Form Against Submission. A Collector’s Mask with Occult Engraving

In stock

Form Against Submission. A Collector’s Mask with Occult Engraving

In stock

In this project, the plague doctor mask became the foundation for an object with deep symbolic structure. The central figure is an archangel who leaves the hierarchy and carries knowledge with him. The engraving is built as a visual system that holds this line from beginning to end.

The shape of the plague doctor mask has long been embedded in culture. It brings associations with distance, silent observation, and a specific mode of presence. This silhouette became the starting point. In this work, I wasn’t focused on historical likeness but on creating an object that conveys a state – someone who observes, says nothing, but registers everything precisely and without embellishment.

The narrative formed around a figure who chooses departure and preserves integrity. This became the archangel, capable of carrying knowledge beyond established systems. The symbolism unfolded gradually. The first image was the goat’s head with an open third eye, placed within a pentagram and circle. Then came the figure of the priest, the crowned woman pierced by a sword, the human figure inside a star, Baphomet, skeletons, and fragments of ancient text. Every element was integrated into a composition where tension between parts matters as much as the parts themselves. At the center stands a fixed point of attention.

The mask is handmade from vegetable-tanned leather. Each stage – from cutting to the final wax treatment – was completed with long-term perception in mind. The engraving was applied densely, with careful detailing. This piece is constructed as a system of signs open to interpretation. It offers no single reading – only structure and rhythm, inviting the viewer to slow down and study. Every visual element is part of a completed form.

How the idea emerged and why this mask took this form

I returned to the subject of the plague doctor mask with a different task in mind. The shape was already well-developed, and there were no technical questions. This time, the focus was on content. I wanted to construct a system where each element carries meaning, and together they form a self-contained structure. The mask became a surface for assembling this scheme.

During preparation, I came across an old engraving. There was no caption. The image showed an elongated figure surrounded by circles and symbols. The figure didn’t read as a character and didn’t follow a specific narrative. It resembled a working model or a diagram of a state defined by internal order. That logic aligned well with the direction I had in mind.

At the center appeared an archetype of departure carried out with full awareness. The movement didn’t involve destruction or confrontation. It simply marked a moment of choice. Around this motif, I began selecting visual elements - a third eye, a circle, a pentagram, a priestly figure, and scenes depicting the loss of external control. Each one took its place in the composition according to meaning and structural role. The system didn’t evolve into a story - it took shape as an evenly distributed surface.

The shape of the mask remained traditional. All changes happened across the surface. The engraving was built as a dense structure where each fragment connects with the next. The symbols don’t express mood - they set the rhythm of perception. The mask invites close reading, step by step, from center to edge. In this work, I assembled a consistent system with clearly anchored reference points.

How the symbols work and what they carry

The composition of the mask follows a circular structure. At the center is a figure with an open third eye. This element sets the focus. The gaze is directed inward and gathers attention at a single point. From here, movement through the structure begins - layered, without linear order.

At the top stands the priest. His posture holds vertical tension. He remains still and composed. Key lines extend from his position. His role is to provide stability. This figure serves as a support point rather than a direction.

The scene with the crowned woman and the sword is placed closer to the edge. A crown rests on her head, and a halo surrounds it. A direct strike passes through her body. The symbolism points to the loss of external protection. This figure introduces the theme of dismantled status and a shift toward internal authority.

The human figure within the pentagram is proportionally balanced. The arms are lowered - no gestures are present. Action gives way to state. The figure maintains equilibrium through a fixed shape. The tension arises from accepted boundaries.

On the sides - scenes with guides. Skeletons accompany an old man. Their movement is slow and deliberate. This segment represents the completion of a cycle. It functions not as a stop, but as a closing phase. The elements are placed symmetrically in relation to the central point where attention is anchored.

The figure of Baphomet serves as a point of retention. He is embedded in the symmetry, without visual emphasis. His role is to stabilize the tension between opposing segments. He gathers sections that channel energy in different directions. The entire layout is built on balanced relationships.

In the second layer are fragments of text, symbols, and glyphs. These are placed in specific points. They enhance the rhythm of perception. These components operate on a background level. They allow the mask to be read along an internal route - through density, pacing, and the sequence of visual details.

About the finished piece and how it feels in use

The mask is made from vegetable-tanned leather. The material was chosen for dense engraving and structural stability. The surface is slightly textured, with a soft wax finish. In hand, it feels solid and calculated. The object is perceived as a precisely assembled construction.

The engraving covers the full surface. Lines are evenly cut - the image appears gradually, depending on light, angle, and distance. Visual rhythm flows from center to edge. Symbols are evenly distributed. The mask is built as a field without gaps or accidental focus points.

In terms of weight, the mask is balanced. It can be held or displayed on a stand without support. The center of gravity works for stability. The piece feels steady - without fragility or excess.

The mask doesn’t impose a single reading. It offers a structure that invites movement. Inside is a fixed system. Reading occurs layer by layer. The object is open to close observation.