New Beginnings

Five years ago, I posted an introduction to this website:

“Welcome to ‘In the Chimehours’: An exploration of English folklore, folk tradition & magic, and my journey as an English Witch returning to her roots.”

It didn’t take long for my ramblings to become distinctly Lovecraftian in nature and from there it veered off on a tangent. ‘In the Chimehours’ will be returning to what I originally had planned – to be my creative sounding board. Where that will take me, I know not.

I want to say “Thank You” to those who have been following my blogging journey since I closed down shop on my original blog 5 years ago, to those that have joined me since, and to all of you who have given me words of encouragement and support along the way over the years – I am eternally grateful!

Most of the material from the past 5 years has been removed. My path has lead downwards and behind for quite some time, but now it’s time to look to the stars with a mingling of celestial and terrestrial!

New content will be coming soon…

For now, I offer you a piece that was inspired by deep dreaming earlier this year.

An ending. And a beginning.



Grey washed skies reflect upon insect infested, muculent mools of lacquered darkness. Beetles hover and spiders scuttle across the limpid marsh weeds, trailing their silken woven light. Corpse candles flare from within the stagnant waters as gnarled frogs leap to reaches unknown, winged-reptilian creatures swoop and larval lunar shades mass in the shadows.

A low and resonant drumming surrounds the circular mound of mossed earth, an outcrop encrusted with glittering black stone. The rhythm overshadows until undulating haunches sway darkly before naked limbs of winter trees, shuddering and twisted, as they reach out from the quagmire in all directions. Serpent slime curls upon the left ankle and a rattle awakes the night fiercely; arousing the Stymphalides – those beaked with shimmering bronze, bedecked in deadly glinting feathers – from their slumber by the thousand-fold. Exquisite kisses from razor-sharp plumes whisperingly caress bare skin and crimson rivulets feed the slender soul-lighted pyres which rise upon noxious fumes.

Amid the cacophony of piercing shrieks and trailing blood a darkening agglomeration of bacterial ooze and mud, mingled with the cloying reeds emerges from beneath the weeping tree. Here those things rise from the World of Shells which, having died to our realm, live on in a phantasmal half-life, uniting with a polluted commingling of decaying thoughtforms, reaching back to the remotest past and drawing sustenance from them in order to reanimate the ancient ghosts of ancestral memory, creating resurgent atavisms which are born to manifestation through the backward gateway.

Primordial soup churns nebulously around its wading thighs as visions blacken in eddying dream-shudder. A pungent odor pervades, saturated with the perfume of the violet mists of emptiness; in which the cold scrolls of time recoil and twist back on themselves as those incessant drums reverberate deep and reedy veils part to deeper spells and paludal caverns beneath.

Pockets of gas break in streams of bubbles fighting their way to the surface in Mauvean-glow. Pallid lights lead down to crumbling towers and turrets of a time long lost and forgotten, and sinking further still to the depths where darkened pearls cluster in hidden grottoes, shimmering as the lustrous nightside jewel She secretes to lapping tongue, swallowed.

Here, someplace between asleep and awake on the edges of the Abyss, deep within the Neither-Neither, one finds the ‘Marshland Lode’. Tapping into this vein, which serves as a window on all of space and time, it opens out in dizzying proportions…


“Limnaios” Image and Text: Sarah-Jayne Farrer

Stafford Stone: Memorial for the Visionary Artist

Angel and Jinn

“Angel” and “Jinn/Self Portrait”

“Magick must, by definition, be creative. Creativity has to result from Magick, and inform Magick; otherwise, there is no Magick” – Robert Taylor: Magick & Imagination, Starfire Vol. II No. I

On the afternoon of Saturday 19th March I had the pleasure of attending the Robert (Taylor) Agasucci/Stafford Stone memorial exhibition at the Horse Hospital curated by Billy Chainsaw & Johnny Jones, which featured art from Rob’s previously unseen archive. Arriving at the Horse Hospital, walking down the darkened corridor and pulling back those curtains, I felt like I was getting a peak behind closed doors.

Rob was a man of extraordinary vision, imagination and great dexterity, combining his eye for line, form and exquisite sense of shape and shadow with the outpouring of occult influence – a truly inspired creative magician – and the collection highlighted that succinctly. There was an intimacy in standing before each of these works, examining the strokes on the paper/canvas closely, and I felt as if the smoke and veils had been parted, slightly and ever so briefly. I have had a great admiration for Rob’s artwork for a long time and standing up close to these original works one can sense a discernable potency emanating from them. Afira Khan, Rob’s former wife, magickal partner, long-term friend and Muse (a fashion designer with an ongoing interest in the Typhonian Current), commented that “all of Rob’s artwork on display was a magickal talisman of sorts, and that most were signed with his sigil and probably magickally charged.” They exude a visceral quality that is hard to put into words.

The images that we have highlighted in this post were only a few of those that were on display, but these were the images that stirred me the deepest – ‘The Ace of Stones’ which featured in Starfire Volume 2 No. 2 alongside Rob’s article ‘The Black Stone (The Nightside Tarot’), which I have only seen in black & white was mesmerizing to see up close, the blue tint upon the stone and the lightning struck black pyramid against the vivid colours of the background. The radiating eye which was a cover for a German edition of The Magical revival by Kenneth Grant. A Spare-esque portrait (not featured here), which when viewed from an angle brought into view hastily drawn marks, swirls, sigils that caught the light in certain directions, seemingly scrawled across the surface with unrelenting passion. The textures he achieved in “Moonchild” were outstanding, the child in the womb, the armless ‘angels’ reminiscent of the figure from ‘Man Is A Bundle of Ids’ by Austin Osman Spare (1955) – just stunning.

The piece that affected me the most was Eve (below). My eye was caught by brilliance of the gold upon the halo and how it throws the phantasmagoric atavisms of the background into sharp contrast. I found myself standing before this one the longest, studying the curve of her breasts and the fine strokes of her hair; the serpent circled around her shoulders seemed to writhe as I took the whole image in – evoking a feeling of deep familiarity.



In conversation with Afira, she stated that “Rob’s art work and vision was his Magick, he believed in the concept of Art being Magick and this is what he dedicated his life to. Art was the higher path, and he was encouraged by Kenneth Grant on this journey when he was in the Typhonian Order. He was a visionary who worked extensively within the praxis of dream, and as he explored the Nightside this came through into his dream life and ended up on the computer screen with his later digital works, where he found his ideal medium.”

Sarah: “What does Rob’s art mean to you personally? Which pieces resonate the most and why?”

Afira: He was a powerful magician and artist acting as a channel for this current, so all his art works are precious to me. I believe he was a living conduit for these energies. He taught me how to direct my magick into my art and how they are inseparable entities, each informing and enhancing the other.

