An initiation.

In other words - an introduction.

Hello and welcome to Surrealist Covens.

If you are someone who yearns for the strange and mystical, and who is interested in learning more about painting and literature through the prism of magic, you have found the right place.

Here you will discover bubbling cauldrons, cackling crones, delirious saints, and pensive alchemists. You will fall down the rabbit-hole of how witchcraft and the occult of the Middle Ages and the Renaissance contributed to the philosophies of modernist art movements. You will unearth surrealist practices that can unleash your unconscious and add a dose of magic to every day existence.

You will be enchanted.

And Then We Saw the Daughter of the Minotaur (1953). Leonora Carrington.

What can you expect to see?

This newsletter offers monthly deep dives and reflections on individual painters, writers and thinkers who challenged traditional gender roles, societal norms and who brought magic to their work through an idiosyncratic prism.

Additionally, every week you can expect to learn about a work of art and how its creator enhanced their practice through the occult. Along with this, I will share book, article, film, podcast, and journal recommendations.

Who am I?

So far, a perpetual student - I have just submitted my Ph.D thesis entitled Surrealist Covens: An Exploration of Leonora Carrington and her Female Friends’ ‘Othering’ within Bretonian Surrealism.

My research’s aim is to untangle the complex relationship of magic and Surrealism for those at the heart of the movement, but especially for those on the periphery. My thesis is effectively separated into three parts - firstly, a close appraisal of André Breton’s investigation of the occult, secondly, an evaluation of Leonora Carrington’s exploration of magic in and beyond Surrealism, thirdly, a consideration of her work in relations to the artists Remedios Varo and Leonor Fini.

I have been typing this creature into life every day for over a year. I am not ready to stop writing. This brings me here.

Embroidering the Earth's Mantle (1961). Remedios Varo.

My studies have led me to delve into sources that branch out beyond surrealist painting and writing.

I have engaged with studies of Celtic folklore, occult anthologies, medieval tales, historical records of medical treatments of the mentally ill, grimoires, anthropological investigations, and a plethora of disciplines. My deep dive has been extensive and I cannot keep it all in.

I propose to you a form of moving through the world with an acute awareness that is unburdened by reason. Care to join me?

Little Hermit Sphinx (1948). Leonor Fini.

Why join the coven?

I have always craved connection with like-minded individuals who are interested in history, painting, magic, and folklore. I want to foster such a community and if you crave the same, you are warmly welcomed here. Please feel free to join in on discussion in the comment section, support this newsletter with a subscription, and you can also follow the visual companion.