Colin Brant Phantom Ship Winter, 2025, Oil on canvas, 65 x 70 inches Europa NYC
Cosmologies of Crater Lake
Crater Lake, with its perfectly circular basin and island at its center, feels less like a landform than a sacred metaphor etched into the earth by myth itself. Formed nearly 8,000 years ago by the collapse of Mount Mazama in a cataclysmic eruption, it is not merely a crater, it is a cosmic retort, a geological alembic in which deep earthly elements are refined and reborn. Here, geology, myth and alchemy converge in a landscape of transformation.
Renowned for its clarity and symmetry, at 1,943 feet, it is the deepest lake in the United States. Two features rise from its surface, Wizard Island, a volcanic cinder cone and Phantom Ship, a jagged andesite rock formation dating back approximately 400,000 years, resembling a ghostly vessel. Both are remnants of the lake’s violent birth and steeped in lore. Especially evocative in misty conditions, Phantom Ship appears and vanishes in changing light. Wizard Island is said to be protected by a spirit, echoing the beliefs of the Klamath people, for whom the lake is sacred.
The Klamath name for the lake is Giiwas, meaning “most sacred.” According to their myth, the lake was formed after an explosive battle between Llao, a malevolent underworld spirit, and Skell, a benevolent sky god. As the mountain collapsed, this mythic conflict imprinted itself onto the land, creating a place of immense power and spiritual danger. Believed as a place of testing, shamanic vision quests were sometimes undertaken nearby, but the lake itself was often avoided. Its depth and stillness marked it as a veil between worlds.
A peculiar inhabitant of the lake is “Old Man,” a 30-foot hemlock log that has floated upright for centuries. According to legend, he controls the weather. In August 1988, scientists tethered him to the shore during research, only for a sudden snowstorm to descend. Upon release, the weather cleared.
In The Forge and the Crucible, Mircea Eliade writes that early metalwork was sacred, not just technical. To mine was to descend into the chthonic temple, a womb-like realm of transformation. Metals were alive; they ripened in the dark. Miners, blacksmiths and alchemists were initiates in rituals of cosmic metamorphosis and their forges were spiritual laboratories where matter and spirit converged. In this light, Crater Lake becomes Earth’s own alembic, a vessel of natural alchemy.
The lake’s roundness evokes the alchemical mandala, a symbol of wholeness and transmutation. Just as the alembic distills the volatile from the base, the crater holds both the memory of destruction and the possibility of transformation. Within it, Wizard Island rises like the cap of the alembic, a remnant volcanic cone, but also a symbol of the ascending spirit. In alchemical diagrams, the alembic often features a lower chamber, the source of heat, a round belly where the transformation occurs and a neck or spire that channels the refined essence upward. Phantom Ship, sitting precisely within this sacred geometry, becomes an axis mundi of sublimation, the visible tip of the alchemist’s tool that connects the infernal with the celestial. The erect Old Man, like a temperamental tempestarii, transmutes into a living barometer. The power of this geography extends beyond metaphor. It is enacted, embodied and believed.
Craters and mountains, depression and elevation, are twin gestures of transformation. The Klamath myth affirms this chymical wedding through destruction and renewal and descent and ascent. Crater Lake is more than a natural wonder. It is a sacred crucible, a place where the spiritual and geological meet, and where those who approach its depths are invited to enter the ancient cycle of dissolution and rebirth, a matrix that shapes both the natural world and inner life.
Colin Brant's Phantom Ship
In Phantom Ship, Colin Brant explores the thresholds between geology and mythology, perception and reality, time and timelessness. Drawing on the natural and cultural narratives of Crater Lake Oregon, his paintings become acts of homage and inquiry, meditations on the layered mysteries of place and presence.
Brant’s recent paintings reflect the physical forms of Crater Lake, while immersing the viewer in its underlying vitality. His practice cultivates direct perception, attuning to an expansive and luminous quality of being. Color and light emerge as central forces. Light moves through compositions as a field of quiet intensity. Guided by a contemplative rhythm, his palette is subtle, his chromatic shifts are measured. The concept of the Rainbow Body in Tibetan Buddhism, where an enlightened being transforms into pure light, offers a powerful lens for Brant’s kaleidoscopic vistas. The rainbow appears as an ethereal presence, evoking transformation, clarity and dissolution into spacious awareness. These paintings suggest a world on the verge of radiance.
Brant’s paintings hold presence. They shift through soft tonalities and atmospheric transitions, evoking the Buddhist tantric concept of the subtle body, an energetic architecture alive, within and around form. His work pulses with interiority, echoing the channels and winds of the human body, residing in the felt form of place. Brant’s practice aligns with the Vajrayāna Buddhist visualization of the yidam, a deity chosen for meditative identification and transformation, representing one’s own deepest potential. In this exchange, the yogi merges with the archetype through identification, reshaping the subtle body. The geologies in Brant’s work, quietly offer themselves to this same gesture. They hold still not as an object of worship, but as a mirror reflecting the nature of mind back to itself.
A spectral horse in several works conjures lungta, the Tibetan wind horse symbolizing vitality, clarity and spiritual momentum. This mythical figure unites outer elements with inner strength and consciousness, extending as an invitation into energetic alignment.
Brant’s paintings recalibrate the senses. They are open fields, in the deepest sense, an offering to see things uncompromised. At the core of non-duality is the recognition that form and emptiness are not opposites, but interpenetrating truths. This principle enshrined in the Heart Sutra’s famous dictum “form is emptiness, emptiness is form,” can be palpably felt in Brant’s approach to image making. An understanding that the split between original and copy is itself illusory, what we see in Brant’s paintings is not a doubling, but a unity briefly shimmering into perception.
Mircea Eliade’s concept of sacred time, a cyclical, mythic present, frames Brant’s work as a continuous ritual of return. Resting within the simultaneity of compressed time nestled within the current moment, his slow brushwork and soft edges evoke recurrence. In this stillness, we are invited to pause, not merely to look but to inhabit the space of the painting, just as one might enter a mandala or a shrine. Installed as a whole, the paintings and ceramic sculpture in Phantom Ship become a site of ritual return, a place where perception itself is sanctified.
Brant’s paintings position the perceptual vitality of awareness itself as the primary subject. They provide room to slow down and reinhabit our center. They are the profound inseparability of consciousness with the natural world. In this way, his work is not an image of the real, but a prism of it. And in this nondual reflection, we may catch a glimpse of the reality of ourselves that is still, spacious and fully alive.
Text by Wells Chandler