The exhibition featured works that were done from the 70s-90s when he worked on an easel, and represent his earliest depictions of magickal art. From these I’d say the Black Stone is especially powerful to me because of my Islamic heritage, Jinn and Laylah. Rob and I met later when he was working with the Nightside in digital, and these images are most significant to me. In recent years we both began to work with the Strong Woman and Femme Fatale image – something I embodied and inspired for him. We had similar visions and began inspiring each other’s creativity and art and often worked together.

Sarah: “I’m fascinated with the process of esoteric art – the way in which the content is drawn through into the medium. What was integral to Rob’s work as an esoteric artist?

Afira: These earlier pieces shown at the exhibit were magickally charged and sigilized, likely in a manner similar to that practiced by AOS, whom Rob drew a great deal of inspiration. Once his sole Magick became his art he was just infused with visions from the Nightside. His dream life was very vivid and this is where the spirits and landscapes came in. He would just get straight on the computer drawing these or even making sketches and doodles. He didn’t need to do anything else, they just came and never stopped. There was an intense connection he had developed with these forces and the current that he drew on.  He was a natural visionary, and I think that is why he really appreciated other visionary and outsider art.

Dream work was his Magick. I know that it was something he worked with from earlier occult groups he belonged to. He believed strongly that the zone between wakefulness and dream is where spirits and humans connected, and where he derived inspiration for his Art. It was a place of power and subtlety, a place where he grew as both an artist and magician.

Rob was a very generous artist who would give his work to his friends as gifts. He was very much of the belief that all art was to share and should be accessible to all. In later years he operated in mainly the digital realm, where he could be true to this belief. His motivation working in this medium was “pure democracy” In this sentiment he was again inspired by Spare: “By working digitally, there is no “original”: every copy is just as good as the first, equally accessible to all, and at no cost to those who appreciate it. It’s not about money, or fame, just the art. In a sense, it’s the next logical step from Austin Spare’s decision to exhibit only in pubs.” – Rob


“Moon Child”

Sarah: “Given the nature and subject matter of Rob’s art (particularly his Nightside visions) and accepting that ART = Magick. Have you had any unusual experiences or occurrences happening around the paintings?”

Afira: Nothing too weird yet! Though I do find I can tap into that energy and landscape meditating on his art. I think Rob’s drawings are portals for us to enter into, especially the Nightside art. You could detect a ripple effect in the work he did as an artist magician, it radiated and unfolded in many different ways in his life, but the work and art was always his true mission. There was an obsessive quality to him as an artist, and I often wondered who really controlled the pen. At all times he was doing his Will, and that was something I really admired. Even though he had an early demise, I know that he lived life on his terms and followed his heart always when it came to his art, he was certainly on the higher path.

We were both tapping into some powerful energy, and yes you could say they did play out in and around us. But that is the risk we were prepared to take for The Work. Like Rob said “you must have no fear, and continue your work” He knew the risks involved, embraced them and continued his work, his Will, and taught me much the same.



Sarah: Rob’s website states that his grandmother taught him how to draw at the age of 4, but I was wondering how he went about developing this…

Afira: He drew comics growing up as a child, developing his passion at art school, where he learnt fine art and graphics. He was naturally talented, a master painter drawer. He was very motivated and inspired by the Situationist’s and this influenced his art, philosophy and path into the occult. As a young man he was going to Sex Pistols and Bowie concerts, and being a punk himself he was very enthused by this scene and its influences. After Art College, his art and love of music took him to London, smack bang in the middle of the art and music scene, hanging out with the likes of Marc Almond, Nick Cave, Sisters of Mercy and Siouxsie and the Banshees.

Sarah: “What inspired Rob to begin to explore Typhonian themes?”

Afira: Rob began to explore these themes even before he joined the Typhonian Order. It’s a current he’d always been devoted to even in other groups he belonged to (Cult of the Hidden God, Typhonian Order, Ku-Sebittu and most recently Horus-Maat Lodge and The Esoteric Order of Dagon) The current was his magickal beginnings. It came to him naturally; it embraced him a much as he embraced it.

The Ace of Stones (1)

“The Ace of Stones”

Sarah: “And what other artists or authors inspired him?”

Afira: Kenneth Grant was hugely important for his Magick and creative work. Rob also collected visionary art by Austin Osman Spare, Von Stropp, Mark Ryden, Steffi Grant and H.R Giger. He saw different worlds in their works much like the ones he explored in his dreams. He did not limit his inspiration to purely visual sources, either; Rob was an avid reader having a love of books, fiction as well as non-fiction, and his library had over 3000 books, some very rare. In recent years he really admired Rasputin and began reading everything he could find on him. Egypt was also a huge inspiration for him, and writings by Massey and most recently academic Egyptology for the book he was writing on myth and climate change, (which he dearly wanted to finish).

As an artist his inspirations were wide and varied. Among his favourite authors were Robert E Howard, HP Lovecraft, and he loved the Arabian Nights. He loved Surrealism, Dada, and Symbolists. His favourite artists were mostly American, for example Jeffrey (Catherine) Jones had a huge influence on him as a child and he would often buy books just for the cover artwork; Franzetta, Berni Wrightson, Kaluta, Claire Wendling, Leonora Carrington and Andy Warhol (Rob had written to Warhol whilst at college telling him how much he loved his art and how he had inspired him to go to art college, and he was delighted when Warhol wrote back, sending him a signed photo).

He had a fascination with Monsters too; if he wasn’t creating them he was watching them in horror films.  He took obsessional delight in creating and recreating these chimeras.

Sarah: “Are there any plans for future exhibitions?”

Afira: There will be some exhibitions of his digital work in the future. Stafford Stone will always have an online presence both on FB and his website. He wanted his work accessible to all, and I’ll do all I can to maintain that presence.

As for future work by him… He did visit me after his death to tell me he was working on something much bigger, he was building something! And I like the idea that he is still at it, continuing the Work someplace else… I hope his art will continue to challenge and fascinate, and encourage others to follow their own Path and Will. Certainly that is the legacy Rob would be most proud of.

Radiating Eye

His artistic (and written) creations are unforgettable, and his influence will indeed live on – “Rob’s drawings are portals for us to enter into” and by carrying this idea through into our own art / writing we can create our own portals and links with those entities we traffic with in our own journeys and Work.

