clay or a painter with paint and so on. I really see no difference between any of these art forms as all expose the artist’s fears and abolish their egos or work outside of themselves. All art is exposing a part of the artist’s self that is deeply personal and private, in whatever medium to strangers. This is what art is for, most of the time and to be honest, I try to work outside of myself or my ego. I do not think of myself or consequences, like, what others think. My body is a vessel to make art and the whole thing is greater than myself or my own insecurities or worrying about my body image or what others think.

Would you say these live rituals change you in some way?

Of course these rituals change me in some way, as my main motivation is not to perform theses acts as art but as a heightened personal spiritual experience and to abolish my ego to a higher spiritual understanding through the work or understanding of sex, death and my own fragility as a human being and mortality.

Below follows a video from Angela’s Torture Garden performance. Warning: do not watch if you are not able to comprehend nudity or physical violence in art!

Performance art is not everything you do. You are also a sculptor, painter and essayist. And besides this you are a part-time sex worker. How does all of this tie together in your life and art?

I have worked on and off as a sex worker from age fifteen onwards, the first stages of sex work done around drug addiction and circumstance. Recently I decided to return to sex work for two years only as part of my sacred sex work art project. I wanted to have a positive, none exploitative view of sexuality and working in the sex industry. I also wanted to look at sex work differently, as regards using it in sacred sex work and ritual context. I wanted to explore the sex industry as an example of human condition and use it in my art and writings regarding transgressive extremes, sex and death. I felt that partaking in sex work for two years, although currently I am now not working in the sex industry, enabled me to make authentic art regarding the aforementioned subjects.

What experiences do you collect when working with clients? Do these experiences reflect in your art?

A lot of my sex work is collected within my art as a reflection of the humble human condition and human fragility or my own mortality. Working as a sex worker also allowed me to work outside of myself and ego in that, by accepting everybody, you learn to abolish the ego or your own restraints around things like mortality and then, when all these things are broken, you can finally, through this destruction create something else outside of the self that is valid and new.

A short word on your sculptures. You reference Louise Bourgeois and the work of Rachel Kneebone, who’s porcelain sculptures are currently being exhibited opposite bronze sculptures by Rodin. As contrasting as this may occur, the sculptures also have something in common. Both evolve from organic structures, human bodies or single body parts assembled to form something more complex. Your sculptures too are complex creations that appear organic and are assembled of myriads of smaller elements, which are more or less defined in form. Could you tell us a bit about these objects and what they mean to you? Are the mentioned artists an inspiration?

I think even though I admire Kneebone’s work and her figures are sexual and surrealist she isn’t close in relation to my own work as her work is too perfectly formed and more classically sculptural. My work is far more of the flesh, raw, sexual and organic, so closer in relation to Louise Bourgeois. My sculptural work is a continuation of my performance work and painting all is organic flesh and bleeding ripped. My sculptural works are again portraits of creation, sex and death and all the fears attached to being human.

Which other artists inspire you?

Artists like Marina Abramovic, Ana Mendieta, Herman Nitsch, Francis Bacon, Louise Bourgeois, Joseph Beuys, Matthew Barney, Cecily Brown, Gina Pane, Orlan, Valie Export  Nan Goldin, Tracey Emin, Joel Peter Witkin, Lucian Freud, Frank Auerbach and Cosey Fanni Tutti to name a few. But many artists inspire me, even ones that aren’t connected in context to my own work.

Its been great to meet or see some of these artists talk or explain their work in context. Recently I saw Abramovic talk and she totally lived up to my expectations as a humble great artist, like Gilbert and George. These artists are totally real and just go out and make art to believe in against all odds. I like to go to free talks at places at the white cube, it’s a great none stuffy environment and I always find it inspiring to hear artists explain their work and experiences. It’s great that these people become accessable to some extent. This I find inspiring; these artists who have struggled and pushed the boundaries of their visions and still remain humane and down to earth. (part edited)

Your paintings and other art carry references to the magical tradition and folk-religion that is Quimbanda. E.g. you mentioned your work with different Pomba Gira spirits and you pay them daily offerings. Would you mind telling us a bit about your worship practice? And how do these spirits influence you in your life and creative process?

