Vega's preternatural motifs resonate in the style of abstract mysticism-symbolism.

The Vega Series consists of Opus, Rising and Horizon, spanning 226 ft2. Originally commissioned to evoke the vivid macroscopic patterns and textures of British Columbia's nature in symbiosis with the energetic cultural aesthetic sought by Sequel Naturals, the Vega Series portrays intricate and sprawling design motifs blended with a bold colour palette that pays homage to the native origins of the organic comestible plants from which Vega's life springs.

From beneath this hybrid layer of marketing artifice glows an illusive inner light, which belies an abstract mysticism-symbolism that begets a depth of purpose and meaning, hitherto only eluded to, which remains to be personally elucidated from someone's personal standpoint or according to their particular nature; in a subjective rather than an objective way.

Project Data

Vega Series226 ft2
Vega Opus 72" x 108"
Vega Rising 48" x 84"
Vega Horizon 9 @ 48" x 48"
Acrylic on canvas
Brandon Leudke
Abstract mysticism-symbolism
Burnaby, BC (last known)
2022: Paintings missing Location unknown
Presumed stolen (investigation pending)
2015: Resale (Partial) Private commission
2009: Sold: Vega, Sequel Naturals Ltd.
2023: $52,000.00 Market
2015: Resale (Partial) Private commission
2009: $26,000.00 Appraised
2009: Original Sale Private commission
Copyright © 2009 LEUDKE CREATIVE
All rights reserved

Vega's preternatural motifs resonate in the style of abstract mysticism-symbolism.

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Mysticism and the Visual Arts
Ingrid Falque, FNRS – UCLouvain,
Elliott D. Wise, Brigham Young University,

Mysticism – or the soul’s ascent towards transcendent unification with the divine – occupies an important, albeit often unstable, position in many religions. In Christianity, mysticism straddles a liminal space, blurring dichotomies of darkness and light, life and death, active and contemplative, clerical authority and revelation. Mysticism is often rooted in personal experience, and textually or visually recording it presents unique challenges. Sometimes, in fact, mysticism shuns pictorial images. At other times, it embraces them as instruments of purgation and illumination, didactic tools and ‘stepping-stones’ to exalted vision. Elaborate iconographies undergird mysticism in Tantric Buddhism, and even within less image-based faiths, such as Islam, Sufi mystics use calligraphic ‘pictures’ of words – or even the abstract beauty of a single letter – to meditate on Quranic truths. In Judaism, too, though generally image-averse, adherents of Kabbalah have tied mystical experience to biblical prototypes such as Ezekiel’s vision of God’s chariot (merkavah).

Given the varying degrees of dependence and hostility between mysticism and images, scholars have employed a range of methodologies to investigate mystical visual culture. Close studies of images alongside mystical texts have proved particularly fruitful. This session invites papers that consider the visual alongside the textual as tools of medieval and early modern mystical discourse. Among other things, topics could address visual exegesis through typology, parables and allegory; Christian images inspired by vernacular spiritual texts; mental images, such as depictions of sefirot in Kabbalah; creation and destruction, as in Tibetan mandalas; materiality; verbal image-making, such as ekphrasis; reformations of the soul; and aniconic vision.

Vega Series © $global_site_name
Artist wrapping Vega Opus for shipping to the client.
Vega Series © $global_site_name
Vega Rising.
In breach of the contract he signed… Charles Chang unilaterally takes paintings but refuses to provide the duly
                                                  required proof of purchase, pay the transfer fee or cooperate with the artist
Charles Chang: The Reckoning.