I would like to end this with Rob’s closing statement from the article I opened with:

“…there are no limits to what Magick, in conjunction with Imagination, can achieve. If Magick is to progress beyond superstition, then it is the task of creative magicians to dispense with superfluous details, and concentrate instead on devising more efficient ways of, in Van Gogh’s words, ‘refashioning of reality’. “- Robert Taylor: Magick & Imagination, Starfire Vol. II No. I

Text: Sarah-Jayne Farrer & Afira Khan
Original Paintings: Robert (Taylor) Agasucci
Exhibition Photography: Sarah-Jayne Farrer

Stafford Stone on Facebook :
Stafford Stone Website:
Robert Agasucci Website:

The Horse Hospital:

“Unless Occultism becomes creative in the sense of opening up new approaches, modifying and developing traditional concepts and generally revealing a little more… there will be a stagnation in the swamp of beliefs rendered inert by the swift acceleration of humanities consciousness, which is little more than a miracle” – Kenneth Grant


Voudon Gnosis from the Vast Future-Past: Sublimities from a Voodoo Docteur

I have been an admirer of Sean’s artwork for a long while, but like so much in the online world, you never really get to know just what lies beyond the social media postings, and artwork, until you meet someone face to face. On meeting Sean Woodward at the recent Day of Talks on Matters Typhonian (hosted by Starfire Publishing & Treadwell’s of London)  I found my online impression of Sean was somewhat incomplete. Sean sat behind me, quiet but ponderously scribbling away in his notebook as inspiration struck during the days talks.  However, it wasn’t until after the talks on Typhonian matters (please see Emma Doeve & Matthew Levi Stevens’ post for an account of the day) that Mr Woodward opened to communication. Bonding over fine Ale, I found him to be a man of great integrity, a wonderful conversationalist with a fantastic (see ‘wicked’) sense of humour.

Sean is a scholarly individual who not only ‘does the Work’ but also lives and breathes it – a true Chime Child who entered this incarnation at midnight on December 31st. It is said that those who were born within the chime hours are gifted with the eyes to see things which are usually hidden from ordinary people. This is evident in the way Sean conveys himself, particularly in his arcane writings and legendary artwork.

As Mr Edward Gauntlett most eloquently stated in the summation of his talk: “The imagination as the image-making faculty is the supreme instrument of both magician and artist.” and we certainly found this to be especially true in Sean.

So, as day concluded and the night drew in, I decided to offer these questions to him shortly after, to which he so kindly reciprocated. I happily present to you…

Voudon Gnosis from the Vast Future-Past: Sublimities from a Voodoo Docteur:

twins of the ritual design

Q: Could you describe your initial attraction to and subsequent experience of Voudon Gnosis?

A: A few years ago as I sat in the Chicago home of the Grand Hierophant Conservateur of the Rite of Memphis Misraim, Tau Ogoade-Ordeo IV, Patriach of the Ordo Templi Orientis Antiqua and La Couleuvre Noire, of Michael-Paul Bertiaux, author of the Voudon Gnostic Workbook[1] I had cause to reflect on the road that had led me to the initiation and consecration conferred that day.

My involvement with the Voudon Gnostic current began in the early 1980s and was in many ways linked with my interest in the work of Kenneth Grant. I had already read the first edition of Magical Revival[2] and Cults of the Shadow[3] when I saw a copy of the first edition of the Voudon Gnostic Workbook in the UK in the Ace of Wands bookshop. Ironically at the time I was deterred by the high price and production values. I would come face to face with it again a few years later in New York, unknown to me at the time, in the very place it was born, the Magickal Childe Inc bookshop. Once again I put it to one side and left with a copy of the red and gold Liber Legis!

It was Grant’s editing of Aleister Crowley’s Confessions and The Magical Record of the Beast 666 which led me to the Typhonian trilogies and working with a Typhonian Power Zone[4], one which I recently learnt had a charter from the OTOA. It demonstrated once again how the agents of the gnosis had so often been a breath away.

With the publication of the expanded edition of the Voudon Gnostic Workbook[5] I began to work with the papers more closely and quickly established a link with the Hoodoo using the opening ‘Lucky Hoodoo Grimoire[6]. In the intervening years I had worked with a wide range of disciplines including Thelema, Tibetan Vajrayana, English Witchcraft, Shinto and Tantra. I had travelled throughout the middle, far east and pacific rim and so the eclectic and wide-reaching remit of the workbook was something I had affinity with and saw this as a great strength rather than as being disjointed as many who come to experience it do. My primary and continued experience with this path is one of vibrancy and primal power. It blew away all previous experiences in a hurricane of the Hoodoo’s visitation and turned the other systems into ashen heaps of archaic rote and empty rite. It also reignited my artwork which became an offering and one which the Hoodoo feasted on happily and continuously.

Q: Would you tell us what you can about the history and magickal functions of the OTOA and LCN?

A: The OTOA and LCN[7] hold a unique transmission in their combination of the hermetic tradition of Papus[8] and the esoteric Voudon of Haiti. Following Michael Bertiaux’s time in Port-au-Prince and initiation into these mysteries[9] they were brought to America and incorporated into the teachings of the outer body, the Monastery of the Seven Rays[10].

“Michael Bertiaux once shared with me that the Haitian Spirits attached to the Jean-Maine Familie took an interest in America and thus “migrated” here. This was done via Bertiaux himself who had been selected as a Vehicle of the Spirits. These Spirits “inhabited” our Orders as a functional “Body“.[11]

As well as esoteric voodoo, these transmissions included the Ancient and Primitive Rite of Memphis-Misraim that Papus had inherited at John Yarker’s death together with other currents such as those of the Atlantean Brotherhood of Saturn, an inner order of the Monastery of the Seven Rays. The Orders act as magical machines that enable the ingress, congress and egress of these currents. On August 15th 1973, the Monastery of the Seven Rays and OTOA accepted the Law of Thelema and female membership, becoming one of the first old aeon Orders to do so.

The OTOA and LCN are dedicated to the practice and initiation into the live and evolving tradition of European hermetic-alchemical Gnosticism and esoteric Voudon as taught in Haitian secret societies and Zobops.”[12]

vudu priestess ov the new moon

Q: How would you define your communion with the Lwa or the guardians of the tradition? Could you explain the technique that allows you to draw these powerful spiritual entities through and into your artwork?

A: This relationship with the Hoodoo, Lwa and guardians of the tradition is paramount! Without this there is no admittance into the spirit-pools, temples and treasure houses of the cultus. It has been said that this is a multi-incarnational work and such continuity does make the re-establishment of this communication easier. Once this connection is made and strengthened by initiation in the Orders, it opens the gateways to those places.  Whilst its beginnings appear simplistic in the methods of the Lucky Hoodoo Grimoire, once the connection is made, these rapidly diversify into the Gheudhe logics and Trans-Yuggothian lattices.  The moniker Workbook is itself misleading and the individual papers should be considered as such. Attempting to approach the Workbook in a linear fashion can often be deeply frustrating. This also happens with the density of the prose. It is perhaps simply a result of attempting to articulate some of these concepts which do not fit easily into Newtonian Physics or the English language. I think that this is one of the reasons that many great magicians are also artists, as the powerful entities can sometimes be better expressed in this medium.