My practice privately is that I have a traditional Quimbanda altar with statues and traditional offerings and pontos. I light candles each day for dead friends from the streets in remembrance, it’s just a daily ritual that I do. Most friends were sex workers who died of stabbings, HIV, Ods etc. The Pomba Giras and Exus are said to traditionally be the spirits of the streets, so it fits. I use the imagery and rituals in a more conceptualised way to merge in with my art but my art is not based upon a traditional spiritual practice, although my altar at home privately is more founded on traditional beliefs or practices regarding the religions of Vodou and Quimbanda.

Are the Quimbanda spirits the only spirits you are working with? Are there other spiritual systems that would be of relevance to you?

I am mainly interested in all grounded spiritualist practices and connect also to the shamanic aspects of religions such as Vodou and Santeria also.

Pomba Gira Shrine, site specific installation, Hackney Tower, London 2014
Pomba Gira Shrine, site specific installation, Hackney Tower, London 2014

You receive different reactions to your work, from praise to ignorance or actual offense and you are subject to an array of rumors and fantastic ideas regarding your person. Some imagine you at the center of a sex cult. People, and often males in particular, are offended by the obscene and graphic contents. Some occultists have problems with your blending of esoteric contents and folkloristic working manners with modern art…. How do you deal with such biased criticism? Do you encounter any other weird rumors about your person and what is your answer to them?

Well I have never said that my performances are traditional occult practices, nor have I encouraged others to self harm or repeat my work. I have always been very clear to explain that this is my individual path and take full responsibility for my decisions regarding my practice. Nor have I ever encouraged women to be abused working in the sex work industry. I know that all these things hold dangers and would never encourage anybody to do the same as myself unless they really believed this path was for them. I personally have had great spiritually enlightening experiences working with such extremes and it has given me a lot back as an artist and awareness of all aspects of human fragility etc. I have become empowered in abolishing my ego and working in these extremes. Though I know obviously some people would not gain or be destroyed by such actions or a life.

In short my work, my experiences or my art are not suited to everybody, but just because of this I do not see why I can’t express myself and use my own body in my work as I chose. How others view my work is not my responsibility and people will take what they want from the work, positive or negative, good or bad, that’s just the way it is when as an artist you place work or ideas in the public domain. You also become, by working in the open, a public figure. So even though I am not famous in the mainstream but because I am known by many in the art /performance / underground and occult world, my work and private life become public property, to be judged by complete strangers and people who have no intimate knowledge of me in real life.

I do think though that when you aren’t gossiped about and nobody is interested in you that’s when you should worry. Any interest or discussion of the work, good or bad, is better than none. I have heard several rumours spread by people who don’t know me in real life that I was starting a sex work cult with bald women working as whores for me, with them giving me all their money and I was also getting them to do cutting rituals with me. It’s all really stupid and when I hear middle-aged men are spreading such rubbish around about me I question their true intellect. Other rumours include I was setting up a suicide cult etc.Angela Edwards, Sculpture

Some of these rumours are kind of serious or hurtful to me as I would never abuse another human being or try to control the more weak. I do what I do with my own life, though I would not force or manipulate anybody else. This is different, as it’s my own choice. I am not setting out to harm anybody else.

Obviously my life is going to be gossiped about, as it’s not typical and my work threatens most men, due to the harsh and sexual content. For example my performance work is accepted less because it’s from a woman and my work is a threat to the nurturing, soft sensual image of the female stereotypes, which are deemed in art / occultism / society as acceptable. Though, more and more, as I develop my art, do I not care what people think and I think that if I did take notice and think about such things I wouldn’t be around now, making the work I do. I would be hiding under a rock somewhere, muted of my distinctive voice. But to me life is too short to care what other, usually insignificant people think about you or your work. I am pretty thick-skinned about this and no amount of uninformed opinions or judgements or jealousy on me or my work will stop me creating the work that I want to do.

