Gaia: CoSM The Movie starring Alex Grey

Re: Filmmaker Interviews

http://InspiredMindFilms.gaia.com — Wed, 29 Nov 2006 18:27:38 GMT

"In the Chapel of Sacred Mirrors" by Tiffany Harker for GreenCine

The Chapel of Sacred Mirrors is a New York City art gallery and the subject of Nick Krasnic’s first feature length documentary. CoSM was founded in 2004 by the artist Alex Grey and his wife, Allyson Grey, also an artist. The Sacred Mirrors refer to a series of paintings by Alex Grey that are housed within the art gallery. Located in the heart of New York City’s Chelsea district, CoSM is a nontraditional space that can best be described as an artistic community that likely serves as a welcome respite from the trendy art scene cynicism. Programs include lectures, films and "live paintings."

Krasnic initially became interested in Alex Grey after picking up one of his books years ago. Grey was a medical illustrator for ten years before becoming widely recognized as a mystical artist. Perhaps best known for the album cover art he’s done for musicians such as TOOL, the Beastie Boys and Nirvana, Grey creates colorfully surreal and elaborate paintings that depict the internal human form complete with veins, muscles, organs, and yes, even chakras.

With the aid of Final Cut Pro and a modest budget of around $15,000, Nick Krasnic was inspired to create something experiential. He believes that the visceral experience of viewing the art work is tantamount to dissecting the artistic process. He was not interested in producing a formulaic art history documentary; rather, the director was inspired by a tour of Grey’s work conducted by the artist himself in 2003.

The ambition of the documentary is to enact the intended experience of CoSM. Krasnic aims to create a "direct experience of what it’s physically like to stand in front of these intensely radiant works." Admittedly, Krasnic is not objective about his chosen subject matter. He wants the architecture of the film to mimic the architecture of the space and hopes to lead the viewer on a journey throughout the rooms and paintings.

I admired the openness of the director throughout the interview and found his honesty refreshing. What’s more, he’s able to talk about love, compassion and interconnectedness without the slightest hint of irony. Nick even said that hallucinogenic mushrooms helped him decide on the best ambient music for the soundtrack. Now how many directors would openly admit to that?

GreenCine: When did you first discover Alex Grey’s artwork and what inspired you to make this documentary?

Nick: Just out of high school, I was beginning to form my intentions as a filmmaker, artist, and individual when I crossed paths with Alex’s first art book Sacred Mirrors. Like many others, I felt an immediate connection and familiarity with the work. Alex’s mission left an indelible impression and allowed me to set a course for my own artistic career, approaching my studies with the understanding of the important role artists play in the movement for positive social change and the responsibility we carry in progressing not only the evolution of any particular artform, but that of human consciousness itself.

In 2003, during my last year of film school at Hunter College in New York City, I learned that Alex just so happened to live here as well. He and his wife Allyson, who is also a phenomenal painter, were just beginning to raise funding to build a permanent space for Alex’s art, which led to the current Chapel of Sacred Mirrors that appears in the movie. Alex had a show at the Tibet House gallery and was appearing once a week to give a tour and interact with the public. The place was packed with people of all ages, sexes, races, and religions. Alex went from painting to painting sharing his intentions and influences with an unabashed honesty I had never seen from an artist, especially one that was alive, which immediately made me recognize the importance of documenting his performance- something that hadn’t been done yet.

GreenCine: I’m especially interested in what made you choose to make a documentary as your first feature. How were you able to get this project funded?

Nick: Out of school I worked for a couple of very indie production companies working on low budget digital features and had done a few of my own shorts in school, including Alex’s Tibet House tour which became the seed for CoSM The Movie.

