Introduction

Ina Auderieth is a hermetic practitioner and artist residing in Austria.  She graciously allowed me to use her artwork on the cover of this issue. She’s also the creator of The Conjunction Tarot deck, which is absolutely gorgeous. As someone with very little artistic ability I was curious how she created her drawings and whether they were merely inspired or if there was something more to it. I did not realize the sheer amount of effort she puts into them, the amount of her soul that is poured into it, and how integral it seems to be in her life. This really is practical magic at its best.

How does magic or the occult play a role in your work?

I’ve been interested in these topics my whole life. When I initiated my hermetic studies years ago, it was about the same time as when I started drawing. My art is influenced by my interests and is simply an expression of my occupation with the metaphysical realms and my spiritual work. My symbolic and Tarot art is defined as “path working” for me. That means that during the time of drawing a piece, my focus is entirely on the subject I’m working on. Art is always an invitation to the current, or archetype I’m occupied with, to form a relationship with me during this process. This is sometimes really difficult, like walking through water or clouds, and at times really easy with a quick opening of the veil—it depends on my own experience and characteristics. I learned to approach these themes on different levels and my visions are getting clearer as I move from drawing to drawing.

I think that every artist does the same thing in a way, sometimes without even knowing it. By choosing my focus in an active manner, the path gets clearer and mistakes can be avoided more easily.
Drawing a certain current/tarot card lasts about one to two months. During this time it reflects in my physical life as well, often accompanied by challenges and trials, so the process is a real life experience every time. Usually by following this process I learn about the current firsthand and then by finishing the drawing close the veil actively. This ritual repeats itself continuously with every tarot card or symbolic drawing, so the process really occupies my whole life.

And what is the role of art in magical practices or in ritual?

The process I describe is basically a standard ritual.
It elapses during a specific time period, has defined borders, rules, operations, and is themed in a kabbalistic structure. I guard myself by following the basic rules of the hermetic laws and keep the “ritual of drawing” safe from outside influences. What I call “currents”, others call gods, archetypes, forces, etc. For those who are new to Tarot I’d like to explain this in short.

Each Major Arcana can be connected to a path in the kabbalah. There are three elements (water, air, fire) bound in one (earth), seven planets, and the twelve zodiac signs = 22 major arcana. There are 56 Minor Arcana cards, 14 cards connected to each set.
The sets are connected to the four elements and to the worlds of the Kabbalah:

Wands – Atziluth – the world of emanation – element: fire

Cups – Briah – the world of creation – element: water

Swords – Yetzirah – the world of formation – element: air

Disks – Assiah – the material world – element: earth

Each of these sets is composed of cards from one to ten (connected to the 10 planets/spheres) of the Kabbalah and four royal cards, again connected to the elements.

So, when I draw a card, I am able to focus on one specific idea which the universe expresses itself in. These basic ideas can be explored by the practical ritual of art, which is much more effective than by just reading about them. Any art can be the key—drawing, painting, music, acting, writing, etc. Without this key, an explorer of magic, hermetic teachings or the occult often is helpless in approaching these matters practically.

The explanation is as simple as logic. Symbolism is the true and innermost language of all things and the expression of the deeper layers of existence. By drawing them in different compositions a connection to this language is made like a link to the great opus itself. With more art, more connections are growing and an access to the deep, the subconsciousness, and to that we call the “occult” develops naturally.

What’s the inspiration behind your art? Or where does it come from?

I was talking about forming a relationship with the current I’m drawing. So, the inspiration flows during this gate. Unlike a medium, I’m not possessed or used by the force behind this, nor do I invocate it completely. The outcome of the creative process is rather a magical child between us both.

To be clear—these currents are not completely outside forces or entities separated from us. Those entity-like forces exist too, but they are not what I’m searching for. Rather, what I’m doing, path work is meant to open oneself within, for the purpose of discovering inner aspects of the self which are unknown and were hidden before. This inner pass that opens up can be a gateway to the original and universal aspects, with time and an ongoing practice, but initially the personal process and progress is the most important thing when following this path. However, each of these aspects can be called or channeled like a universal melody one is joining. The terms of this “mutual melody” or relationship between the current and my conscious self are always the same. I vow to honestly and without preconception involve myself in the process of creating, without becoming an exclusive representative of the current I’m working with.

This is usually a very honest and explicit designed relationship. After a specific time, we depart again and I’m walking on to the next aspect. I gain a lot from these experiences since I’m getting to know myself and my different aspects much better. This connection won’t be as deep as working with one specific archetype for years, but it is often more candid and not as unilateral influenced. Also, it keeps the mind stable and I avoid one of the greatest dangers of occultism—letting too much of one specific force flow through the nervous system over a longer period of time. In my opinion our physical bodies are quite sensitive to those streams of energy and have to be trained. By opening a door wider and wider without limitations the body and the psyche can be truly harmed—I experienced this myself, so these are no hasty threats, I’m just relating that I’ve learned one should be careful of what you work with.

What themes do you find yourself returning to?