I have one more question on mind, which concerns outsiders, who do not know anything about religio-magical traditions or who may have reservations. Can they still understand your art? What would be a good approach?

Well I make art, I consider my work fine art. It’s not a religious cult or philosophy but anybody can understand human or religious symbolism. For example crucifixions are a constant subject matter for artists, from Francis Bacon to a recent Tracey Emin exhibition show I attended. The last adventure is you. We all have our own mystical and religious experiences and none are more valid than another. There is no right or wrong way to experience religion or ritual, it’s a very individual thing. Unless we are placing something, be it art or work, in context of something historical, like say for example traditional hinduism etc., where for centuries a certain legacy and rituals have been specifically in place. I feel art and mysticism crossover, and art and religion are to some people one of the same. We can all of course, no matter what background we are from, relate to being human, sex, death, pain, loss – the human conditions – these are constant themes for us all that are not only restricted to an elite, or people with a background with philosophical and mystical books or traditions. I may have read and researched a lot of mystical traditions and philosophy, so my work can be seen as maybe elitist or highbrow. Though, besides these elements, I feel I make work that can also relate in its human aspects to all types of people from all backgrounds. After all we can all feel, can’t we.

What are your plans and wishes for the future?

To continue with my creative practice and to keep pushing boundaries and making ART… I am currently working on a new body of work, one piece is a huge sculptural bed installation, more paintings and editing my ritual films. I hope to exhibit my work at some point, but until then I will keep on producing art and expressing these parts of myself. I also have a few performance ideas I am working on.

Thank you very much for taking the time to answer these questions!

For more about the artist, her work, links and purchasing her art visit the website at  www.angelacarolinedwardsart.com

This interview has been conducted by me and Angela via e-mail and over the course of several weeks. You may like, comment and share this interview online as long as original links are kept in tact and its source is mentioned including a link to this page. You may not reproduce commercially or alter this interview in any way.
Interview © Angela Edwards & Teufelskunst. All rights reserved.

November 7, 2014

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Autumn Fire, October New Moon & Belladonna Harvest

Deadly Nightshade HarvestIn my part of the world the past new moon occured close to the midnight hour and when the moon was just entering into the sign of Scorpio. In addition friends and followers in Eastern Asia and most of North America could simultaneously witness a beautiful partial solar eclipse. An astrologically and magically interesting time, some would already hold their Samhain celebrations on this night, closing another circle, saying farewell to the old and inaugurating a new year. It is the beginning of a liminal time, when the veil between the world of the living and the other side thinnens. It is believed the souls of the deceased – both beloved or malign, familiar or nameless – come to visit and contact the living, in dream or even physically. Temperatures are dropping, you see your breath in the cold air. The trees are yet aflame in autumn colors but will soon turn barren. Winter is just around the corner.

I felt it sooner this year than usual, perhaps owed to the early arrival of summer, autumn and winter are coming earlier as well. And it feels like its going to be a cold one. I experienced some dark days and nights, where I turned inside and contemplated, what has been done and what can and will be done. I got inspired and wrote these lines:

Autumn Fire

I feel the change of season
this autumn fire
the nights getting longer
the impending darkness
this cold breath down my neck.

But I am aflame and
burning with passsion
to a degree that it
almost consumes me.

Memories and dreams
the future and the past
they are merging
in a round-dance of autumn leaves
in the yellow light of street lamps
or in the dim grayness of
one drizzly September day.

I am day dreaming
and the world around me becomes
like the surface of a pond
into which I dip my finger
and suddenly the whole picture
starts to ripple and disperse
and the voices of people talking to me are muted
and I hear something else.

Silence.

The veil is thinning.

I am dreaming of reconciliation.

I hear from a lot of people this year has been their worst by far. Some say they felt a strong negative Saturn influence in their life. Things being stolen or lost, relationships breaking apart, unexpected changes for the worse and in some instances also suicide attempts. There was a lot happening around me and for all I know there is little in life to rely on. Believes and faith, relationships and worldly values are questioned and challenged. And the idea that from loss and pain still something good or even better arises, may infact not always hold true. Yet the quality of conversations improves, deepens. Superficialties don’t suffice any longer. And I still feel lucky. I do have my self, my work, and spirits and friends to turn to. Even if they may be struggeling themsselves; as long as there is a shared will to continue and work towards better times – not sit and wait – there is reason for hope.

