Master Class DRAWING DOWN THE MOON: The Crossroads of Surrealism, Magical Practice and Material Form by Emily Hunt
General Course Description
‘DRAWING DOWN THE MOON: The Crossroads of Surrealism, Magical Practice and Material Form’ is a 5-day intensive program held in a classroom situation at BERLIN ART INSTITUTE from July 07 – 11, 2025. The masterclass focuses on the handmade, haptic experiences with material, and explores the potential of linking esoteric frameworks to particular artistic mediums. In this program we will question, how does an artist use materialism to represent unseen worlds
The program will be structured around esoteric principles as its foundation and framework, ‘drawing down’ elusive ideas into material form. The masterclass is structured to pass on technical knowledge around specialist art methods such as metal clay, silk painting, frottage, gelatin monoprinting and three-dimensional collage. These unusual material techniques are paired to individual themes covered: construction of magical objects, thought forms and the practice of surrealist automatism.
The masterclass also provides theoretical and historical background on art that engages with the history of Western Esotericism. The subjects covered include: Magical objects, spiritualist art, surrealism and the contemporary representations of magick in art. (Text & photos by courtesy of Emily Hunt)
Learning Outcomes
This 5-day course focuses on connecting esoteric knowledge with art creation. It draws parallels between art practices and spell-casting, rituals, and magical practices. The course involves studying first and then putting the knowledge into action by creating something tangible from the unseen. Participants will integrate their individual comprehension of esoteric knowledge into their material practice.
During the course, participants will be introduced to unusual and specialised craft and art techniques. These techniques will provide artists with the opportunity to experiment and incorporate them into their own art practices. By being exposed to previously unknown techniques, artists can refine their skills and fold new techniques into their work.
Collaboration and group discussion are also integral parts of the course. Participants will have the opportunity to engage with fellow artists and share areas of knowledge. This exchange of ideas and experiences can further enhance the learning experience for all involved.
The aim of the course is to leave the artists with many ideas to take into their individual practices, creating an exciting foundation for artists to engage in a daily practice of artmaking.
General Guidelines
This course is designed for artists of all disciplines and for those interested in learning new techniques that may not be readily available. It is intended for artists who have an interest in Western Esotericism and its representation in both art history and contemporary art. No prior knowledge of the subject is necessary to participate in the course. However, participants should have an open and engaged attitude towards the subject matter and be willing to experiment with new materials.
Benefits, Methods and Topics of Teaching
- Participants will learn about Surrealist automatism practices through practical demonstrations.
- Participants will learn how to imbue objects with resonance or theatricality and create talismans and amulets with reference to historical examples of European witchcraft tools.
- Participants will learn how to work with metal clay to produce wearable artwork and polish and finish their metal clay jewelry pieces.
- Participants will learn about geometric esoteric visual systems in drawing and the history of artists creating tarot card sets, with the opportunity to design their own tarot cards.
- Participants will learn about gelatin monoprinting and its relationship with spirit photography, as well as Annie Besant’s concept of thought forms and the technique of silk painting.
Program Structure with Daily Course Description
Monday, July 07, 2025
9:30 AM Reception at the BAI
Working with ‘the other’ in Alphabets and Dust: Automatism in Asemic Language and Pareidolia.
To begin the program, Emily Hunt will give a short presentation introducing her art practice, which spans printmaking, collage, painting, and ceramics. She will discuss her history as a practicing artist and explore recurring themes in her work, including visionary architecture, the history of print media and its connections to magic and witchcraft, and the marionette as a magical tool.
The first practical course on Asemic Language will then commence. Asemic art refers to a form of art that employs symbols and marks resembling writing but lacking specific meaning or semantic content. Often regarded as a universal language, asemic art can be intuitively understood regardless of cultural or linguistic background. This universality arises from its ability to tap into the unconscious mind, fostering intuitive connections with the artwork. During this session, we will examine and discuss the alphabets of Hildegard von Bingen, Hélène Smith, Madge Gill, Luigi Serafini’s Codex Seraphinianus, and Allyson Grey.
After lunch, participants will attend a brief introductory presentation on surrealist automatic methods, including decalcomania, fumage, stilomancy, superautomatism, and frottage. These techniques will be explored in relation to the classical elements of earth, air, water, and fire.
The day continues with a lecture on the surrealist techniques employed by British surrealist Ithell Colquhoun throughout her artistic career. Participants will engage with the concept of pareidolia, using it to discover images within accidental designs.
