Alexander Heaton

I illustrated the book cover for the novel ‘Honey from the Lion’ by Mathew Neill Null.

Limited Edition of 10

Printmaking
Size: 70 H x 50 W x 1 cm

Graphite on A1 Paper

(Unframed) Graphite drawing on A1 paper

Aum (ॐ) is the vibration by which the Supreme Spirit brings all things into manifestation. It is the Holy Ghost of the Christian Trinity. Paramhansa Yogananda has explained that everything — all matter, all energy, all thoughts — exists in Aum.

Alexander has made in his own depiction of Aum a new, impossible world of floating mountains and elegant pine trees. Fungi and mushrooms allude to an entheogenic inspiration for such a place. The two symbols at the top and bottom of the drawing also represent Aum in Tibetan Sanskrit. Traditionally in India, Aum is chanted three times. One reason is to invoke the blessings to the three universes (or the three “bodies” the soul is encased in) — physical, astral, causal. Another is a reminder of these three aspects of Aum.

Graphite on A1 paper

This artwork is composed of the first line of a poem I wrote.

I will always write letters to you in my mind,

I will remember you always until the end of time,

I am the dewy breeze blowing moisture on the root,

The golden web strands entangle.

The work is about never forgetting. Behind the text is the tree of life from norse mythology. In the old stories of the the north the tree of life which is an allegory for the universe, is sustained by Mimir’s well. The well its self is filled with memory but the water of this well contains much wisdom. Memory may be painful if one is mourning loss. However what grows from the droplets of memory is understanding, reconciliation and forgiveness. This artwork is a letter to all the people in the world I have known and loved and who are no longer in my life. Memory brings the future world into existence and sustains the root of the soul.

Graphite on A1 Paper

This work is a satirical take on the culture of diversity, equity and inclusion that has has taken root in many of the key institutions of the the United Kingdom. Within the font which is reminiscent of religious manuscripts the three so called virtues of the current era sit. However, I have chosen to depict them in a form which almost screams out of a stain on the paper. Writhing within the letters are serpents showing the potential for malevolence that lies within even the most innocuous ideals.

The piece is a psychological response to the ideology of equity of outcome that has consumed peoples minds in the west over the past few years. I personally find it to be a very dangerous and pernicious standpoint that masquerades behind virtue and good intent. Competence, gender preference and scientific truthful rigger are being under-mined in favour of virtue signalling Neo-Marxist postmodern vagueness. I have personally had enough and this new body of work seeks to reassert the truth of the logos.

Diversity when used as a metric to denote collective virtue and worth is at best questionable, at worst insane. I assert the experiences of all human beings are sacred and sovereign. All people no matter what background are manifestations of the divine.

I find talking about people in terms of their ethic, sexual, age, race, or religious backgrounds demeaning and infantilising of their true potential. I’m working to live in a world where we come to cultural conversations with an open heart and we leave such notions of measuring the worth of an individual being dependent upon whichever minority they belong to left well behind.

On questioning the the limits of diversity

As an artist who identifies as a white, male, British born, Christian my voice when formalised in such terms may seem anachronistic at best or at worst part of the status quo and therefore not worth the time of day, much less exposure in the diverse art scene. I still exist though and have a voice that has something meaningful to say. When we carefully look at works of art we judge them based on deep connections to our souls and the higher beauty that they hopefully evoke. In other word’s we look with an open mind and heart. As a prerequisite to judge artistic value based on the background of the artist is a perversion. Sadly, this is becoming normalised behaviour in some institutions.

When speaking for my community the prospect is difficult as we all belong to so many communities. Which to choose, sex, race, age, talent, hair colour, sexuality, religion, skill set, disability? Therefore, I speak as an individual and do not pretend to speak on behalf of any others. My perspective and experience tells me that putting people in categories is precisely where we are going wrong. I would like to start a mature conversation about where we are going as a country and how we can generate meaningful debate without falling back on old mistakes like seeing those who disagree with our outlook as morally bereft.

