Article
Attention
Culture
Weirdness
Wildness
6 min read

Take a walk: the world is weirder than you think it is

Psychogeography and the dark alleyways of the mind.

Mockingbird connects the Christian faith with the realities of everyday life.

A backlit person at twilight holds a hand out towards the camera, holding some fairly lights
Riccardo Annandale on Unsplash.

This article, by Blake Collier, first appeared in Mockingbird. Published by kind permission. 

 

Entre chien et loup. 

The phrase literally means “between dog and wolf” and has most immanently been used to describe the twilight hour where day and night intermingle before night fully takes hold. 

Jean Pruvost, a linguist who has studied the expression, gave some background on ‘entre chien et loup.’ He says it comes from a Latin phrase, intra hora vespertina inter canem et lupum, that dates back to at least the seventh century. And it refers to the time when the daylight dims and you could mistake a dog for a wolf. 

One could imagine before the advent of electricity and modern public lighting how ambiguous this time of day could be as the landscapes around your small village were being consumed by the darkness — the human eye not fully able to calibrate fully for day or for night, hence the inability to distinguish between a friendly pet and a looming threat. 

This is what is popularly known as liminal space in our current epoch. This liminality is always present, however, not just at dusk. As we move through the worlds we inhabit, whether natural or built, we are constantly finding ourselves within transition or transformation. Psychogeography is a broader term that is often used to investigate the liminal movement of bodies through space. In its most simplistic form, it is how our mind interacts with and processes the physical landscapes that we inhabit and how those landscapes affect our mind. The actual history of the term is much more complicated — honestly, convoluted — however at its core it is scratching at the nebulosity of things like entre chien et loup

At the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land.

About seven or eight years ago at the height of my running prowess, I got up one Friday morning very early and started a ten-mile run I had planned around nearly the full border of my hometown of Canyon, Texas. I did not know if I would make it the whole way, but the intent was there and the map was set. However, something interesting happened as I began plodding down my route. Those lines that show up on our maps often engender varying qualities of trails. Most of the time I was hitting asphalt and sidewalks, but when you are following a broad circle around a town, it’s not uncommon to find ambiguous stretches between incorporated and unincorporated parts of the town. Somewhere within the first mile or two, one of the “roads” I had included on my path ended up being nothing more than a worn trail through prairieland behind a group of houses. 

I bring this story up because, though I did not know it then, I was enacting a psychogeographic practice. Iain Sinclair, who is probably one of the most well-known proponents of modern psychogeography, walked the M25 around London in seven different treks over a time period. The M25 is a 125-mile loop around London and is considered one of the busiest highways in the world. As he ambled along the highway — sometimes on asphalt, sometime “around” the trace of the highway — he would take note of what he saw, and he eventually wrote the book London Orbital. This practice allowed him to see London in a new way because at the outskirts of a city or town, one begins to see the fraying of the edges, those areas where we have yet to fully enact our illusory control over the land. They have neither been captured by urban sprawl nor have they been renovated and gentrified. These lacunae are ambiguous regions between the built and unbuilt (or decayed). Once again, we are placing ourselves intentionally into places where we attend to the ley lines which connect the physical markers to the perceived or imagined topographies of the places where we exist. 

To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

The path through the prairieland I spoke of earlier ended at a concrete curb and a recently repaved residential street that ran right next to a Catholic church, almost like the church was posting itself on the fringes of the town to warn of impending threat, or perhaps giving a welcome sight to a weary traveler. I suppose it depends on how you look at it. 

Yet it is exactly this work of attending to where we live and reacquainting ourselves with it that is, I believe, at the heart of this purposeful ambulation through space. Our lives fall into banality most of the time. We take everything for granted and we see our lived environment through that myopic lens. But take a walk on the outskirts of where you live, without a phone or music or any other technological mediation, and just look around the space and pay attention to how it embroils your emotions. I can nearly guarantee that you will find the place you live is much weirder than you thought it was, and you might even learn a thing or two about what your place values. I knew that Catholic church was in that general area of that path, but I didn’t realize how that path would empty me out before its hallowed presence. 