I do circle back to certain themes. My interest is naturally about the core aspects of existence. The relationship between the creator, the sustainer, and the destroyer. This often leads me to the complex aspect of the creator and the gnostic theme of Jaldabaoth [Yaldabaoth] and the architects/engineers. The triple goddess which is the custodian of veils and her elusive nature is another aspect I’m very deeply involved with and interested in.
The dual concept of the child and the liberator, gatekeepers, gateways and rifts in space time are of general and personal interest to me too. I probably will always circle around these deep interests of mine.

Many of my pieces are influenced by these core themes which are always present in my mind. By exploring them further I learn a lot about myself and my surroundings at the same time. I also try to include keys which helped me along the way. They can’t be too plain in sight but are hidden within my pieces. That’s just the law of these things. Not to be secretive and mysterious, but, because it is almost holy for each and every one to lift the veil on his/her own, to throw directions and revealed mysteries around casually can restrict the experience as a whole.

Since much of your work has to do with Tarot, how do you view the Tarot? What’s your relationship to it and why do/did you gravitate towards Tarot as a structure for your art? 

I view Tarot a bit different than most, I suppose. I rarely read the cards and never tell the fortune with them, especially not to others. For me, Tarot is not the key to outside forces or to know more about my surroundings, but a key inwards and to get to know the subconsciousness and the inner self better. By exploring the different aspects, I learn about myself and develop my character—which is the ultimate goal in life.
We all circle our lives in recurring spirals which often lead to the same decisions, outcomes and behaviors. Day after day, year after year, life after life and so on. To get to know the own self, means to get closer to the sources of our choices. By unveiling the decision-making process, which keeps us in our circles it frees me step-by-step from my own prison. This is true for everybody, but there is no universal truth to be told to others, because each path is different. The practice of introspection can never be taught or assumed by a guru or teacher but has to be worked out by each and every one of us on his/her own. However, the teaching of the “how” is a torch and can be passed from one person to the other, so the symbolic light bearer is a principle which I experience to be true nevertheless.

Tarot is such a torch. It describes archetypes as well as an inner process, it can be the key to solving various situations in countless life cycles, and is connected to recurring universal symbols. To get deeper into its mystery means to learn that a structural design is not only the basis of the universe with all its dimensions, but also of our own life’s.
The process of getting to know Tarot better, ideally with a practical approach like (in my case) drawing leads to an overview of this design and may guide to an active handling of this blueprint.

A famous example would be if one was the captain of a ship which randomly crosses the sea of life itself. This ship will be a passive vessel and exposed to all the dangers, concurrences, and outside forces which there are. It may discover a single island by luck, but it will also be likely to sink fast and never achieve a goal, which hasn’t even been set. To get to know Tarot in all of its aspects is the same thing, as discovering not only a map of the sea, but to study also it’s deepness, its borders, the weather, the islands, its inhabitants, and so on. The captain of this ship, the captain who studies Tarot, will increase the ship’s chances of finding what they are searching for, but even if they don’t find that, it will actively guide them through the sea and allow them to learn much during the journey. So Tarot is not simple cards with symbolic pictures for esoteric purposes, but so much more It is impossible to discover all of its secrets in one life.

Is there any particular style of art that you are influenced by?

I’m very much influenced by the artists of my youth but also by the art of some of the high crops of this world. I started with black on gold Tarot, because of an album artwork by metastazis I liked when I was younger. When I discovered Peter Proksch and fantastic realism it definitely opened a whole new chapter in my art. I like to be influenced by books, series, films, exhibitions, but also by nature and my own visions. It’s a mixture of it all. I try new art styles to get better technically with every drawing, but I never considered technique to be my biggest strength.

I remember when I was only in elementary school and I was furious that I wasn’t able to express what I had in mind artistically. When I reached the goal of being able to express myself in my work, it became less important to draw perfectly. Although I have technical ambitions, I focus more on content then on learning and combining new styles and methods.

How should the average magician think about the art they showcase in their home, the art on their tarot decks or their altars? What impact might it have on their practice?

First of all, I’d like to speak out about a thing that should be discussed more, which is showing the altar (or any magical work) on social media. Back when most of the hermetic books were written, this wasn’t an issue, so not much has been said about this new approach on the occult and magic in modern days. I’d strongly suggest not showing your altars on social media. The altar or ritual room should be marked of a “place between the worlds”. It is the most sacred room or place a magician or practitioner could have. To show it around like it was a new piece of clothing or any physical item, may lift its energy and degrade it to just a “decorative place” with no more usable energy—also it may close the gate for you at this point. The altar should be veiled and be the most personal space one has. In many religions the sanctuary is shrouded for the same reason, which is the following. As anyone who practices spirituality on a certain level will notice, there are steps on the path which are marked by trials. The sephirah of hod for example can only be passed by resigning to vanity and shallowness. Yesod is still all about illusion and a certain publicity isn’t harmful when approaching this mystery. Following the path further to hod, showcasing the magical work won’t get one very far. It is absolutely alright to show the outcome to others, to compare experiences and to be social about the work which has been done, but at this point there should already be a layer been established, that is symbolic for “the veil” in personal life. In a world where almost nothing is hidden any more, the altar must be the last thing which is revealed. Everyone who has studied the mystery of the goddess of the veil will have learned about (or experienced) why, in detail. If you haven’t so far, take your time before showing around your work/altar—the reasons will reveal themselves with practice and time.