What really helps me during times, when there is apparently nothing positive at all, is the feedback I receive from you, my customers and followers. It does indeed mean a great deal to me. It is one reason why I’m doing what I’m doing and why I continue this project. Feedback such as this:

Having received one of your plant sigil card sets, I wanted to thank you for your work and express my gratitude in having received one. It is a beautifully crafted work, with an obvious spine of honesty, experience and exploration. A profound expression of the green, from the veils of the divine. – JR/O.

Thank you and all who write me messages, comment, like and fave! Thanks to over 2000 followers on facebook and 500 on tumblr, thanks to my watchers on deviantArt and elsewhere! Thanks to the loud and silent supporters and the imps and gnomes and wizzards doing ‘magic’ in the background and spreading the word! You know who you are.

And though it is true that this is often a lonely path we do take inspiration from another, consciously or unconsciously. I like to think that the same spirits contact us individually and sometimes they whisper the same and other times different things into our ears. Tuesday I thought about harvesting Belladonna under the waning moon. But the night was cold and rainy and there was no sharp shining crescent sickle to be seen that would have called for harvest. Thursday I read of Harold Roth‘s plan to harvest Belladonna under the new moon. I first thought no, lets leave them for another month or wait for next year’s Walpurgis. But then I gave it a second thought, went outside short before midnight and the conditions were just right.

Deadly Nightshade 'soulpainting'The midnight hour was the hour of Venus and the dark moon had just entered Scorpio. A fitting constellation for working with the poisonous (scorpio) green (venus), and the darker aspects of the goddess (black moon), of whom the Belladonna is evocative. The Deadly Nightshade also has connections to the Germanic myths of the Wild Hunt, especially the Valkyries, daughters of heaven and earth (Wotan and Erda), who accompany the souls of the warriors that died in battle, to their final destination in Valhalla, which is reflected in the German name “Walkerbeere”. The Wild Hunt is said to begin with Samhain and culminates during the Winter Solstice and following nights. My first abstract vision of the plant’s essence shows her infront of a dark stormy sky with flashes of lightning and blood is raining from black clouds.

I took two roots, grown in pots, and both about 3 years old. The plants have flowered ready and the lasts berries are also ripe. In fact the stems are already slowly dying back and new green sprouts come from the root base. So it was indeed good timing. Especially since the following nights were even colder and the green parts don’t survive freezing. It makes sense that the time around Samhain is traditionally the time for the last harvest, which is then put up in the home for drying.

I also encountered a surprise when digging up the second plant as it had grown a long tap-root. It wouldn’t take an end and I actually could not unearth it wholly. I had to dig much deeper to get to the end of the part still stuck in the ground and it turned out that entire thing was indeed over 40 cm long!

I removed the soil manually, then cleaned them in rainwater and put them on the harvest altar, together with previously harvested roots. I lit beeswax candles and offered libation. I noticed a spicy smell and, though I used gloves, felt actually a bit benumbed from the fumes. I learned that the alkaloids concentrate in the root during autumn and winter. It may well be possible these two roots have a higher potency. They are now drying slowly and I plan to later make fetishes with them that tie together visullay the mentioned astrological and magical aspects. Below are a few pictures to show you their raw beauty:

In September I had already gathered leaves and sprigs, which I put between newspaper pages for drying. What do you read in there? It’s been a Belladonna year for sure!

IMG_7617+ copy2Yet there are plenty of other herbs (and for that matter also seeds!) and so I find myself again running around the house and garden, collecting, sorting and processing all sorts of green harvest. It will still be a giant task to take photos of everything and make it available for ordering. I am also working on a larger herbal commissions, which includes labeling and filling custom bottles for a client.