Tuesday, July 08, 2025
The Magical Object: Drawing with Metal Clay & Creating Collage from forgotten books
Each morning begins with a presentation on an esoteric theme paired to the day’s practice. The first session will explore the concept of magical objects, drawing on historical and contemporary examples. The work of Betty Saar, Gertrude Abercrombie, Monica Sjöö and magical objects such as Bellarmine Jugs will be discussed.
The practical course will build on the invented symbols or asemic language developed the previous day. Participants will use a letter or symbol as the basis for creating a metal clay jewelry piece. Instruction will be provided on working with this unique clay to produce a wearable artwork.
After lunch, there will be a presentation on the history and influence of surrealist collage. Rare books sourced by Emily will serve as visual resources for the class. Hunt will share a technique she has developed over the years for creating three-dimensional sculptural collages.
Wednesday, July 09, 2025
The Automatic Embassy: Gelatin Monoprinting & Thought-Forms
The morning presentation will focus on occult devices such as spirit photography, Thomas Edison’s spirit phone, and the spirit board as tools for communication with unseen realms. We will also discuss The differences between channeled works (mediumship) and those that tap into the unconscious (surrealism) will be explored. Additionally, we will examine the artistic medium of gelatin monoprinting due to its close visual relationship with spirit photography.
In the afternoon, we will delve into Annie Besant’s concept of thought forms and pair it with the technique of silk painting. Silk painting possesses a unique beauty and allows colors to flow seamlessly into one another.
Thursday, July 10, 2025
Esoteric Geometric: Cosmological Cartography and the Tarot
The morning session will focus on the concept of geometric esoteric visual systems in drawing. We will discuss artists who use geometry and mathematical shapes to represent spiritual concepts and metaphysical ideas.
Participants will use grid paper to map out complex geometric shapes, blending the science of geometry with systems of knowledge. We will create annotated diagrammatic drawings using the humble colored pencil.
In the afternoon, we will build upon elements from our week’s prints and drawings to create individual cards inspired by the earliest depictions of playing cards and tarot. A brief presentation on the history of artists designing tarot card sets will offer context and inspiration. In a group setting, each participant will choose a card from the Rider-Waite deck to illustrate in their own unique way, allowing us to collaboratively create a complete set.
Friday, July 11, 2025
High Weirdness: Exploring the Role of Contemporary Art in Strange Times
The final presentation of the program will explore the concept of ‘High Weirdness,’ a term popularized by Erik Davis in his book of the same name, which examines the lives and ideas of Philip K. Dick, Terence McKenna, and Robert Anton Wilson. High Weirdness also refers to an unfolding reality that reflects the ultra-strange and extraordinary in our present moment. Our discussion will delve into the surreal and uncanny in art, featuring works by artists associated with the Vienna School of Fantastic Realism, such as Ernst Fuchs. We will also explore the art of individuals who claimed extraterrestrial encounters, including Ionel Talpazan and David Huggins, as well as the work of artists like Ingo Swann, who engaged with remote viewing techniques.
The metal clay jewellery pieces would have been fired by Friday, reading for polishing and finishing in the morning. In the afternoon we will take time to discuss the outcomes, successes and failures of the artwork that was produced during the program.
Hours: Each day from 10 AM – 4 PM (including several breaks & lunchtime)
Seats: Min: 6 | Max: 20 | Language: English
Fees: There is a one-off registration fee of €50. The participation fee is €850 per person (without accommodation).
The fee is VAT-exempt by the Governing Mayor of Berlin – Senate Chancellery Higher Education and Research pursuant to Paragraph 4 No. (21) (a)(bb) UStG (German Value Added Tax Act).
Your Master Class Instructor
Emily Hunt (born Sydney, 1981) creates ornamental, figurative ceramics. Her history as a rare-book dealer has informed her encyclopedic approach to her art-making, taking influences from the history of ornament, visionary art, big-ego personalities and scholarly magical texts. She creates world-building installations that reflect automatism in ceramic forms. Her work articulates the concept of the collapse of a macro & micro world view, and walking as a magical tool. From 2017 to 2018, she created large new body of ceramics and etchings for exhibition in Second Sight: Witchcraft, Ritual, Power at UQ Art Museum (AU). Her etchings were installed on alongside Hans Baldung Grien and Albrecht Dürer. The invitation to create work for an exhibition about witchcraft was a turning point in her research and Hunt started to delve into the earliest representations of women as witches. The result has been her on-going fascination into the history of western esotericism, magick and the occult in print history.
More information on the Emily Hunt Website and on Instagram.