After a couple years of freelancing, I was anxious to get that first feature done. Documentary was coming into its own and there was definitely a subject in Alex Grey and his paintings. I formed InspiredMind Films with my Co-Producer, Grant Werle, and we combined our resources, which included a Panasonic DVX 24P camera for production and an Apple G5 with Final Cut Pro for post. We raised about $15,000 from family and friends and a little help from the Grey’s, hired a great crew and great Director of Photography in Alex Portugal, then spent two weeks filming non-stop inside CoSM. It was important for me to film the actual paintings themselves rather than just use photos. Not only could we create very filmic movements in camera, but it also captured the direct experience of what it’s like to physically stand in front of these intensely radiant works.

GreenCine: What directors were you influenced by, especially an arts documentary that you may have seen?

Nick: Although the film is labeled as documentary, it uses mostly narrative filmmaking techniques. All the shots and lighting are meticulously planned out. Alex is speaking his own words from the heart, but we did have time to rehearse and talk about the dialogue in the same way I work with actors. There wasn’t any particular film I had in mind, although I do relate it to interview programs like Joseph Campbell’s "Power of Myth" and Deepak Chopra’s "Way of the Wizard" - both of which have inspired and enlightened me a great deal.

GreenCine: I’m interested in the working relationship between you and Alex. Was he more of a mentor, or was he your subject-or both?

Nick: Alex is one of the most influential artists for me. I was a fan and a student before meeting, so it was a great honor to work with someone I admired very much. The initial concept to do the film and the overall style was something I first visualized, but here was this rare opportunity to have input from the artist himself and make sure he was happy with how his work was represented on screen. After spending eight months editing the film by myself, both Alex and Allyson Grey were able to come in and offer the constructive criticism necessary to get the rough cut where it needed to be. The project would not have been possible without them. They’re both brilliant collaborators and teachers and really good friends.

GreenCine: How was the music chosen for the film?

Nick: There was about twenty-two hours of footage to sort through and edit into a cohesive film with a beginning, middle, and end. The Chapel itself is constructed to represent the ascension from material world to spiritual world with birth, love, family, death, and enlightenment serving as the unfolding iconic narrative. After assembling a rough cut with that spine in place, the music was then necessary to carry audiences through the paintings and through the rooms. Having no budget to work with, we had to look for music that we could acquire at no cost and musicians willing to donate their talents. Alex had this bin of CD’s in his studio from independent musicians he had met over the years- lots of it ambient and electronic music without vocals, which lent itself perfectly as cinema score. One night I ate some magic mushrooms and listened to everything that was there, allowing my subconscious to associate the tone of certain tracks with the various tonal shifts in the film. There was great stuff there ranging all different genres. Independent moviemaking is all about making the best with the resources you have.

GreenCine: How do you feel about Alex Grey’s LSD experiences as part of his art? Is this something that he was completely open to sharing with the cameras? Was anything "off" limits?

Nick: It was something he shared in his original gallery tours when talking about the influences behind particular paintings. Alex isn’t telling people to take these substances. He’s simply being honest about his own experiences. Throughout history, artists and musicians have derived tremendous visionary and spiritual insights from these sacraments. In the film, he only mentions it twice. For the initiated, Alex serves as a voice for their own similar experiences- he’s one of the few who can literally paint that visionary state into a picture. I knew the references would turn some people off, but it was important not to censor him in any way. I feel it offers a new perspective on people’s pre-conceived notions and conditioned biases about a substance like LSD or even marijuana. Whether it’s sexist, religious, or racial biases, if the film can bring that to the surface in an individual then there’s a chance it may plant a seed for transforming the mind. Being conscious of our hurtful judgments and negative thoughts is the first step towards re-conditioning or eradicating them- which makes a person healthier psychologically, emotionally, and spiritually.

GreenCine: Who do you hope will see CoSM The Movie and what do you want them to take from the experience?

Nick: I feel it’s important to make this type of socially conscious media mainstream so more companies will invest in it. Docurama is the premier home video label for documentaries and they’ve done a wonderful job getting the film out there. It’s also cool to think that future Alex Grey fans might come across this movie the same way I came across the book since most people have very vivid memories of their first introduction to the art. Encountering Grey’s art also means exposure to the themes of the work. Spiritual ideals like tolerance, kindness, compassion, family values, and social responsibility.