Of all the techniques that contribute to the drawing down and through of these entities, La Prise des Yeaux is the core component. This seizing of the eyes by the spirits themselves enables the initiate to experience the Hoo Realms directly and then it is only a matter of replicating that vision. In many ways this could be understood as a possession petite, because little by little it’s easy to find their tastes and predilections becoming one’s own. This perhaps gives rise to concerns of a parasitic relationship and it is a question I am often asked following lectures. My answer is simple. There is no protective circle in the Lucky Hoodoo Grimoire, no triangle of arte in which to bind spirits. This is because there is no danger when working with the Hoodoo, they simply give their gifts in return for the things they can no longer experience themselves.

On a mundane level the creation of my artwork is surrounded by its own set of ritual and implements. My Winsor & Newton easel naturally attracts their own brushes, paints and inks. Chinese brushes and Sumi ink from backstreet specialist Malaysian shops sit alongside Liquitex paint pens and Staedtler pigment liners. More Winsor & Netwon boxes stick out below the canvases with oil sticks stacked alongside Sennelier oil pastels. In the corner my National Geographic camera bag is filled with my Nikons that both capture textures for my photo library and the finished artwork for upload or transformation into the range of prints offered via my website[13]. The Evernote app is a constant container of ideas, research and images tagged for inspiration. Notebooks of every persuasion stack against the side of a bookshelf, their pages full of biro trances. My Apple Macs bathe the studio in an eerie screensaver glow and of late the sounds of David Bowie’s Blackstar have added to the rotation of Coil’s Ape of Naples, NIN, Led Zeppelin, Fields of the Nephilim, Black Sabbath, Killing Joke, Nick Cage, Tool, The Waterboys and David Sylvian. Did I mention earlier that I cherish the eclectic?

Q: What is Voudon Technology? (And will it be on the shelves for Christmas?)

A: Let me start by quoting the SGM[14] of the OTOA-LCN, whose insights and familiarity with the dynamic nature of the gnosis and its manifestation are a constant inspiration: “Hoodoo Tech has no cultural confines. Rather it enters culture as a vehicle for its Wild and Lovely Life!”[15]

There are many aspects of esoteric technology from the cubes of the Chronozon Club[16] to the time-stations, gnostic-radionics, grimoires and peristyle of the Zobop. Many others are mentioned in the Voudon Gnostic Workbook such as the creation of magic squares and a Zobop Passport that I focused on in my recent workshop[17] at the Occult Conference, Glastonbury.

Another important technology, that will definitely be on the shelves for Christmas is that of the esoteric tarot as I have created a number of decks that encapsulate aspects of the Voudon Gnostic teachings and act as portals into the realms of the Lwa.

Q: How does Kenneth Grant’s vision of ‘The Nightside’ align with the work of the OTOA and LCN? Can you elaborate on any specific points of ‘cross-order collaboration’ with the Typhonian Order?

A: “The magick of the Spider Sorcerer is older than that of our Atlantean brothers, for it originates from the Trans-Yuggothian Priesthood of Zom, the spiritual guardians of the Zothyrians.”[18]

Much of the Nightside is analogous with the Zothyrian Empire of Universe-B and it is the work of the Voltigeurs and Spider Sorcerers of the LCN in traversing these realms that Kenneth Grant draws upon in his writings.

The astral lycanthropy of the Black Snake Cult involves not only the secret pathways of the qliphoth but a degree of willed astral projection designated the Voltigeurs, whereby all the paths of the back-side of the Tree are traversed in a jump.”[19]

Historically there have been a number of points of contact. Many of the topics were clearly of interest to both Grant and Bertiaux and their work intersects and weaves in and out of each other’s in many places. Grant was unique in having access to Monastery papers and private correspondence at a time when few outside the circles of the Hyde Park Group in Chicago knew anything of the work.

patriarch mage

 Q: Have the English OTOA-LCN and its Vudu practices evolved in accordance with the core vision of Michael Bertiaux or at variance to it?

The OTOA-LCN has evolved since its creation in the 1920s and more recently with the appointment of its current SGM, Zettelion[20]. In the past for example the Orders were distinct entities but were later unified. It continues to support the work of initiates and core tenants such as that of the LCN to “combat psychic evil”. As the engine house and eregore of the Orders are the spirit families that continue to guide them within the Zothyrian Empire, it is they who shape their evolution. The Patriarch has contributed much to the public awareness of the Orders through his publications and the numerous newsletters, papers and audio recordings[21]. He has stressed on many occasions however that these are not the finite borders of the gnosis and every initiate of the OTOA and Black Snake Cultus is encouraged to pursue their own relationship with the vision.

Q: Tell us about the brilliant Carrefour Tarot, the Tarot of the Emissary and your most recent (and yet unpublished) Gholem Tharot? (Perhaps our favourite to date!)

A: The Carrefour Tarot began at the suggestion of the OTOA-LCN Secretary[22], who had previously been unable to find an artist and initiate able to manifest the Creole Cabala Tarot of the Four Crosses. Only the titles of these 32 cards are listed in the first year Monastery papers. Being unlike a traditional tarot it seemed a daunting task but it was one that the Hoodoo soon assisted, bringing dreams which presented a landscape and interpretation of the cards. In further discussion with the SGM it was decided to double the deck, creating 32 opposing energies. The inception and meanings of this elemental deck is discussed further in The Living Atua of the  Carrefour Tarot[23]. It is similar to the nature of the Hoodoo themselves, being intrinsically elemental and has its four crosses become analogous to the guardians of the quarters. Many owners of the deck have attested to the raw power it evokes. Within the artwork I placed a number of sigils designed to make the deck bond with the owner and attune to their work when engaged in Voudon contemplation or ritual.

David Eosphorus Maples writes in Anomaly Report, 2013 “I have only had the cards in my presence for one full day and already there is much to say. From the onset of the decks arrival, I could feel the otherworldly energies that emanated from its core. What I hadn’t anticipated was the inward as well as outward pulls and influxes of the cosmological territory that had now been opened as a portal with these cards. I have theorised that these entities have their origin in the Sirius system. This theory is supported by the ever-present manifestation of a black dog. This dog sometimes appears in different forms, some resembled more of a jackal, and others simply a black dog adorned in gold jewelry. Since this contact, more and more cosmological entities have inhabited my space, making it their own. Watching, tempting and studying, these intelligences have a most inquiring nature, they seem to be as curious of me as I am of them. Portals and gateways into time and space have indeed been opened, and from both sides[24]“.