However, as I thought about it, it made sense that in this community the Catholic church would be found on the edges of the town. There are somewhere around ten other churches in a town of about 17,000 all of which are Protestant. However, if you go just ten or eleven miles west to the town of Umbarger, the roles are reversed. There is still one Catholic church, but as far as I know no Protestant churches. Merlin Coverley, in his book tracing the history of psychogeography, finds that “contemporary psychogeography as closely resembles a form of local history as it does a geographical exploration.” One could take the observations from their ambulation and dig into their place’s past to see why this might be the case. However, this is very much the chien of this psychological study of environment.  

What about the loup? Psychogeography has always had connections to the occult and the weird. Coverley continues later in his book, 

“Here, then, we find all the features ascribed to psychogeography today: the mental traveler who remakes the city in accordance with his own imagination is allied to the urban wanderer who drifts through the city streets; the political radicalism that seeks to overthrow the established order of the day is tempered by the awareness of the city as eternal and unchanging; and the use of occult symbolism reflects the precedence given to the subjective and the anti-rational over more systematic modes of thought.” 

All of this is to say that what we might find out about the place we live in when we give ourselves to its fringes and walk its shores might have a darker tone which implicates local politics and powers. Perhaps we will even find ourselves confronted by a metamorphosis which changes the very way we live, work, and move in these places. 

Sinclair’s earlier work Lud Heat in 1975 set out to remap London by way of connecting London’s churches built by eighteenth-century architect Nicholas Hawksmoor and their odd loci to numerous prominent murders like the Radcliffe Highway Murders and those by Jack the Ripper. There is a thread that ties some of the imagery Hawksmoor used in his churches to ancient Pagan symbolism. To put it bluntly, being intentionally attentive to surroundings can trigger investigations into the seen and unseen powers that hole up in our built environments and the natural world that pushes back against it. 

If nothing else, this study of the ambiguous transgressions between mind and place helps us bring a new profundity to our existence. It psychologically brings us back to a place where our intellectual, physical, and technological prowess cannot protect us from the hairs that stand on the back of our necks. Because everything, if attended to perceptively, can be seen as a dog or a wolf. And that should give us great pause in the everyday grind of our lives. 

Review
Art
Culture
5 min read

The dot and the dash: modern art’s quiet search for deeper meaning

Neo-Impressionism meets mysticism in a quietly radical exhibition

Jonathan is Team Rector for Wickford and Runwell. He is co-author of The Secret Chord, and writes on the arts.

Van Gogh's painting of a sower, walking across a field as the sun sets.
Vincent van Gogh, The Sower.
Kröller-Müller Museum. Photographer: Rik Klein Gotink.

When Helene Kröller-Müller was introduced to charismatic art teacher H.P Bremmer in 1905, she came to view art as the conveyance of a spiritual experience. With Bremmer as her art adviser, she built an art collection and museum intended as a centre for spiritual life, set in the tranquillity of nature. A significant part of that collection is currently on show at the National Gallery providing an opportunity to see connections between modern art and spirituality which were always there but generally had not been highlighted by art curators or critics of the past. 

The focus of Radical Harmony at the National Gallery is the Neo-Impressionist art of Georges Seurat and Paul Signac. However, Kröller-Müller and Bremmer were also early collectors of the work of Vincent Van Gogh, an example of whose work is included in the show. As the Neo-Impressionists were artists who used small dots of paint to create their images while Van Gogh used broad dashes of pigment, this exhibition is an exploration of the spirituality of the dot versus the spirituality of the dash. 

Neo-Impressionists painted in small dots of pure colour. Viewed from a distance, the colours blend to create nuanced tones and an illusion of light. Now known as pointillism (although this name was not liked by the artists themselves), this technique simplified form and played with colour in an entirely new way, verging on the edge of abstraction. 

The Neo-Impressionist's dots of colour were carefully and deliberately placed to sit still on their canvases creating an overall sense of harmony and calm. It was this quality of peacefulness in their work that attracted Kröller-Müller. She spoke of these works being 'light and delicate, spiritual in content and style' and of Seurat's work as expressing 'emotion of religious-poetic disposition'.  

