Art as Ritual and Nexion

April 2nd, 2023

According to Tradition, human history can be classified into seven successive aeons; each with its own corresponding attributes, stages, and civilizations (NAOS p.24). Nonetheless, while art definitely is in a category unique in and of itself—that is to say, universal and pan-aeonic it can very much function in a similar way to both ceremonial workings and the star game in order to strengthen the (presencing of) dark energies in our causal realm that such aforementioned methods achieve alongside practical and disruptive machinations necessary for bringing down the White Lodge‘s foundations and strongholds. While it is in- deed an interesting subject to explore and expand upon—that of Esoterrorism—the emphasis I would like to focus on would be the place and utilization of art not only as a sacred working but as a potential nexion or the opening of one. Art is in all things, as all things are in art. Yet there are a few missing pieces that we must first find and assemble before we can make sense of the whole. So let‘s identify them.

Before art can become a nexion, we must first understand it as a ritual and the components that

makes it a ritual. Merriam-Webster dictionary defines the word as a: (1) of or relating to ceremonial rites,

(2) according to religious law, (3) done in accordance with social custom or normal protocol; (3) the established form for a ceremony, (2a) ritual observance/a system of rites, (2b) a ceremonial act or action, (2c) an act or series of acts regularly repeated in a set precise manner. Art can be understood, in this context, as a ritual because it is a repetitive process (cf. #2c) that requires an appropriate and conductive setting (cf. #2) to which the practitioner applies to express the wordless, sinisterly-numinous spirit of his genius specific to the O9A‘s tradition (cf. #3) such as drawing/painting his own version of the tarot cards or perhaps even using art as an artistic expression resulting from a working with a particular dark god (cf. #2a) as I have in the neonate stage of my quest. I found it very cathartic and satisfactory.

In addition, the usage of art as a form of ritual/ceremony has long predated contemporary history as with the history of art itself making it a hidden and often unseen strand of its long and complex growth over the centuries. But what separates the usage of art as a form of ritual/ceremony from other mundane, and otherwise purely artistic, movements such as the various ―—isms‖ of various movements is that there is something legitimately sinister and numinous or even otherworldly within such captivating and haunting works of art. Take for example the multitude of historical religious paintings/artifacts found from all over the world. While others may see in them nothing more than a byproduct of their specific timelines—be it a piece of European Catholicism such as Jerónimo Cósida‘s The Holy Trinity (1570) and its other derivatives, one of which is the anonymously painted Trifacial Trinity (1750) or a religious artifact from a bygone aeon such as the famous engraving of Anzu and Nimrod (883-859 BC) often identified with Tiamat and Marduk, the Queen of the Night relief (likely representing either Ereshkigal or Ishtar, another identifying it with the Sumerian (and later on Jewish) demoness Lilitu/Lilith, and the statue of Zurvan—there truly is an essence, an infernal/divine inspiration, that had animated such otherwise inanimate scribbles/engravings.

This essence—this spirit—becomes even more pronounced in the works of both Francis Bacon and Zdzislaw Beksinski, whose artistic legacies I personally consider to be one of the best examples of Satanic artistry—truly presencing and therefore unleashing the nameless horrors bound within their own psyches, accumulated from their harsh experiences, into the world of men from where it was originally inspired by. Whether it be those inside the Tradition or outside of it, the Dark Immortals smile upon those who genu- inely let their own bodies—their vessels—be possessed by and commune with Them; expressing, therefore, that possession or communion which the artist have been so privileged to experience in a way that is pure, orgasmic, and nourished by the sacrifice of your own blood essence (and sometimes literal blood) upon an indefinite amount of canvases you scribble with your own literal life-force; raw, unfiltered.

Since we have discussed the components of art as a ritual, let us now proceed to how the art itself can become a nexion. The subject is tricky because—by definition—acausal understanding is oft received, as you know, wordless. Hence, to express a ―nexion‖ is also futile since words cannot give it justice. But, as one learns, one also observes a few general outlines that have been outright stated repeatedly in the Fenrir journal. And what are some of those general outlines? In my experience, it is the black deeds of a Satanist which attracts the Demonic best. To put it simply: Evil Without Limits. Of course plenty of individuals that are familiar with this notorious mantra will object in one way or another. My personal praxis, as far as arts


are concerned, has nothing to do with the blasphemy of social taboos or norms. If I do so, I do on my own, for my personal indulgence; without the pretense of occult, religious, or political reasons.