The Tarot of the Emissary was created on the framework of a traditional tarot, but one which drew upon my appointment as OTOA-LCN Emissary and incorporated various aspects of my own vuduverse which had arisen from a number of workings documented in Ontic Dreaming, Vudu Meditations, Liber Sedecim and The Sutra of ZAL[25]. These volumes as well as being magical records were created as one-off slipcase editions very much in the tradition of Andrew Chumbley’s Unique Transmission Series, of creating individually hand-written and illustrated telesmatic volumes.

The tarot included many of the visions of the Leng Mythos, of the migration of the Lwa from distant star systems, the war of the Architects with the Archon and the sorceries of Zom which I have presented in a number of short stories[26] and essays[27].

The forthcoming Gholem Tharot is a return to the format of a 78 card deck. It is the result of a request from Michael Bertiaux in 2013 to create such a deck related to the golem mysteries. These mysteries relate to the historical golem, the Saturn Gnosis and the zombie. Artistically the deck is very different from the previous two as I have drawn upon my personal photographic library to create montages for the cards.

Papus, in Tarot of the Bohemians (1889) alludes to two ways in which the mysteries of the tarot have been preserved throughout the ages “1. Secret societies, a direct continuation of the mysteries; 2. The cultus, a symbolic translation of the higher doctrines“.

As these decks originate from my own work within the cultus, they are living atua of these energies.

gholem of the sporeworlds

Q: It’s clear you have done some exceptional collaborative work with Edgar Kerval from Columbia, The Infernal Faces of Hekate being a prime example. Would you like to explain how this came about and is there anymore in the pipeline?

A: Thank you! My original involvement with Edgar was through my music project Gothick[28]. As well as the commercial albums[29] I recorded, there is a free trilogy of albums based upon the Book of the Law available[30].

Our bands appeared on a number of anthology recordings together and when he began publishing occult books I started to work more closely with him. As well as my continued regular contributions to his publications Qliphoth, Sabbatica and Noxaz, I also illustrated his first grimoire Ast-Ma-Ion which featured a set of colour postcards of the Qliphoth entities.

I also released the album Lapidis Lazvli with Edgar as Sons ov Sirius. This is an album of ritual music inspired by Aleister Crowley’s Liber VII and my own experiences with the City of the Pyramids.

The Infernal Faces of Hekate[31] was the result of work I had been undertaking with the English Witchcraft tradition and a series of visions and dream-workings as the Hecate-Frog is a key totem of the Voltigeurs. This led me to a re-interpretation of the SATOR magic square and to Hecate’s origins as the warrior woman engaged in the war with the Archons. This original aspect of her nature, retold in the Greek tales of the Titans, was something I felt had been overlooked by her transformation into the ‘Goddess of the Witches’ and something which came through strongly during the workings. I was particularly struck by the revelations concerning the SATOR square as I seemed to have become an occult archaeologist turned detective as I followed the clues and trail from medieval cathedrals to the shores of Cornwall. The deluxe boxed edition of the book, Infernal Sabbati, sold out very quickly[32] and came with a pendant and mala of onyx stones. My and Edgar’s personal copy of this has a unique pendant whose entanglement I like to think assists our collaborations. The skull and moon engraved box has become a permanent feature upon one of my altars.

As my work unfolds I continue to publish essays and artwork which illuminate its nature. I’m currently working on the Grimoire of ZAL which unites the work of Louisiana Voodoo, Lam, The Equinox, Bon-Po tantra, the Green Man and a secret angel. I’m also designing a new expanded edition of Edgar’s sigil deck, The Labyrinths ov the Primigenian Void which will be available this year.

As well as his commitment to his path of the Red Gods, I very much appreciate Edgar’s integrity and dedication to creating hand crafted quality items which reflect this, either via his writing, bookbinding, art or music.

Q: If you are willing, could you tell us what’s on Docteur Woodward’s lightning struck slab at this time?

A: It’s draped in black, sigil etched covers at the moment!

A number of the tantric elements of the Grimoire of ZAL have prompted side projects such as the recent work with the rite of Memphis-Misraim that led to a revival of the Rite of Sat B’hai, documented in the essay The Fires of Sat B’hai[33]. New music projects have been bubbling under the covers for some time, including a project with Anthony Mangicapra (Hoor-Paar-Kraat) and Charlie Martineau (Esperik Glare) as well as a further Sons ov Sirius album with Edgar. For the Gholem Tharot there is The Secret Garden of Zahul Al l’hikma[34], which unites esoteric witchcraft and plant lore with the Gholem Gnozis. I’m also considering a book of collected essays and audiobook as well as one similar to a gallery catalogue featuring my esoteric artwork.  I’m very conscious of the impact that totemic books have had on my own research and practice and it is to that model that I have looked when contemplating these new volumes. I’m also delighted to be collaborating with the Typhonian Artists Unbound group on the Nu-Isis Stele project.

Following my lecture and workshop at The Occult Conference and talks at The Day of Raising the Ancestral  Spirits[35] and Visionary Voudon[36], I’m also available to speak on these subjects and am also interested in exhibiting some of my original artwork.

Q: For someone interested in actively working towards entry into the English OTOA and LCN, what would you advise?

A: To paraphrase Michael Bertiaux in a conversation with Tau Leo, just do it! This path is for the very adventurous and brave. The official representative of the OTOA-LCN can be contacted at In service to the Orders and the SGM I currently mentor a number of students both in the UK and internationally in America, Australia and Jamaica and I am happy to offer guidance to anyone who is committed to this work as the spirit-families will often guide them to me.

Thank you for your interest in my own art and writing.

