The final image is the result of many earlier “final” decisions. I work with a large amount of research and usually keep only a small portion of it, maybe ten percent.

That research can include photographs, videos, sketches, screenshots, books, and films. From there it becomes a process of adding and removing, enlarging and shrinking, merging elements, and allowing space for accidents and errors.

In the end, it feels like a balance between synchronicity and mood, while carefully weighing both the visual impact and the conceptual weight of the image.

The closest I came to expressing that kind of influence was through the use of the Flammarion engraving as a symbolic reference.

It allowed me to move beyond Hofmann’s personal experience and point toward something collective. A before and after. A here and there. A sense of crossing, returning, and seeing from both sides.

*Editors Note: The Flammarion is a famous engraved image from the 1800s depicting breaking through to the other side

I imagine a large medicine cabinet filled with different materials and preparations. On the shelf with magic mushrooms, LSD has its place, sitting alongside them like Tweedledum and Tweedledee.

At the same time, I think about our broken global society as a kind of great tribe. Imperfect, contradictory, but still a tribe. From that perspective, LSD is one more spirit among many. A spirit born in a laboratory, contacted not through plants, but still approached to help heal a spiritual illness.