What even is ―Evil Without Limits‖? The battle cry of federal informants dressed as mages? Sure, it did cause quite stir. But the ‗Evil‘ I am mentioning here has nothing to do with moral codes. As a matter of fact, the opposite is true. I am a Satanist. I am amoral. I am remorseless. I do not subscribe to morality, be it ―good‖ or ―evil‖, because its definition is inherently Nazarene. The ―Evil‖ in my ―Evil Without Limits‖ is a ruthless quest for constant self-overcoming, and in time, mastery and immortality. In order to reach Heav- en‘s highest echelons, your pyramid of skulls must first reach Hell‘s lowest pits. After all, isn‘t the root for

―evil‖ simply means ―to go beyond‖? I want to go beyond the limit and push even further beyond that. One life, one chance; remember? What makes the grass grow, Private Bonn? Blood! Blood! Blood! I grabbed the knife I prepared earlier slashed my left upper wrist just enough where blood poured freely into the mark- ers. From personal research, I‘ve learned that two of the most important elements in sorcery are either sexual fluids or blood. I chose blood instead because I don‘t feel like the idea of jizzing inside sharpies.

During the time I was already starting with my next batches of artworks, I made sure to remember that the goal for my work was either communion or possession. A week before I initially started drawing, I had performed the Rite of Defiance. It was for a different occasion but I felt that it also had a bit of help in my work. As I was preparing the pens and papers, I kept calm and locked the door. It was already 12:00 of midnight; the traditional witch‘s hour. No rituals were done, just my phone and earplugs for playing con- ductive music. At this point, I have already done some pieces for Conflagration. I was ready to take it up a notch. I am quite a fan of heavy metal; my two bands of choice are King 810 and Code Orange. I made sure to keep the playlist on repeat during the entire session. I learned that technique from the late Dr. Michael Aquino when he conducted his ‗famous‘ Wewelsburg working and evoked Set. After that, I began drawing. I just drew. No words, nothing special or spooky. Just my feelings, thoughts, emotions; very, bad ones that I feel you would much rather have on paper with a marker than on someone‘s body with a knife.

I barely noticed any time had passed, occasionally standing up to stretch. After a few more hours, I looked at the clock and it was already 3:23 AM. It was as if time had stopped. During my resting periods, I occasionally would hear a few noises in the ceiling as if something was scratching it. We didn‘t have rats. Some dogs began barking and howling. I didn‘t pay it much attention. They were just probably in heat that night. I waited until 3:33 to recite the TOTBV‘s rendition of the ―Our Father‖ and went to sleep. Heavy rain, more barking, and more howling. I slept like a kitten. I immediately fell asleep and by far that was the best sleep I had that week. I woke up the usual time, probably 9:23-12:45 AM or so and had breakfast. After the night, I let a whole day passed without looking at it. Next morning came and I opened the folder that I was hiding it under. Unsurprisingly, it still looked like shit. But something was different this time. I knew that I tapped into something that night; a source. I had contact with something and it was enough for me.

That was my communion with THEM and I think I did well for my first time.

―Through their own, individual, acts of Satanic striving against the mundane limits put before them, through their own and often than not trauma-laden pursuance of Sinister agendas, Sinister goals, the Sinister adherent will have pushed themselves above and beyond any status of life that would have been had, regularly, sans the path outlined by the ONA and thus, whatever regrets might blossom, from time to time, the reality of their Sinister quest – what has been done – and what, indeed, remains to be done – will be the stark reality which presents itself excluding all else. For these few, legitimate (Sons and) Daughters of Baphomet, mundanity is, simply, no longer an option. Any adherent of the ONA Way, if such are, in fact, vigorously pursuing the same, will, after only a few years‘ time (and even for the most fanatic, less than that) have, is to say, be possessing within themselves, the rudimentary foundation of a new type of being – an iron, calculating and mission-driven living entity…‖ {1}