Dr Sean Woodward, XVI⁰, 33⁰,90⁰,95⁰,96⁰,97⁰
Grand Master, Great Britain & Ireland

[1] Michael Bertiaux, Magickal Childe 1988
[2] Kenneth Grant, Muller, 1972
[3] Kenneth Grant, Muller, 1975
[4] Nephtys-Arachna Power Zone (NAPZ)
[5] Weiser, 2007
[6] First published in 1977 as Lucky Hoodoo – A Short Course in Voudoo Power Secrets by Docteur Bacalou Baca
[7] OTOA (founded in 1921)  and LCN (founded in 1922)
[8] Gérard Encausse, born in 1865
[9] In 1963/4
[10] See Vudu Cartography by Michael Bertiaux for details of his time in Haiti
[11] Coils: The Newsletter of OTOA-LCN  I.III, Zettelion
[12] Zettelion, OTO-LCN Facebook page
[13] See the Store at
[14] Sovereign Grand Master
[15] Zettelion
[16] It’s head  is Tau Choronzon VII (see the Bertiaux Tri-Order Statement, Samhain 2014)
[17] A Hyper Vudu Workshop, The Occult Conference, 2015
[18] Spider Sorcerers  of Universe B, Sean Woodward, Sabbatica
[19] Cults of the Shadow, Kenneth Grant
[20] Appointed in 2010 by the Sovereign Grand Master Absolute, Dr Courtney Willis
[21] Esoteric Lecture cassettes, Technicians of the Sacred
[22] Tau Leo
[23] Qliphoth, Transmutation Publishing
[24] The Living Atua of the Carrefour Tarot, Qliphoth
[25] Zendiq, private collection of the OTOA-LCN
[26] Such as Dreamwalker of Leng, Earthwalkers of Leng and Starwalkers of Leng
[27] E.g. The Carnival of Leng, Tarosophist International (II.IV)
[28] See
[29] These include ZODIOS released by Quartier23 in Berlin
[30] From
[31] Sean Woodward & Edgar Kerval, Sirius Limited Esoterica, 2015
[32] The standard hardback edition, Kalas of the Astral Witch, is available from Edgar Kerval
[33] Qliphoth Opus V: Dreaming the Draconian Flames, Sirius Limited Esoterica, 2015
[34] Zahul Al l’hikma translates as ‘the wisdom of Saturn’
[35] Underworld Apothecary, Bath 2014
[36] An Evening with Sean Woodward, Hellfire Club, 2014


Going Spare with John Constable

“What if this play, cunningly disguised as a biographical drama, is, in fact, the vehicle for a practical demonstration of Chaos Magic? A play conceived as an Act of Magic, the invocation or evocation of beings as yet unknown to this world, yet I fear all too familiar to our Borough Magus. The play of Mr. Austin Osman Spare’s unconditioned mind, even now unfolding before our soon to be astonished eyes.”

-prologue to “SPARE” in which Constable, as the Actor, wonders aloud to the audience

Austin Osman Spare’s shadow stretches across a huge chunk of Southwark. His art and magic scattered out from his Council flat at 52 Beckett House in Tabard Street his top-floor studio of 56a Walworth Road and his temporary wartime stay hostel at 86 Walworth Road. You can almost imagine him walking through the roads and alleyways, drifting down to Bankside and Borough Market with its Dickensian wrought-iron roof, the spire of Southwark cathedral, the oldest Gothic church in London, castings its own shadow – to exhibit paintings in local pubs and stop by to mingle with the locals over a pint or two, and over to Soho and Fitzrovia where he rubbed shoulders at the Wheatsheaf (notorious hang out of Aleister Crowley). Spare decided “not only to turn his back on ‘Mayfair and its self-regarding art scene…’, but he chose to put himself in a community made up of working people”, and within this community, amongst the streets that Austin would have meandered, an interview with John Constable (aka John Crow) was to take place; within the locus, the Omphalos, the azygous centre of Austin Osman Spare’s stomping grounds, in a pretty garden square not far from Tabard Street and across the road from the Crossbones, where we stopped for John to tell me about the place and his work there, and about the inspiration behind the decorations upon the gates. The interview took on a life of its own and we ended up having a chat really about Spare’s influence on John’s one-man play “SPARE”, which I had the pleasure to attend at the end of June (new dates have been set and details can be found at the end of this article); sitting on the grass in the cool shade of the trees, I asked my first question…

Simply, or not so simply as the case may be… “Why Spare?”

John: “I have been doing the work at Cross Bones, as you know, for probably about 15 years and many people have come to support me and because of what Cross Bones is they’re not all people that, in a normal sense, can be considered ‘good’. I knew a guy, who died 3 years ago, Ion Alexis Will, a very interesting character and he’ll pop up in bits of occult lore. He was one of the guiding spirits in the early days of Fortean Times; Lyall Watson credited him as a source for some of the wonders reported in his book; a school friend of Ken Campbell. Ion attached himself, in a sense, to me at Cross Bones, he became a very good servant of The Goose though many people warned me to be wary of him. He had a terrible reputation! A bit like Crowley or somebody like that; very similar actually, there was that bestial side that horrified people, but he was actually a very good friend to me in that time, the 2 or 3 years I knew him before he died. He commissioned me in a sense, oh he didn’t give me any money for it, but he said in the George Inn one night, he was addressing me as John Crow at the time, “CROW! You are the man to write a play about Austin Osman Spare”. Now when he said that to me, because he had orders for me every week, used to write me huge letters, I used to resist everything he told me, including that! But roughly a year after he died, he was there with me one night, Ion, and I thought “Okay, I accept the commission.”

Sarah: What made you accept Ion’s commission to write a play about Austin Osman Spare so many years later?

John: “The simplest reason is I felt a kinship with Spare, which I say was emotional, intellectual and practical, as in the sense of practice. Many, many reasons really. In terms of Spares own approach I have never been that comfortable with full ceremonial magic, I’ve always been more interested in the intuitive, and that area where what we call magic blends into what we call art and creativity. There’s an area of magical practice that seamlessly shades into a lot of artistic practice and creativity, it’s about the idea of re-patterning the world, restructuring, and reinterpreting. That isn’t to deny manifestations and things like this, or even effecting actual physical changes in reality, I certainly believe that is possible to do, but I think it all comes from the shifting of our perception. Blake once said “A fool sees not the same tree that a wise man sees.” – one feels that through the eyes of say Dawkins or somebody like that, the world is a material world, it has explanations, it is rational or reducible, it can be reduced to atoms. And so if that is your concept, in a sense that is the world that you live in, but equally if you know the world is peopled with spirits and helpers, allies and adversaries and all of that, then that is the world one experiences. That to me is very strong in the play “SPARE”, and I hope in all my work; the idea that we are the agents of transformation and that the world that we transform is then the world we live in. So certainly Spare’s practice appealed to me, but of course there’s the fact that he lived in this area, in a situation I can really relate to. He had some success, in fact some considerable success when he was young, then everything really went downhill from about the age of 17 and he chose to come here, not only to turn his back on Mayfair and its self-regarding art scene, but he had chosen to put himself in a community made up of working people; he was defining himself as a working man, a journey man, rather than a highfalutin artist, and all of that appealed to me”.

Sarah: What parallels have you drawn from Spare’s life to your own?