At least I am ready now with rearranging our front garden (more about this later) and next is the raised bed. So lots to do this week until the official Samhain date. And I still have a very special interview in the making, as well as news concerning my contributions to the third Pillars Periodical Journal! But all in good time. 🙂

IMG_7979 copy+So long, after so much deadly nightshade here is now another plant, which embodies the month of October: the Chinese Aconite (Aconitum carmichaelii), or Herbst-Eisenhut, as it is called in German, is the last of the aconites to flower and brightens up the October month with its lush blue-violett inflorescences. It’s poisonous as hell too and another name for aconite was in fact Scorpio. The aconite, as the ‘king of poisons’ is in different ways to be seen as a counterpart to the belladonna or ‘queen of poisons’, who’s atropine is the physiological antidote in aconite poisoning. Now I certainly wouldn’t recommend doing the test. However I do like to grow them besides each other, for higher inspiration and guidance. In fact, I do have quite a few aconite and belladonna seedlings to plant out yet… Yep, lots do! 🙂

October 26, 2014

Posted In: Herbs & Seeds, Art, Feast Days, Ritual, Rootwork, Natural Magic, Garden

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Plant Sigil Card Sets, Autumn Equinox Edition

Finally done! Here are the latest sets of cards with my plant-inspired sigils. Wrapped in autumn-colored peacock marble paper, fitting for the autumnal equinox.

As you know I am dedicating sigils to each herb I work with and keep posting these sigils here and elsewhere. In March this year I made a first print set of these abstract sigilic emanations, which I brought with me for the London Magical Arte event. The cards were passed around, single motifs were discussed and became the basis for inspired conversation. At the time I had only printed the cards but not yet made a nice packaging for them. Later I made a slipcase with paper bought from my local bookbinder. Thus far two smaller editions have been done for the Spring Equinox and Summer Solstice, now followed by a 3rd for the Autumn Equinox of 15 sets, the content being:

  • 45 cards with plant sigils printed black on heavy paper vergé
  • 4 colored cards with my ‘soul-paintings’
  • numbered edition specific title card
  • list with names of corresponding herbs
  • introduction to the cards

All cards are hand-numbered on the back. With the help of a list you find the name of the corresponding herb for each card. There is no prescribed method of laying the cards. Possible ways of interpreting and laying them are outlined in the introduction that comes with each set.

Price: 31 Euro for one set + shipping – SOLD

Update: as of September 28 these are all sold. I hope to be doing a larger edition in the future with the help of the funds gathered through the sale of these first editions. If you wish to receive one of the next please message me at info@teufelskunst.com

September 25, 2014

Posted In: Art, Feast Days

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Sigil Card Sets

The harvesting time has begun and along with this it is also time to focus a little more on the art/abstract aspects of the work with the Green. As you know I am dedicating sigils to each herb I work with and keep posting these sigils here and elsewhere. In March this year I made a first print set of these abstract sigilic emanations, which I brought with me for the London Magical Arte event. The cards were passed around, single motifs were discussed and became the basis for inspired conversation. At the time I had only printed the cards but not yet made a nice packaging for them. Later I made a slipcase with paper bought from my local bookbinder. Thus far two smaller editions have been done for the Spring Equinox and Summer Solstice, now followed by a 3rd for the Autumn Equinox:

Sigil Card Set, Autumn Equinox 20143rd edition of my plant inspired sigil card sets, 15 done for the Autumn Equinox

The difference between this edition and the former is none but the wrapping paper on the slip-case. The new edition has a black to green peacock marble paper wrapping. The content remains the same:

  • 45 cards with plant sigils printed black on heavy paper vergé
  • 4 colored cards with my ‘soul-paintings’
  • numbered, edition specific title card
  • list with names of corresponding herbs
  • introduction to the cards

All cards are hand-numbered on the back. With the help of a list you find the name of the corresponding herb for each card. There is no prescribed method of laying the cards. Possible ways of interpreting and laying them are outlined in the introduction that comes with each set.