That was not how Seurat himself viewed his work. He viewed his approach as being more like a scientific method, but Kröller-Müller’s perceptions do have synergies with the work and religious inspirations of other Neo-Impressionist artists whose work is included here, particularly that of Jan Toorop and Johan Thorn Prikker. Both Toorop and Thorn Prikker also made works in a mystical Symbolist style, while Toorop, around the 1930s, became one of the most reproduced artists of his time, through his prints of Roman Catholic iconography. 

By contrast with the stillness of the Neo-Impressionist’s dots, the dashes used by Van Gogh possess a much greater sense of energy and movement. Each dash shows the direction of the brushstroke with which it was created and the cumulative effect of the dashes, set alongside each other, leads the eye across the image. Many of Van Gogh’s images, as which ‘The Sower’ included here, have a central sun forming a halo effect, with its rays, depicted as dashes, emanating from the flaming yellow orb and infusing the remainder of the image with its divine light and energy. Van Gogh viewed Christ as a ‘glowing light or blazing sun’ and used the dashes in his work to imply the divine presence in the world and its landscapes. 

In the exhibition, the contrast with dots that is provided by dashes is also apparent in a series of three heavily abstracted landscapes by Thorn Prikker, which draw on the approach of Van Gogh to create movement and energy throughout the entire image in contrast to the calm and stillness of landscapes created using dots of colour. Within their mystical Symbolistic images, Thorn Prikker and Toorop created a similar effect using continuous flowing sinuous lines. 

The contrast between the two styles was clearly apparent in the museum that Kröller-Müller opened in The Hague in 1913. There, in the spacious front room, Van Gogh’s paintings hung ‘powerful, dramatic & heavy’, ‘like life itself, like our reality’. In an adjoining room, ‘she created a lighter and more mystical atmosphere’ by hanging the works of Seurat, Signac and Théo van Rysselberghe. She wrote that as you came from one into the other, you would ‘suddenly stand in a completely different world’; being among the Neo-Impressionist works was to be where everything was light and tingling as ‘a French sun rises’. 

Bremmer and Kröller-Müller were early collectors of work by Van Gogh (as, too, was Anna Boch, an artist who also features in this show) regarding him ‘as the ultimate example of an artist who was filled with a sacred respect for everyday reality’. They also viewed Pointillism as ‘a spiritualisation of art’, as ‘applying the colour to the canvas dot by dot’ was done ‘in order to contemplate things more calmly and profoundly’.  

This focus on contemplation informed not only their collecting but also the design of the purpose-built museum that was opened in 1938, for which the artist Henry van de Velde was the architect. Van de Velde’s own Neo-Impressionist art also features in this exhibition, and he summed up the focus that he, Bremmer and Kröller-Müller had on contemplation of images in sympathetic architectural spaces, when he wrote of wanting: 

‘To establish the Dream of realities, the Ineffable soaring above them, to dissect them without pity to see their Soul, to strive for the pursuit of the Intangible and meditate – in silence – to inscribe the mysterious Meaning.’ 

Enabling such contemplation was the aim of these three and this exhibition reveals how and why they followed that aim. In doing so, the exhibition reveals more to us about the connections found and made between art and spirituality early on in the development of modern art. These are connections which have been overlooked in earlier discussions and presentations of Neo-Impressionism but which are being helpful and rightly rediscovered and represented in the present.  

Visit this exhibition to gain that understanding but also to take the opportunity, as Bremmer, Kröller-Müller and Van de Velde desired, to meditate in silence ‘to inscribe the mysterious Meaning’ of the works you will see. 

 

Radical Harmony: Helene Kröller-Müller's Neo-Impressionists, 13 September 2025 - 8 February 2026, National Gallery

Support Seen & Unseen

Since Spring 2023, our readers have enjoyed over 1,500 articles. All for free. 
This is made possible through the generosity of our amazing community of supporters.

If you enjoy Seen & Unseen, would you consider making a gift towards our work?

Do so by joining Behind The Seen. Alongside other benefits, you’ll receive an extra fortnightly email from me sharing my reading and reflections on the ideas that are shaping our times.

Graham Tomlin
Editor-in-Chief