John: “As a playwright, like many others, I was briefly hailed as the next big thing. And it hasn’t fully delivered, or I haven’t fully delivered, but I found that around the mid-1990s I decided that not only was I probably never going to be part of the mainstream or established English theatre scene, but I no longer wanted to be and that was a great freedom really. I started writing solo shows, the first one I did was “I Was An Alien Sex God”, very deliberately and partly blowing a raspberry at the idea that I was a David Hare sort of playwright. It was introducing an element of play, and that followed through really in the work of The Southwark Mysteries; whereas on one hand that was a very serious work on one level, it’s got a great deal of humour in it too. And I think above all, it was the fact that he had moved here and I know of at least 3 or 4 places he’d lived. Obviously the studio at the Elephant & Castle, then he was at Becket House which is just over beyond that church in Tabard Square (John points up from our grassy spot to highlight which church). In a sense I’m living roughly in-between those two places, so I felt very connected geographically and just as with The Southwark Mysteries, which was conceived as an attempt at a magical or secret history of the last 2000 years, that geographical limit is what made it possible. I was writing about roughly a square mile around where I live, my own neighbourhood. With “SPARE” I felt it was very important not to try to encapsulate Spare or pin him down.’”

Sarah: To pin down someone that’s un-pindownable is always a bit of a challenge! What influence has Spare’s work, art or otherwise, had on you?

John: “It’s difficult for me actually to talk about Spare’s influence because I only found out about him quite late in my life, about 1998 or 9 when I was already full into The Southwark Mysteries a friend said to me one night “You know about Austin Osman Spare?” and I was like “Whoa, what a name!” And I really didn’t know about him, and then when I started looking into him I could see why my friend might have even assumed that I was a kind of disciple of Spare, because my approach to The Southwark Mysteries, which was very much a sense of ‘getting out the way’ and allowing unconscious processes to work. You know obviously Spare uses the concept of unconscious in a very different way from Freud or even Jung. It’s much more dynamic. It seems to refer to the unconscious mind in a more Hindu sense. When I looked into him I was very interested in seeing how, and I think that’s something I share with him, he had this kind of quite intuitive syncretic approach. I believe that elements of Buddhism and Hinduism, along with the Spiritualism of that time, were perhaps even more important influences on Spare than the more obvious Western Magical Tradition”

Sarah: So what was your trick to conjure Spare? To get you in that ‘Spare zone’?

John: “I had seen the exhibition at the Cuming Museum, and this was one of the real windows in. You know he first exhibited there of course, even before the Academy? So it had this fantastic sense of connection. You know I am a very visceral person, in the way I get my inspiration, you can tell with the gates (at the Cross Bones). So seeing these paintings and reminding myself that this was a man who turned his back on fame and fortune and came to live at the Elephant – those were my lead ins. To evoke him, the key was to look at a few incidents and to connect with his life here at the Elephant. That geographical discipline, or boundary, was very liberating for me in terms of not feeling I had to deal with everything that Spare might conjure up.”

Sarah: What research did you carry out for the writing of “SPARE”?

John: “I didn’t over research it, for example I didn’t read Phil Baker’s recent book. It came out when I was working on the play and I very deliberately didn’t read it. I had heard it was quite a radical reappraisal, and I thought the last thing I really want is to get caught up in someone else’s vision. I will read it though, once I’ve done this next run. I obviously read some of Spare’s own work, The Book of Pleasure… I have a couple of his other books… Borough Magus which I borrowed… That was very good! I went to the local studies library here, behind the John Harvard library and they have some great little newspaper pieces on Spare. And finally in terms of the research part, Caroline Wise and Michael Staley were very good, they have a small private collection of about 20 Spare paintings, and they invited me to come and talk to them. They knew Steffi Grant quite well, so they had a one degree of separation from Spare which was good, but it was even more delightful when I went to go and interview them, they were decorating their house and all their Spare’s were off the wall, stacked up. So I actually sat on a bit of sofa which had Spare paintings all around it, and when I explained to them about my love of visceral research, Caroline urged me to sniff and even let me touch, gently, the paintings.”

Sarah: How did you approach the writing of the play?

John: “To me there are many kinds of writers, and there are no right and wrong ways to write, perform or anything like that, so I don’t hold this as any kind of set in stone view. When I start I may have a very, very rough model of what I want to do in my mind, but for me the excitement are these areas of the unknown. I know lots of writers who start with a message, and then allow that to become clothed in flesh, but I tend to start with the flesh and try and work out the message, if there is one. You know which has its difficulties, and I think certainly a lot of the most commercially accepted writers do have a much clearer strategy, but to me this sense of what’s between the lines, of what is unspoken, what we intuit (which is why I write poetry as well) is important. I love not the concept that is pinned down but the intuition that sort of floats between the words, and that I suppose is another area I feel an kinship and an influence of Spare. When I started writing “SPARE”, I wrote very freely. I deliberately didn’t censor, so there were lots of drafts and lots of characters which came in and were thrown out. In my very first draft Crowley did appear and I very consciously thought that was something Spare himself really wouldn’t have liked, you know because I always got the impression that Crowley was much more interested in Spare than the other way around, and that was the reason not to write about him. So that’s really, that’s how I approached it, I tried to get out of the way and that’s very much to do with my own magical practice anyways. The idea of ‘getting out of the way’ of cultivating, I use this expression of Spare’s, ‘Shining emptiness” but I don’t think it necessarily comes from Spare but it very much defines my own approach, you know, to basically stay out of the way. I didn’t ever want to become an adversary of my subject, does that make sense?

Sarah: Certainly! To let Spare shine through, to try and let Spare speak…

John: “What I didn’t set out to do was to quote him, you know there are two or three of real Spare quotes, the thing about Hitler and probably a couple of other. I didn’t try to avoid it, but I wasn’t trying to get his voice in the sense of looking for great things he’s said that I could cannibalise for the play. I think it’s more my voice, but it’s hopefully a voice that opened up to say what Spare would say if he was me today.

Sarah: I must say that when I caught a glimpse of you in the corner, getting ready, the hairs on my arms went up and I thought to myself “Oh this is going to be good!”

John: “Well of course, it was the mustache! I think I wanted one totemic thing to link to Spare and for me it had to be the mustache. So I grew it deliberately, it was good, I had just about timed it right I allowed 3 weeks and then I actually kept it for the second performance. You came to the second one didn’t you?”

Sarah: I came to the second one.

John: “So the mustache was actually much more fully formed and probably the performance too.”

Sarah: When you wrote it did you know that you would be playing the part of Spare?

