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YOU ARE HERE: Homepage > Visionary Art and Engineering > Paul Laffoley > The 1960's Paintings

Paul Laffoley - THE SIXTIES:
Laffoley's Earliest Paintings

To call this man's artwork profound is a complete understatement. The FUTURE ART of Visionary Philosopher/Designer Laffoley is without parallel. Immensely detailed mandalas of geometrical systems, thought symmetries, machines of the future, bioengineered living structures, methods of creating time-machines and dimensional wormholes are just the beginning!

"The goal of our present endeavor is to produce a transdisciplinary world-view
which will sustain human existence into a continuous future."
- Paul Laffoley

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Partial Chronological Listing - Click images for Larger View

Early Work - Unknown Title - 1963-1964

"Why Is There Something, Rather Than Nothing?"
oil & acrylic. 48 x 52 in.

"Love Is Strange"
- 1964
oil, mixed media & acrylic. 19 x 60 in.

"Psychological Astrology"
- 1965
oil & acrylic. 50 x 50 in.

"The Astrological Ouroboros"
oil & acrylic. 50 x 50 in.

"Mind Physics: The Burning of Samsara"
- 1967
Oil, Acrylic, Lettering on Canvas 73 1/2 x 73 1/2 in.

Subject: The Innate Theatricality of the Physical Universe
Symbol Evocation: The Purifying Fire

"Mysticism Or The Communication Between The Levels Of Consciousness
Up Or Down On A Mass Scale Will Eliminate The Concept Of Existence As Opposed
To Reality-Pure Being. Technology Will Equal Morality"
Homage To: C.J. Ducasse, Leonard Troland & Herman Hesse

"Homage to the Black Star of Perfection"
- 1965
" Oil, acrylic, and vinyl lettering on canvas 51 1/2 x 51 1/2 in.

"Portrait of Rudolf Steiner" 1965
Oil and acrylic on Canvas 51 1/2 x 51 1/2 in.

"The Zodiac Wheel"
- 1965
Oil, acrylic, and vinyl lettering on canvas 49 5/8 x 49 3/4 in

"The Kali-Yuga: The End of the Universe at 424826 A.D."
(The Cosmos Falls into the Chaos as the Shakti Oroboros Leads to
the Elimination of all Value Systems by Spectrum Analysis), 1965
Oil, acrylic, vinyl lettering, and x-ray on canvas 73 3/4 x 73 3/8 in.
Subject: The Collapse Of Space Into Time Provides The Heat For The Kundalini Of The Tantrika
To Re-Unite With Shiva, Whch Is The Fire-birth Of Shakti. All Suffering Is The Apparent Separation Of Boredom & Care"
Homage To: Nostradamus, H.P. Blavatsky, Edgar Cayce & Death

-oil & acrylic. 60 x 60 in

"The Urban Fossickated Octave" - 1968
Oil, Acrylic, Ink, Lettering on Canvas 51 x 51 in.
Subject: The Source of all that is Esoteric
Symbol Evocation: The Second Chance

"The Relation Between Electricity and Magnetism by an Experiment" - 1967
Oil and acrylic on canvas 37 1/2 x 37 3/4 in.

"The World Self" - 1967
Oil and acrylic on canvas and vinyl letters
with a magic mirror 61 1/2 x 61 3/8 in.

"Homage to Kiesler"
- 1968
Oil, Acrylic, Ink, Lettering on Canvas 37 1/2 x 37 1/2 in.
Subject: Frederick Kiesler, Sculptor, Painter and Visionary Architect
Symbol Evocation: The Search for Continuity in Nature
Homage To: Frederick Kiesler

"Hollow Earth"
Oil, Acrylic, Ink and Lettering on Canvas 53 1/2 x 53 1/2 inches
Collection of the Austin Museum of Art, Texas
Comments: The Theory of the Hollow Earth has three variations

"The Number Dream" - 1968
Oil, Acrylic, Ink, Letters on Canvas 73 1/2 x 73 1/2 inches
"That the physical senses can provide an authentic advancement in knowledge is a truism. Dreams also can provide an advancement in knowledge. But the assumption is often held that knowledge obtained from the senses is inherently objective and that knowledge from visions and dreams is inherently subjective."