The altar can have multiple forms; not everyone has the space or the facilities to decorate it in a fancy way, and this isn’t necessary at all.

One single piece of art, an item of personal value, a little statue, a necklace, or an unfolded cloth can be more effective than an expensive room, full of decorations. If a drawing provided a gateway for you, it would be a valuable asset to your altar, but if it was a film or some song, a blue ray disc or a CD wouldn’t be wrong either. My whole flat is full of occult and spiritual art and items—I simply like to live this way and feel well, surrounded by these things. But I can tell you, my altar misses all of this stuff.

I have some handmade things and items I specifically bought (or better, made) for the purpose of my practice. These items are attached to no specific label, story or memory—they are almost free of any influence. I don’t need distractions from outside while trying to find and keep my focus. I made the experience that beautiful things distract the ego from being uplifted into a higher state. The goal of a ritual is mostly detachment from the physical self to experience the topic of research from a different state of consciousness. And I can tell you, my higher consciousness isn’t interested in pretty things at all, although it can help coming back from this state to be surrounded by something familiar and pleasant. But an old cuddly toy or the favorite comic figure from your childhood serves this purpose better than a huge statue of some god, figuratively speaking.

What might the average occultist be missing by not incorporating art of any kind into their practice?

Symbolism is art and vice versa. By not using symbols the practitioner won’t have anything to mark his/her steps on the journey. When I look at the art I’ve created, each piece reminds me of certain steps and each line I’ve drawn is a key to a specific memory on the way. Written words mean nothing, where symbols mean everything. To those who are versed in kabbalistic terms, a symbol works on the level of briah [beri’ah], where logic and words fail the practitioner completely. To establish an artistic anchor on your own on an emotional level is the strongest suggestion I can give. It would be a failed experience if I wouldn’t be able to remember what I learned on an emotional level. Words in a journal will serve the purpose of transcribing an experience to others, but they will fail in transcribing it to yourself after some time has passed. My drawings never fail me. They keep me connected to my journeys and are so much more worthwhile because of that reason than anything else I could create logically. 

You mention that “My art should provide a gateway to different realms, currents or steps on the path” what do you mean by this? How do you view your art as gateways and what sorts of realms do you envision they lead to?

All art is a gateway; therefore, art is much more important to society then we consciously think. It leads to inspiration and may influence even the behavior of people. While advertising, propaganda art, and perfectly drawn sceneries often depict illusions and lead deeper into this beautiful but illusionary physical reality, some art is made to decouple the observer from it. My goal is to do that.

Since every single one of my drawings is a result of my occupation with different realms, subconscious realities, dream or visionary states of mind, these matters are bound into the particular drawing. I view them as being recaptured in my pieces. Often it is, that people, (myself included) can’t change their routine or unveil things hidden from them, without a certain and specific input. If one of my drawings provides this input that a person is looking for, it serves its purpose. Because of my interest and engagement in metaphysical objectives most drawings are charged with those experiences as well. Each one who took a spiritual journey will know, that the key, as well as the gate are not always as easy to find.

So, each symbol can be the key and each drawing, song, film, or other artistic object is a different gate. Often it is that our favorite films or music provided such gateways to us during our life’s—each uniquely specific, but different to each person. Only by accessing this gateway, can one be reminded of the experience and find the red wire to this specific state of mind again. Most people do not really know why they have a favorite film, song, or book. The reason is, that the first time, we consummate a piece of art it creates a marker to this special feeling. Those feelings are the doorways the practitioner is learning to pass through. Even a random person who can’t pass this gate completely will be reminded of its nature. So, if there wasn’t any art, our reality would be completely separated from any metaphysical realm. Art transcends these borders of reality and makes it initially possible to access other states of mind in the first place.

Your piece “The Magus” is the cover for this issue, can you tell us more about it? What inspired it? What is the significance behind it?

This is easy—I inspired it. It is truly visionary work without much outside influences. It marks the beginning of my “Tarot” journey, and it will close it one day. That means that it is the first Tarot drawing I made (which is still in the deck), and it will be my last when I finish the Conjunction Tarot process. So, in the end there will be two drawings of the Magus. The one, which is the cover of this issue is the one, which started my journey and the other one will be the Magus who ends his journey and circles back to the beginning. Each good work begins at the end and ends at the beginning. That’s also the reason, why this is the only drawing I won’t give away or sell the original. It was also the magus who led me to most of my huge projects. It is a drawing which radiates from energy and although it was an early drawing it is still the most popular one so far.

It was a pleasure to talk to you and thank you for your interesting questions, for featuring my work and publishing the interview in this journal.

Whoever wants to get in contact with me, please do so without hesitation. I’m happy to help with any questions, regarding the spiritual path and pleased to have philosophical discussions about symbolism as well.