John: “No not necessarily, although as I say, I’ve done at least 3 solo performances, I enjoy performing. When I first wrote it, I wrote it for at least 3 actors, and to be honest in plays as a general rule, I avoid acting, because I don’t actually rate myself as an actor. I know many actors and hugely respect them and to me the actors I really respect, they really work in a band, they work with the other actors and I don’t have the self belief for that; whereas if I am alone, I do believe I’ve got an ability to conjure something up in myself, especially if I’ve written it. But with this one, the first draft and the first few drafts were written for at least 3 actors, so I had Hitler and Mrs Paterson as separate manifestations and certainly a Jack and June. The idea was also at that stage, and I always start off thinking big, conceived originally as perhaps a West End production, with the full bells and whistles; smoke and mirrors; ecoplasm! There is a version of it like this, that could be done but I very quickly after I had written it, I realised that I had written a play about somebody who very few people knew. So the chances of persuading the National to stage it was probably remote. The more I thought about it, the more I realised, that if I wasn’t going to do it with these sort of effects, of ghosts and manifestations, then it was better, rather to go half way house, to go right the other way and do it so it’s all in the mind. And in a way that is something I think I know how to do.

Sarah: I think it ended up more powerful to have the audience use their imagination. It feeds into the play, as it were, especially with the counting down at the beginning, you have everyone in a half-trance. Was that intentional?

John: “That is something, at least indirectly, I credit Ion Alexis Will for, because he told me “CROW! You are the man to write a play about Austin Osman Spare…. and I’ll give you the opening scene” It’s not quite the opening scene he gave me, but he did want a scene in which the person as the actor speaks to the audience. He wanted it to be much darker I think, to suggest that something really awful had happened backstage, and I felt that you don’t actually need to ask for those things as they tend to happen anyway, especially in the theatre. So I experimented with different ways, I certainly wanted a framing device, I think it’s always something I’ve a lot of my work and I’ve enjoyed the element of a sort of lecture in my solo work, this element, or other form, rather than the theatrical form. “I Was An Alien Sex God” is all framed as a trial, I had put myself on trial; as it started to develop, writing again quite instinctively, I didn’t really have a masterplan for it, but through it I started to see. It was when I started using the counting down. I was in a workshop and someone was doing some self-hypnosis and it clicked “Yes that is the way to do it, to engage the audience”, you know I’m not literally trying to put people into a deep trance, but certainly the play of that and the invitation to participate.

Sarah: It certainly altered the mood in the room, with that scene…

And you will have to go along to see what I mean! John’s performance was outstanding, his voice holds you captivated, I think I could probably listen to him for hours. The play begins with the countdown mentioned above after John gives a prologue as himself addressing the audience. Once he has fully assumed the role of Spare working his “invincible spell”, he channels various entities; his “exteriorised… shadow-self, Mortestophiles”; his enigmatic mentor, Mrs. Paterson: “Call this a séance? Carry on like this, we’re going to wind up possessed… by ourselves!”; and a most unwelcome admirer, Adolf Hitler. Spare uses “sex magic” to see off Hitler – but a rogue sigil conjures up June, a Woolworth’s shop-girl who has eyes for Spare, her husband Jack (a friend of Austin and fellow civil defense warden) in hot pursuit. Spare tries to explain: “I was thinking of your good wife, but only so as to facilitate the unconscious projection of my conscious desire […] You could even say old June played a vital part: by distracting me from fussing over the true purpose of this spell, thereby allowing it to manifest in my absence”.

“SPARE” is an extraordinary, visionary work of art and magic that will transport you back to Austin’s studio on the Blitz ravaged Walworth Road, the night of the Elephant & Castle bombing and leave you with a sense that you were in fact in the presence of Austin Osman Spare. John has done a marvelous job in evoking Austin, I was enthralled throughout and will be booking up for another viewing soon.

I cannot recommend the play enough, and neither can Glen Tomney who went to the first showing of “SPARE”:

Glen said:  “In recent years, for those in the know about our beloved old ‘Zos’, there has been a wealth of literature produced. Excellent publications from Fulgur, Jerusalem Press and of course Phil Baker’s recent Spare biography, have all given us a plethora of information and images from our boy genius, Artist, occultist, philosopher and mystic, Austin Osman Spare. So it was with keen interest, that when I came to hear John Constable a.k.a. John Crow, was to do a one man performance at Treadwells’, I was quite delighted to see the result. John’s work first came to my attention through two excerpts on a CD which accompanied Orryelle Defenestrate Bascule’s magickal MagiZian ‘Silk-milk’, both were readings and songs from John’s book The Southwark Mysteries. What intrigued me about John, apart from the revealing stories of the Crossbones graveyard and the Winchester geese, was his voice. He has a voice which holds the listener intently and one which is a perfect marriage to how you would imagine Austin’s to sound. I am seated at the back of Treadwells’ basement room. I have walked past John before the performance; he sits hands touching each other with a gleeful yet contemplative smile on his face. I watch enthralled by his performance. He becomes Austin. The props of easel and frame act as a porthole through which we see old Yelga Patterson. Transformations continue and the audience is reminded of Hitler’s admiration for Austin’s work and his eagerness for a portrait from Spare. We are reminded of his friends in the Borough, his sincere love towards animals, much ground is covered. At its ending, within the hour that has passed, you have been transported to Austin’s world which we can now re-visit thanks to John Constable a.k.a. John Crow a.k.a. Austin Osman Spare.”

“This is the Spell that sets us free from fear, free from ourselves. Here is nothing for any entity to fix on to. Only an empty channel, an absence, our shining empty open track-way to the stars…”

– From “SPARE” by John Constable

New dates have been announced:

On the 4th November John goes SPARE for one night only at the White Bear (where Austin Osman Spare exhibited his work):

And then four more nights at Treadwells:

Book soon as the the first two were fully booked in advance!


Text/Interview: Sarah-Jayne Farrer

Tribute to A.O.S: Glen Tomney – The Tree of All
John Constable as SPARE: “In the Chimehours”
Consciousness as Existence: Cobweb – Eolith Designs
Dream Search: J Philip Panton

John Constable
Cross Bones Graveyard

You may also be interested in John’s Halloween Ghost Walks…

Monday 28 to Thursday 31 October inclusive:


Meet from 6:45pm.
Depart at 7pm sharp from Tabard Street Piazza, Borough High St, London SE1 1JA (Borough tube )
Age: 16 and over.
Tickets: 28, 29, 30 October: £8/£7 concessions; 31 October: all tickets £10 (plus booking fee)
Places limited! Book your place now:

Writer-performer John Constable’s Halloween Walks combine ghost stories, folk-tales and other supernatural happenings with performances from his own work inspired by a real-life encounter with a Winchester Goose, a medieval sex worker licensed by a Bishop!

Featuring: haunted pubs, a Borough magician, a female gladiator, a haunted mirror, the spookiest stretch of the Thames, and the strange but true tale of Cross Bones graveyard… Includes short ritual / performance at gates of Crossbones!