Price: still 31 Euro for one set + shipping – SOLD

Official sale date is September 22, but I am already taking pre-orders. Five boxes have already been pre-paid. I hope to be doing larger editions in the future with the help of the funds gathered through the sale of these first editions. If you wish to have one please message me at info@teufelskunst.com

Below is a preview of the content:

September 11, 2014

Posted In: Art

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Teufelskunst Pentacles & Boxes

Teufelskunst Pentacles and Boxes, November 2013
Teufelskunst Pentacles and Boxes, November 2013

What took months in the making is now finally completed. With relief and some excitement we introduce the first set of Official Teufelskunst Pentacles as well as a new edition of our precious Teufelskunst Wooden Seed Boxes. Please read on for details and descriptions of each…

The Pentacles

The pentacle, or pentagram disc, represents the earth element upon the altar and acts as a focal point for manifesting the magician’s will and secondly it protects the magician and the work. In our previous post we have already discussed the meaning of the pentagram and hinted at various ways of using it in ritual. In our first collection we offer now three different types. The first version carries, plain and simple, a bold black pentagram enclosed within a circle and fits for any ritual work. The second version is more delicate and alchemical symbols of the four elements and spirit have been added to the disc, which makes this Black Alchemy pentacle also suited for higher ritual work. Both versions are pyrographed in massive Beech, a neutral wood traditionally used in letterpress printing. Several layers of blood-red varnish stain have been applied to the surface, whereby the bottom and side of the first discs is varnished black. At the back of each is pyrographed the Teufelskunst Sigilum Major (which you find on all our work).

Price: 50 Euro for 1 regular Pentacle / 66 Euro for 1 ‘Black Alchemy’ Pentacle

Besides these puristic versions done in Beech wood we crafted a series of dainty and intricately ornamented pentacles pyrographed in heavy Oak wood. These one of a kind Oaken pentacles possess a rougher surface and have a rustic look and feel to them. They are painted with a thin layer of Golden Oak varnish stain and like the beech pentacles are sealed with an additional layer of transparent varnish. Beneath follow descriptions and pictures of each.

WITCHCRAFT

Decorated with ornamental motifs of Oak leaves and acorns hiding two crescent moons. Crowned by thorn and trident, in reference to the path of thorns and the holy trinity, flanked by two devil’s representing the witches father and mother and the dualism in all nature. The symbols inside the pentagram are the same as those in the Pentagram of Solomon and are meant to protect the magician from danger as well as command the spirits. The very first in our series of Oak Pentacles it channels the overall beneficent aspects of its wood and the four elements.

Price: 99 Euro – available

WITCHCRAFT - one of a kind Oak Pentacle - 99 EUR
WITCHCRAFT – one of a kind Oak Pentacle – 99 EUR

EYE OF G’D

Combining elements from classic black magical ritual grimoires this Oak Pentacle represents wrathful aspects of the divine. Starting with the ‘All Seeing Eye’, which upon closer examination occurs no longer human but demonic, from which flashes of lightning emerge, tearing the skies apart and sending forth the Wrath of G’d towards the earth, where men and beast have transformed into the evil dead roaming the earthly plane. The night has turned into day and the day into night; the dogs are loose, the trees are alive and reaching out for the lonesome wayfarer, whilst the devils in the sky are triumphing. Possible uses: workings of wrath, casting the evil eye, evoking mischief during the time of the Wild Hunt or Rauhnächte.

– Sold

'Eye of Gd' - one of a kind Oak Pentacle - SOLD
‘Eye of Gd’ – one of a kind Oak Pentacle – SOLD

NEPTUNE

This unique Pentacle has been inspired by the mysteries of the Deep Sea and men’s Fear of the Unknown. There is the mask of the Green Man lurking behind the five-pointed star, but the foliage emerging from his face is made of seaweed and his beard becomes the tentacles of a monstrous Octopus. To the left and right are his devil companions occuring in the shape of winged and horned seahorses. He is the ruler over the watery element. Behind and around him the sea gives birth to a mighty, all-encompassing whirlwind. His trident is supreme. Once evoked he will not know good or bad. Possible uses: protection, weather magic, dream work, calling the old gods, invisibility.

