Going Great with Grey

Alex Grey's artwork diverges greatly from the normal contemporary art realm. Grey combines factual anatomy and his own portrayal of the human body using the spirituality instilled by his images. Both the articles "Grey's Anatomy" and "Stux gallery" agree on this statement, but their beliefs differ about the purpose and meaning of Grey's "Sacred Mirrors." Kenneth Baker, author of "Grey's Anatomy," believes that this collection focuses on realism and mortality while Carlo McCormick, author of "Stux Gallery," argues that the piece focuses on the depth of human nature and metaphysics. Each author uses physical indications from the artwork to elaborate on their interpretations of the pieces. Baker, however, uses shallow observations and generalizations to create his argument, making it structurally weaker. McCormick provides a clear, contextual argument through his unambiguous diction and lack of generalizations.

Baker’s argument is that Grey’s intentions in “Sacred Mirrors” are to examine the mortality of humans, which he justifies through the lack of flesh on many of the human portraits. He argues, “[the paintings] fool us for a moment into thinking we are looking at images of living persons” (Baker). He continues, claiming that the mirror technique and human anatomy created by the artwork inhibits the viewer from understanding Grey’s purpose. This may be true at first, but “Sacred Mirrors” is a sequential building from the human body to the spirit. Through the metamorphosis, we see human flesh transform into spirit, which is yet to be tangible in the real world.

Even though some of the images appear gruesome and morbid, the artwork is portraying the building of the human body and aura. McCormick’s argument is that the layering of the human flesh in Grey’s work is to show the depth of the human construction: the soul, and the sensuous flesh that sustains us. He states Grey’s paintings are based on his personal investigations of human nature where reality becomes far removed. It is described as, “a rigorously detailed account of the typically unseen.”(McCormick) This idea coincides with the progression of “Sacred Mirrors”, when the viewer is mirrored as a physical being, then transcends into a spiritual being (either as a spirit or a spiritual figure). This argument differs greatly from Baker’s, as it emphasizes the abstract ideas that appear in the paintings as opposed to the realistic ones.
Baker continues to assert the morbidity and realism shown in Grey’s drawings when he determines that one’s personal experience with morbidity enhances the credibility of their thoughts. Contrary to his belief, the experience one has with death only feed ideas contrary to the paintings’ meaning. “Sacred Mirrors” is the visualization of the development of humankind, not the demise or degradation of it. Baker’s argument is partially concluded through an interrogation, which questions the capabilities of Grey’s artwork. “Can a painting actually affect someone's attitudes toward anything besides painting?” (Baker) Quite simply the answer is yes; Grey’s paintings have caused me (and possibly others) to question the nature of the human spirit.

Baker’s conclusion lacks a well-composed thesis, as his final statement suggests that the reader see the artwork regardless of the meaning because Grey’s work is so different from contemporary art. McCormick on the other hand, concludes by discussing the scientific aspects of Grey’s work. He describes “Sacred Mirrors” as a “systemic web of existence that is structurally dependent upon the existential as well as the biological”(McCormick). This concept is a great explanation of the motifs prevalent in “Sacred Mirrors” and provides a clear, adequate conclusion to McCormick’s thoughts on the artwork.
Alex Grey’s “Sacred Mirrors” is piece that incorporates ideas of the human spirit as well as ideas of the natural world. Each author has a distinct and different (but not necessarily contrary) viewpoint of Grey’s work. Baker focuses on the distinctive style of Grey, which causes him to over analyze the small details and overlook the general conceptions of the work. McCormick is able to provide an adequate analysis of the painting through strict observation and context, as well as a clear and developed argument advocating Grey’s ability to intertwine the natural and metaphysical worlds to describe the objective and spiritual aspects of human nature.

Alex Grey’s “Sacred Mirrors” is piece that incorporates ideas of the human spirit as well as ideas of the natural world. Each author has a distinct and different (but not necessarily contrary) viewpoint of Grey’s work. Baker focuses on the distinctive style of Grey, which causes him to over analyze the small details and overlook the general conceptions of the work. McCormick is able to provide an adequate analysis of the painting through strict observation and context, as well as a clear and developed argument advocating Grey’s ability to intertwine the natural and metaphysical worlds to describe the objective and spiritual aspects of human nature.


Baker, Kenneth. "Grey's Anatomy." The Boston Phoenix [Boston] 13 Apr. 1982, sec. 3. Alex Grey. Alex Grey. Web. 18 Apr. 2010.
Grey, Alex. Sacred Mirrors. Alex Grey. Web. 18 Apr. 2010. .
McCormick, Carlo. ""Stux Gallery"" Artforum Sept. 1986. Alex Grey. Alex Grey. Web. 18 Apr. 2010.