The creator of some of the most transcendent art of our time explores why it is necessary to go beyond the faded postmodern milieu of today’s art world, how psychedelics can play a role in discovering and manifesting one’s deeper realms of being, and how the “two kinds of higher” can impact artists and their work.

In the foreword to Alex’s book The Mission of Art, Ken stated: “Alex Grey might be the most significant artist alive.” At first glance, this can appear to be pure hyperbole, expressing the understandable enthusiasm of a long-time friend and colleague. However, with an Integral Approach, Ken explains, “significant” has a specific meaning, and it was this meaning alluded to in the foreword. “Significant” refers to the degree of depth of an occasion (how many levels of complexity does it contain?), and “fundamental” refers to the span or breadth of an occasion (how many of them are there?). Atoms, for example, are extremely fundamental to the universe—and have enormous span (there are zillions of them)—but they are not very significant (containing little complexity). Humans, on the other hand, are not very fundamental to the universe (e.g., there are far fewer of us than there are atoms), but we are uniquely significant (no other thing or organism in the known universe contains more levels of depth and complexity than a human).

So, how is Alex Grey possibly the most significant artist alive? Looking at the territory we have covered so far, the answer is actually quite simple and elegant: Alex has explored and to various degrees mastered all five states of consciousness, and has grown to integral and transpersonal levels of development, the current leading edge of consciousness evolution. (In Ken’s book Integral Spirituality, these two axes are likewise called “the two axes of Enlightenment,” and no spiritual realization is complete without both.) Particularly when it comes to the forms of reality disclosed by non-ordinary, meditative, and peak states of consciousness, Alex is unparalleled in his ability to translate what he sees in his “eye of spirit” to a work of art, which then often has the extraordinary ability of evoking similar kinds of states in viewers.