"Alice Pleasance Liddell" - 1968
Oil, Acrylic, Ink on Canvas 73 1/2 x 49 1/2 in.
Subject: The Real Alice
Symbol Evocation: The Awakening of Sexuality
Homage To: Charles Lutwidge Dodgson aka. Lewis Caroll & Alice Pleasance Liddelle (the real 'Alice' in wonderland)

"I, Robur, Master of the World" - 1968
Oil, Acrylic, Lettering on Canvas 73 1/2 x 73 1/2 in.
Subject: Redesigning Part of the Solar System
Symbol Evocation: The Natural Link between the Earth and the Moon
(Title is from the novel adapted into the film 'the Day The Earth Stood Still)


"Self Portrait"
Oil on Canvas 50 1/2 x 50 1/2 in.
"Making a portrait of oneself, for whatever the reason (I have actually forgotten why I did it), is a trauma. It is not a question of "what happened to all the time between "then" and "now" (in this case 40 years), the real question is what did time do to me? I now hardly recognize the face staring back at me, as being me. In fact when I showed it to current friends, they often ask, "Who is that?" Others say "that's you with a suit and hair."

I went to the Woodstock Festival looking like my image in this self-portrait trying to retrieve 18 of my paintings that I believed had been "stolen." That is probably why I was accused of being a F.B.I. Agent trying to set up a "sting" operation at the festival about "drugs". I should have realized this one week before "Woodstock" when Timothy Leary came to a show I had about 2 weeks before the Festival. His only comment was "I like your sense of humor." It is only now that I realized he was not talking about my paintings but about my appearance in relation to the paintings I produce.

Often people refuse to believe what I do unless they see me do it or come to one of my exhibitions. I feel, therefore, that I am constantly out of phase with the times. But I have always tried to be in a phase with Ralph Waldo Emerson's (1803-1882) vision of the over-soul: that absolute reality and basis of all existences is conceived as a spiritual being in which the ideal nature is imperfectly manifested in human beings, but nevertheless, is perfectly realized as the transverberation of matter in contact with spirit."
- Paul Laffoley

"Woodstock At Bethel - The House Of God - The Second Step"
Oil, acrylic, vinyl lettering on canvas 61 1/2 x 61 1/2 in
Subject:Paul's Experience of the Birth of a Group-Mind Unity at Woodstock music festival 1969
after his paintings were 'stolen' to be put on display at the festival and he came to woodstock to retrieve them.

"Examples Of Controlled Interiors"
- 1969
ink, colored pencil on board, 40 x 32 in.

"Let Project 70 Come to You"
- 1969
Oil, acrylic, and vinyl lettering on canvas 36 1/2 x 36 1/2 in.

The Omega Point
Oil, Acrylic, and Lettering on Canvas 68 1/2 x 68 1/2 in.
Subject: The process of evolution, which directs the force of consciousness to a state of super-maturity
Symbol Evocation: The Universal Center of Unification
Homage To: Tielhard De Chardin

- Paul Laffoley

All Art, Quoted Text and Images of Paintings are © Paul Laffoley
Mr. Laffoley is represented by KENT Gallery, NYC. Refer to Douglas Walla
for image-use arrangements, scheduling a showing or purchase of original works
They will be publishing the Paul Laffoley "Catalogue Raisonne" - 3 volumes
of complete works and extended commentary by Paul in 2009

From Berkshire Fine Arts
article about Nov - Feb showing of "Paul Laffoley: The 1960s"

During 1965 Laffoley was working on "The Cosoms Falls in the Chaos as Shakti Urborosi: The Elimination of Value Systems by Spectrum Analysis." As his work progressed it developed into three sub groupings: "Operating Systems" "Psychotronic Devices" and "Lucid Dreams." The works of that time were often somewhat primitive in execution. He had been trained as an architect but not as a painter. His skills at rendering and graphic design would evolve over the next decades. The works often entailed complex schemes, illustrations, and a copious use of hand applied lettering (Letraset) and text. One has to literally "read" and not just contemplate his work. There is much information to absorb and in that sense the "illustrations" and renderings are clues to deciphering the content and philosophy. Over time the paintings have become more crisp and visual while the agenda has deepened. The Kent Gallery is in the midst of compiling a catalogue raisonne. The current exhibition at Kent Gallery, which has long championed the artist, is focused on ten large paintings from the 1960s. They were discovered in disrepair when the artist was evicted, in 2005, from the studio he had worked and illegally lived in for 38 years. During my visit there was no evidence of a bed. Paul explained that it was pulled out "after hours." In the harrowing process of moving the paintings were discovered stashed away but not covered. They have been carefully cleaned and restored for the current exhibition. After all these years, as Doug Walla, the director of Kent Gallery explained to me, they are being treated like long lost treasures . The ten paintings are being exhibited for the first time since they were created.

The Black Hole


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