The film also aims to capture the essence of the space. And although I tried to be objective, in a way, I am attempting to portray my own particular experience- which may be nothing like someone else’s. However, I felt that by allowing my individual transformative journey during the creative process to come through the film, it added that necessary layer to bring it away from the educational tone generally associated with documentaries about art. It’s Alex’s masterful paintings and Alex’s very wise words. My job was to interpret those elements in a cinematic vision. There is still an educational element in that the film serves as a visual study of the art. The camera pans every inch of all fifty-one gigantic canvases. It’s a valuable tool in any art classroom and for future generations studying the form. For those fortunate enough to visit the CoSM gallery in New York, they can leave with the movie and re-live the experience whenever they want on DVD. For others who have never been, the DVD brings CoSM into their home, complete with an in-depth analysis of the works from the master painter himself. A very rare and unique gift that will still be here long after we’re all gone.

www.GreenCine.com

Filmmaker Interviews

http://InspiredMindFilms.gaia.com — Wed, 15 Nov 2006 22:38:36 GMT

GOOD COMPANY: Using Art to Raise Consciousness

Interview with CoSM The Movie Director/Producer Nick Krasnic, on New York public access show 'Good Company'. Show topic: Using art to raise consciousness. Discussions on filmmaking, the creative process, and working with Alex Grey.

Airs Mondays @ 7:30pm, Ch. 57 Time Warner, Manhattan.

www.goodcompany.tv

Re: Share Your First Encounter With Grey's Art...

http://InspiredMindFilms.gaia.com — Sat, 28 Oct 2006 20:04:01 GMT

Roderick from Costa Rica posted this on the MySpace Film page @ www.myspace.com/cosmthemovie

I would like to personally say to you for making and exposing Alex Greys work.
My name is Roderick Zuiga and Im from Costa Rica. I lived in Europe for quite a while until I return to my country. Actually now Im a medicine student, very much inspired by Alex Grey, because before I was studying Software Engineer. I came to a point in my life where i felt empty, even though I was at college, with a girlfriend, and a house, and certain comforts. The ideas and concepts that sorrounded my world where towards making money, making myself a slave to a system propagated by the media, by the news, by the television. The greednes that took my inocence, and my right to be free. My head was not mine, but others illusions and demands.

When I was in the process of nervous breakdown, shutting of old concepts, and really doing a tremeandous hardcore insight work, I was introduced to a wonderful technology called Brainwave Stimulation. This lead me to open new ideas i had of human beings, of my friends, of my girlfriend, and of the world itself.

I started more and more interested, in finding the relationship between the realness and fiction. And then one day, I remenbered that I always liked the album art on my Tool albums and the sincere approach to our structure, blending it with spiritual motivation.

One day, I found Alex Grey at Alexgrey.com and it was beautiful. You dont know how much he helped me expand my inner vision of the world and my relationship with myself. That day was beautiful, and I will always remember it. I hope the positive, and evolution behind Cosm vision helps a lot of people by unfolding us to a better, and more meaningful reality.

Rodss

Buddhist Monk Sand Mandala Time Lapse

http://InspiredMindFilms.gaia.com — Sat, 28 Oct 2006 19:31:08 GMT

Time lapse of a sand mandala by the Gaden Shartse Monks during 'Art of Compassion' event at the Chapel of Sacred Mirrors. An InspiredMind Films Presentation cosm.org gadenshartsetour.org

Re: Share Your First Encounter With Grey's Art...

http://kalianna.gaia.com — Sat, 14 Oct 2006 05:25:12 GMT

It was 1993 and I had just graduated from college. My friend who was an art major told me to go see this Alex Grey Sacred Mirrors exhibit. I went and literally had to sit on the floor with my mouth open in awe. It was the first time I had come across anyone who could put prana into a visual aid. You could see it. Everything, in every form, every emotion. I have been following his work every since. I was able to visit the Chapel this past May and was thrilled to see the new work. Thanks Alex, for following your passion and being the link into the visual world of prana.

in-Courage
PEACE~LOVE~GRATITUDE
Kalianna

Re: Share Your First Encounter With Grey's Art...

http://kaylachristine.gaia.com — Wed, 04 Oct 2006 22:36:41 GMT

Hello friends!