– Sold

NEPTUNE - one of a kind Oak Pentacle - SOLD
NEPTUNE – one of a kind Oak Pentacle – SOLD

The Wooden Seed Boxes

Upon request we have crafted a few more of our original seed boxes, which are pyrographed with our Sigilum Major (also called the Greater Sowing Seal) and twin devils – the overseers of our work. The lid and inside are varnished in bloodred, the sides are varnished black and coated with a thin layer of transparent varnish. Each box is numbered at the bottom, this set being #9-14. The boxes contain seeds from over 50 different Witch Herbs. Sowing instructions for all herbs will be provided online in the form of a pdf.

Price: 99 Euro – All Reserved

Teufelskunst Wooden Seed Boxes, November 2013
Teufelskunst Wooden Seed Boxes, November 2013

All customers who have reserved and pre-ordered will be notified during the coming days. If you wish to purchase one of the remaining pentacles or reserve one of the next row of seed boxes write to info@teufelskunst.com to receive the details concerning shipping etc.

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On another note, we are currently teaming up again with Occvlta who will do a new jewelry collection with our specially preserved flowers, herbs and mushrooms. With this small teaser we wish all our customers and followers a blessed Season of Light!

Edelweiß, Lichtnelke, Gänseblümchen, Violette Königskerze
Edelweiß, Lichtnelke, Gänseblümchen, Violette Königskerze

November 10, 2013

Posted In: Art, Feast Days, Ritual, Woodwork

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Special Offer: Black Dragon Productions parting with Selected Ritual Tools and Artwork

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On this special date a special offer:

Due to moving into a new phase of life Black Dragon Productions are now parting with a selection of ritual tools and artworks. This concerns

  • 7 of originally 11 hand-cafted ritual sets
  • 1 Tree of Death stele
  • 1 Tablet with Planetary Hours
  • the beautiful Putrefactio Stele
  • 1 Altar-board for Luciferian Rites
  • 1 Triptychon of SLM

All pieces are 100% hand-crafted, during the darkest hours.

If interested in purchasing you may send your offer to Black Dragon Productions via their Facebook or using the contact form at their webshop.
https://www.facebook.com/pages/Black-Dragon-Productions/173619352746527
http://www.freewebstore.org/blackdragonproductions

Note also, that their actual commission work must be put on standby because of actual changes.

September 11, 2013

Posted In: Art, Ritual, Necromancy

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Poisoner's Seed Boxes, New Collection

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For the Poisoner – containing seeds from at least 22 different herbs. The boxes are labeled with the Motto of the Poisoner and they are accompanied by a special Info Booklet. The booklet is handbound and printed on strong laid paper, which has been provided by Buchbinderei Dresden. It contains info on each herb and is illustrated with our unique Herb Sigils. Extra pages with a table offer space for taking own notes on the sowing and growing process:

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Price: 40 Euro + 5,50 Euro shipping (international shipping via registered letter)*

For ordering write to info@teufelskunst.com

*When ordering estimate ca. 2-3 weeks for order processing (seeds are filled up freshly)

Below is a gallery with photos of herbs grown from our seeds:

Black Mandrake Black Mandrake Sprout, photo by CM Vænvs Obscvra Labeled Sowing Containers, photo by CM Vænvs Obscvra Black Nightshade star-shaped flowers, photo by Bone Garden Botanica Rivea corymbosa Henbane Seedlings, photo by Wiebke Rost Henbane Seedlings, photo by Wiebke Rost Datura Seedlings, photo by Wiebke Rost Belladonna sprouts, photo by Wiebke Rost Belladonna sprouts, photo by Wiebke Rost Wormwood grown from seed, photo by Wiebke Rost Poison Hemlock Seedlings Seedlings 2013, own Green House Mandrake grown from seed Belladonna young plant, photo by Wiebke Rost Wormwood grown from seed, photo by Wiebke Rost Mint Path, photo by Wiebke Rost

July 29, 2013

Posted In: Uncategorized, Herbs & Seeds, Art

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