Cody Seekins Fine Art

Another Budgie takes its place within the “Jātaka Tales of a Budgie-Sattva”; this one a visual amalgam of Parakeet, glamor lips smoking a lit joint, marijuana leaves, a prototypical yellow eye, and more. The distinguishable features of the figure are connected and supported by various morphological tissues. The bird itself has two sides, both illuminated in their own respect. It also has two faces for each side. Likewise there is a dualism at the shoulders; whereas on the left side there is an outstretched wing, the right side lacks a wing and instead there exist two peg or pin like structures jutting out of a corporeal flesh representing its joint–an influence of chronic shoulder pain.

“Phra Nang Farang” employs a collection of impressions related largely to my experiences in the Krabi region of Thailand near the “Phra Nang” peninsula. The term “Farang” in Thai means a foreign or non-Thai person. In addition this psychological incarnation exists as an embodiment of one seeking pleasure through the senses. The figure is wading in a warm bath of tropical waters, sporting an octopus tattoo as limestone parrot-faced islands set in repose against the background. The scene darkens toward the horizon, emphasizing the illumination of the figure and expressing the syncopation of both sun and shade in the Thai wet season. A beach ball drifts mid-water inviting play.

A young figure caught in a moment of distraction, aware only ephemerally of his unconscious being, as it engages in psychological and psychedelic layer spaces. His right arm casually cradles a moray eel; the figure is comfortable but not truly aware of the potentials for danger in such negligence. His shirt reads “Bello” in Monster style font, harkening back to a childhood straddling the millennial threshold. To his right side, out of the unconscious deep, shrouded alien heads propagate as a fractal totem, each new iteration a more sophisticated rendering of emotional masking over the cold mystery of the greys.

In this narrative a young boy pulls a large red wagon carrying entheogenic entities—one of which ponders the meaning of the Hindu “Tripundra”, or the three prime attachments of the soul, in synthesis symbolically to the I-Ching symbol of Li or “Fire” which relates to certain natures of thought and which can mean “To cling to something”. An illuminati eye hovers in ascension above the quartz crystal brain of the pondering wagon entities in a rhythm of triangular UFO’s. The Boy himself, having wandered from a desert stumbles into an oasis of various psychic objects and buildings. Just before him lies an organic flowering emergence of organic color and form. The young child also notices that his shadow is not his own.

A narrative of a military brat automaton in a world of geometric, technological, and rational forms. The artificial intelligence encounters an interruption of his rational model; spying an organic budgie. On the boy’s shoulder is a small robot mimicking the form of a bird. The real budgie, in turn, has adapted its coloring to camouflage itself against the inorganic environment. The moon looms large but faint in the distance.

The first seminal piece which brought forth my series, the “Jātaka Tales of a Budgie-Sattva”. The Psychonaut is a synesthetic narrative of one of the karmic lives of the Budgie-sattva. His journey denotes the process of purification rather than the state purity. In the image the Budgie-Sattvas (both boy and birds) exist within a moment of psychedelic consciousness—the boundaries of the environment and self are given to a large degree of psychological morphism. The triad of budgie manifestations accompany the figure as familiars, each engaged within a distinct region of the hallucinogenic landscape.

In the image are the lovers, consisting of a love struck rabbit and a polymorphic being. Additional entities include a sun and a glittering rainbow Shiva Lingam. The baby-faced sun and the general environment are created in the manner of the Teletubbies cosmology. The lovers set upon a radiating surface akin to the game Twister, engaged in an intimate moment. Whereas the bunny is entranced, even possessed by his affection, the other creature exists simultaneously in their physical play, as well as an introspective dissociation into various psychological forms–and opening its mouth wide, it prepares to consume the Shiva Linga which swims above the crown of the rabbit.