I found out about Alex's art through the most influential band of our time, Tool. After casually being a tool listener for a long time, I one day did something I hadn't dove very well before. I listened. Not only did I begin to listen, but I began to observe it, and the effect it had on my emotions and my way of thinking. I listened to the music and and the lyrics without judgement, and in it I found myself.
I discovered it truly had a great effect on not only my perception of reality, but my views as to what is achievable by a human being.  Finally one day, I decided to not only listen deeper to tool, but watch deeper.  As I watched the video of Parabol/ Parabola with this observing eye, I became completely transfixed by the incredible art throughout the video, and especially the whole ending of the song. I sat in silence as it was finished, and at that point I knew that it was certainly time to have a deeper look at the visual aspect of this beautiful music, and it's wonderful artist.

Although I am not and have never been any kind of artist by a professional definition, as I looked though Alex Grey's book, "Transfigurations" for the first time, I immediately felt my inner artist becoming stimulated, excited, and curious. Since then, I have been inspired more and more to draw, write, paint, explore, create, and manifest. Now that I have seen much of Alex's work, and have observed myself in realtion, my view now of what is achievable by a human being has changed from great to infinite. I truly feel to be able to know and further study Alex's work and the message that he sends out to us all, is a beautiful gift that I am very lucky to have recieved.

Like music, and meditation, I now regularly use Alex's art as a tool for my understanding life and creating more beauty for it.  Through this experience with Tool and Alex's art so far, I have realized that I can use my heart as a tool box for the use of these tools.  When I pull them out and use them, I find myself creating my own inner artist and in return, I begin to fathom infinite enlightenment and love.  It's quite a beautiful and perfect circle.

Thanks again to Nick for starting a pod for all of us "inspired minds" who are working to pry open our collective thrid eye.

Love and Gratitude,
Kayla

Re: Share Your First Encounter With Grey's Art...

http://manny.gaia.com — Sun, 01 Oct 2006 18:02:16 GMT

Hi All,

Thanks to Nick (a.k.a."InspiredMind") for starting this Pod and this particular thread, not to mention for creating a great film!

My first encounter with Alex's work was via an interview with him in the early '90s (I think on PBS, though it might have been elsewhere). He was discussing the influence of entheogens on his work and I was struck by the intensity of his paintings that are now almost commonplace for me to see as I have much of his work around me. At that point, I'd been studying Joseph Campbell's work for a couple of years and immediately realized how Alex was stepping fully into the role of the artist as Campbell had outlined in his wonderful quote:

Myth must be kept alive.
The people who can keep it alive
are artists of one kind or another.
The function of the artist
is the mythologization of the environment
and the world.
~Joseph Campbell
read in context

I immediately understood how Alex was dipping into the mystical dimension (what Campbell referred to as the Mythic Dimension) for inspired messages for our human family and was using our current and esoteric/ancient cosmological references to render an image of our spiritual selves that could speak deeply to people living in the modern age.

After some time, I ended up working with the Joseph Campbell Foundation and meeting many of Campbell's old friends and associates, including Stephen and Robin Larsen (his biographers), with whom I developed a fast friendship. Also friends with Alex and Alison Grey, Stephen later wrote Alex's bio in Transfigurations.