Fineliner on A1 Paper

This work is a satirical response to the culture of “safe spaces” that has taken over many of the United Kingdoms key educational institutions. Safe spaces may at first seem like harmless demands by young “Social Justice Warrior” types to protect transgender students from those who would question their life choices. Perhaps safe spaces may even seem reasonable when seen in the context of creating a space for open dialog about challenging new ideas and cultural changes in politics. But, it has come to my attention that the culture of safe space is increasingly used as an argument and means to de-platform visiting speakers to universities which some student unions deem unacceptable. Their fore “safe space” is in direct conflict with the concept of freedom of speech in our culture. Freedom of speech being the most important concept for the arts in a truly free society makes this issue of key importance at this cultural nexus we are navigating.

Some students wish to frustrate open discussion with people who differ from the hard line left wing (progressive) narrative that is pushed and wish to close them selves off from challenging debate over which ideals should be pursued in the name of virtue. Universities are increasingly giving ground in this culture war. They are not standing up for their historical position of rigorous questioning, keeping an open mind and allowing exposure to different ideas, (even if you don’t agree with them if only not to understand more wisely why one does not.) which has traditionally been their mainstay. This is a national shame and a generation of young people are potentially being indoctrinated and not encouraged to think for themselves anymore.

The works satirically calls out the hypocrisy of the current situation. Mountain rock spires are depicted within the letters ironically declaring this safe space as an oxymoron as there can be no safe space in true learning and exploration. It’s only by exposing yourself to danger at increasing levels that can make one truly grow as a broadminded person.

Fineliner on A1 paper

This work is a psychological response to the current climate in the United Kingdom. The democratically mandated break from the European Union is being frustrated by many in politics and by many more who work in the media culture. The democratic process of our very nation has been taken hostage and held in contempt by those who call themselves progressive or liberal. This has become a national shame and as an artist I felt called to comment on the toxic climate. Within the adapted germanic “Durer” font grow various types of mushrooms and fungi. As a part of nature ourselves we all share a symbiotic relationship with fungi. I have chosen to depict the mushrooms speaking the truth throughout this artwork. Mushrooms grow in a mycelial network and need certain key conditions to be in place in order to thrive. Mushrooms actively select their allied organisms like certain trees and form guilds to manage the digestion of dangerous pathogens. I use them as a metaphor here for the majority of British people who are in conflict with foreign powers seeking to impose on the rights of British people and ignoring their right to self determination and the sacred notion of sovereignty.

Graphite on A1 paper.

(Unframed) Coloured Pencil drawing on A1 paper.

This artwork is composed of the words “bear witness”. These words were spoken to Alexander whilst he was in a visionary trance using the consciousness altering entheogen Dimethyltryptamine. After going to a personal hellish oblivion, Alex envisioned being responsible for all suffering and all other beings existence and history was rendered non existent. He perceived this state of torment as going on for an eternal eon. All the while in this state Alex felt and finally saw the presence of the Blessed Virgin Mary in a form of Gaia mother of all beings and emanation of loving light. Looking towards her for transcendence out the terrible state of torment her face radiated ultimate understanding and love. The message was passed on by this divine being to bear witness to his existence and all conscious beings around him. This message has been retold through this artwork. The sacred geometrical construction of this drawing using circles overlaid many times with a compass allude to the noetic knowledge of gnosis that matter is pure illusion and all things are made of vibrations. The shifting spiral like galaxy forms are on some level and attempt to translate the kind of imagery of what Gaia’s shifting moving facial features were like in this otherworldly dimension.

Coloured Pencil on A1 Paper.

Graphite on A2 Paper

Graphite on A1 paper

Pencil and watercolour on A2 paper

The inspiration for this font came from looking at vignettes created by the Dresden Romantic School of Painters. Their subject matter focused on the dark forests of Saxony. Each letter from A - Z contains a unique illustration.

If you are interested in using this font for commercial use please get in touch via the contact page.