Kyra Oser channels portraits from the Afterlife on the set of ZODIAC GIRLS (Photo Credit: Leo Delati)
As a psychic medium and artist, Kyra helps the dearly departed communicate with the living by creating automatic paintings to channel images and loved ones from the Other Side.
Kyra is the author of a Master's Thesis on automatic writing: Textual Automatism in Surrealist Plays: Breton, Cocteau, Soupault, Apollinaire (1998) , which explores the automatic writing technique of French pre-Surrealist playwrights. The following are some quotes from Kyra's book on automatic writing:
"Playwritten textual automatism was a dramatic form of expression which both resulted from and preceded the Surrealist movement in France...Automatism is a method of channeling from the different levels of the unconscious mind, either visually (with automatic drawings or paintings), orally (an example being the trance-like state of mediums), or graphically." (p.2)
"Automatic texts are derived either from the personal unconscious mind, the collective unconscious mind, an oscillating combination of the two, or one of these potentials combined with some conscious effort made by the author." (p.5)
"Experiential achievements of Surrealist playwrights in association with automatic writing were of both inner psychological and externally discarnate derivation, often without assistance from any material substances. André Breton did not allow drug use in the Surrealist group, because artificial substances could potentially block the pathway to the unconscious mind, thereby creating inauthentic Surrealist experiences." (p. 14)
"In retrospect, Breton discerned that the intuitive nature at the crux of Surrealism (which by its definition implies psychic automatism) was an exploration of and campaign for a new sense of reality which superceded the profound difficulties of world wars which caused enormous soldier, civilian, animal, and cultural casualties, physical massacre initiated by recently developed technological forces, political and economic chaos, and emotional discord." (p. 74)