In 2002, Holland Cotter, New York Times art critic wrote, "Alex Grey's art, with its New Age symbolism and medical-illustration finesse, might be described as psychedelic realism, a kind of clinical approach to cosmic consciousness. His highly detailed paintings are spiritual and scientific in equal measure, revealing his psychedelic, spiritual and super-natural view of the human species. “It is the light that is sublime in Grey’s oeuvre - which is the most important innovation in religious light since the Baroque - and that makes the mundane beings in them seem sublime, in every realistic detail of their exquisite being”. Grey's paintings are permeated with an intense and subtle light. Grey's work incorporates many religious symbols, including auras, chakras, and icons with geometric shapes and tessellations in natural, industrial, and multicultural situations.
His figures are shown in positions such as praying, meditating, kissing, copulating, pregnancy, birth, and death. Grey applies this multidimensional perspective to paint the universal human experience. Many of his paintings include detailed representations of the skeleton, nervous system, cardiovascular system, and lymphatic system. "The inner body is meticulously rendered - not just anatomically precise but crystalline in its clarity".
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The Sacred Mirrors, a life-sized series of 21 paintings, took 10 years to complete, and examines in detail the physical and metaphysical anatomy of the individual. His art is a complex integration of body, mind, and spirit. He is best known for his paintings of glowing anatomical human bodies, images that “x-ray” the multiple layers of reality. Grey's paintings are a blend of sacred, visionary art and postmodern art. In the 2012 book Psychedelia, author Patrick Lundborg credits Grey as "the leading psychedelic artist of today, and also one of the foremost proponents of Visionary Art as a style." The Chapel of Sacred Mirrors Grey has been a keynote speaker at conferences in Tokyo, Amsterdam, Basel, Barcelona and Manaus. 1, the Outsider Art Fair, the Grand Palais in Paris, and the Sao Paulo Biennial in Brazil. Grey's artwork has been exhibited worldwide, including at Feature Inc., Tibet House US, Stux Gallery, P.S. His images have been printed onto sheets of blotter acid and have been used on flyers to promote Rave events. Newsweek magazine, and the Discovery Channel, have featured his artwork.
Illustrations created by Grey have been selected to appear on albums for musical groups such as the Beastie Boys and Nirvana, as well as Meshuggah and The String Cheese Incident. That same year, Grey was noticed by guitarist Adam Jones of the progressive metal band Tool, who later featured his artwork on their albums Lateralus and 10,000 Days. In 1999, the Museum of Contemporary Art San Diego held a mid-career retrospective of Grey's work titled “Sacred Mirrors: The Visionary Art of Alex Grey”. Mending the Heart Net, an interactive installation artwork by Alex and Allyson Grey, was displayed at Baltimore's American Visionary Art Museum in 1998–99 as part of the exhibition “Love: Error and Eros”. Īlex and Allyson Grey have worked collaboratively and have openly supported the use of entheogens. In 1986 Grey's artwork was exhibited at the New Museum in New York City. Grey is best known for his psychedelic paintings and illustrations.
Grey also taught anatomy and figure sculpture at New York University for a period of ten years. He worked as a medical illustrator for approximately ten years in order to support his studio art practice. Grey learned anatomy by working to prepare cadavers for dissection at Harvard Medical School's anatomy department, a position he held for five years.
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