Early this year, I selected Alex's Heart Vajra piece to be tattooed directly over my heart chakra, replicating the placement of the piece in Alex's 22 gestation paintings in his book, Transfigurations. The description of this piece from Transfigurations, is as follows:

The heart vajra,
with eyes in golden flames,
is a symbol of the unborn,
undying, indestructible spirit,
or Buddha Nature,
around which the anatomical,
biological, and psychical dynamism
of life comes to form.

You can see a picture of this tattoo at http://www.myspace.com/HeartVajra.

The following Joseph Campbell quote also speaks to me of the essence of this piece:

The eternal principle, which was never born, never will die:
it is in all things: it is in you now.
When the wave is gone, is the water gone? Has anything happened?
Nothing has happened.
It is a play, a game, a dance.

Joseph Campbell used to explain how a tattooed shaman wears on his body the stained glass images of the communal mythos—i.e. the overarching worldview, or Story a culture accepts about itself and its place in the universe. ...that the shamans body is the cathedral. I chose to get this tattoo in that spirit. And there are a few more to come...

Campbell insisted throughout his work that a living, effective mythos functions by putting the subject culture in accord with the natural order. When an individual or a group is living in accord with nature, then nature yields its bounty.

I see Alex Grey as an artist who seriously embodies his role as one of many vehicles through whom a current, effective mythos for our global community is emerging: studying the mythological foundations of his being, achieving a personally relevant understanding of the myths of the past; deeply regarding his dreams, visions and interior messages, and taking personal guidance from them; and sharing his insights with others through his brilliant creations and teachings.

These days, the focus of my life-mission is primarily with artists who are also embracing their vital roles as prime functionaries of an emerging global mythos.

More to come :^))

Warmest regards . . . Manny

Share Your First Encounter With Grey's Art...

http://InspiredMindFilms.gaia.com — Tue, 26 Sep 2006 22:23:12 GMT

Would love to hear from others who would like to share their first encounter with Alex's work.

Many of the people I talk to about Alex's work have very vivid memories of their first encounter with the art. It's usually followed by a story about a series of synchronistic events that led to the two paths crossing. It's a truly remarkable phenomenon, and for me, representative of the universal hand at work to bring this type of material to those who are meant to view it as well as serving as a common thread to connect all who have been touched or inspired by the work.

My first encounter came in my senior year of high school living in Boca Raton, Florida of all places. I was preparing to attend Florida State University and just beginning to form my intentions as a filmmaker, artist, and individual. A friend of mine working for a bookstore (that shall remain nameless) permenantly borrowed Alex's first artbook called "Sacred Mirrors". It was my first introduction to Perennial Philosophy and briefly layed out the evolution of art history, including the unlimited potential that the future holds. It left an indelible impression and allowed me to set a course for my own artistic career, approaching my studies with the understanding of the important role artists play in the movement for positive social change and the responsibility we carry in progressing not only the evolution of any particular artform, but that of human consciousness itself.

I could see how Alex was integrating all the artistic epochs that had come before, and in turn, using his mastery of the craft to take the art to a higher level while simultaneously creating works that could spark transformation on an individual and universal level. This all reaffirmed my own goals as a filmmaker and what was possible in the cinematic medium. I held onto that book throughout college and three years later I moved to New York to pursue a career only to discover that Alex and his family were also here. In my last year of film school I heard that Alex was giving a tour of his work at the Tibet House and went to meet him for the first time. The place was packed with all types of people and Alex gave an awesome tour and was extremely humble, signing autographs on his hands and knees for three hours straight for every last person. I introduced myself and asked if I could document his next tour on camera which he so kindly agreed to. Around that time they were beginning of their search to build a permanent home for the paintings and what eventually led to the creation of the current Chapel of Sacred Mirrors in NYC, which can be seen in CoSM The Movie.

My entire journey on this project has been guided by one synchronistic event after another, making things fall into place at just the right moments when all seems lost- all reaffirmations of the importance of Grey's work and the necessity to bring such themes into the collective consciousness.