Martina Hoffman’s artwork, Caught in the web, consciously develops graphic themes of creation, knowledge, ecology and ayahuasca visions; and subconsciously expresses the universal structure of space, time and meaning, as all complex artworks do. Its near-symmetry, typical of many DMT vision-styles artworks, hints at an invisible axial grid, but the conscious design centre and the subconscious structuralist centre never co-incide. Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

The general subconscious theme here is type 5 Priest, typical of colours, priestly ritual, hyperactivity, tailcoat heads (here of visions emerging from a body), assembly, horizontal, reptiles, and inversion; and its axial opposite, type 12/13 Heart, typical of hearts, felid (here the large tiger face), death (here as the otherworld), rounded (here in the outline), and inversion. These two types are often prominent in ayahuasca and oracular works. Below is a structuralist analysis of known archetypal features in this work, in the standard format.

Martina Hoffman; Caught in the web (2003, oil on canvas, after with permission. Axial grid and mindprint labels by Edmond Furter). The theme and design is based on a web linking the vegetative, reptilian, mammalian and spiritual kingdoms. The universal axial grid and typology is subconscious to all artists.

Type Label; Character (archetypal features):

1 Builder; Yellow snake A, both eyes (cluster). And green snake B emerging (twist, cluster). And human loose eye B, skew (twist).

2 Builder; Violet snake A (twist, cluster).

2c Basket; Design centre of the life web (weave).

3 Queen; Green snake C (neck long and bent). And human loose eye A, inclined (neck bent, dragon). And orange snake D (neck long and bent) swallowing loose eye A (dragon, sacrifice).

4 King; Armband snake B (twins).

5a Priest; Violet snake D (colour, reptile) around (sash) the trancer (priest), flat (horizontal).

5a -5b Priest; Lime green snake (reptile) over trancer downward (invert).

5b Priest; Trancer (priest) vomiting visions (colours, hyperactive, tailcoat head, assembly), of a tiger (felid of 13 opposite) and snakes (reptile); lying down (horizontal) head forward (invert).

5b PriestB; Violet snake C (colours, reptile) around (sash) trancer (priest) flat (horizontal),

5c Basket Tail; Armband (weave) snake A from a vine (tree herb, reveal).

6 Exile; Violet snake B (reptile).

6 ExileB; Yellow snake B (reptile), nested outline (U-shape), near the axial centre (ingress).

7 Child; Orange snake A, small (juvenile), perhaps a mole snake? (eyeless).

8 Healer; Green snake C.

9 Healer; ?

10 Teacher; Green snake A, outside the outline (guard, snake).

11 Womb; Midriff (womb) of yellow snake A.

12 Heart; Tiger (felid).

12 -13 Heart; Bee person A.

13 Heart; Chest (heart) of yellow snake A.

13 HeartB; Flower pollen (heart) and nectar.

13c Basket Head; Insect-eating flower sprout (container).

14 Mixer; Tree (tree) frog or toad (reptile), poison or hallucinant skin, nearer the centre (ingress).

14 MixerB; Bee person? (angel?), far from the centre (egress).

15 Maker; Two people? (doubled) arm in arm (churn), meditating?


22 Axial centre; Unmarked, as usual.

04p Gal.S.Pole; Lime green snake body (limb joint?).

11p Gal.Pole; Leopard ear (unmarked).

Midsummer; Leopard eyebrow (juncture?).

Midwinter; Leopard jaw (limb joint). This marker places midsummer in Leo12, thus spring and the cultural time-frame in Age Taurus1, confirmed by prominence of yellow snake B, and a loose human eye, as type 1. Taurean time-frames are typical of alchemical works.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

Archetype is the ‘DNA’ in all cultural media

The standard format of structuralist analyses of artworks inspired by ayahuasca visions, confirm that all cultures and counter-cults subconsciously express about 100 known recurrent motifs in complex artworks, built sites, and other cultural media. The only possible explanation for the presence of the complex and quirky detail or ‘meta-data’ of the inherent structure of expression, is that all artists, societies, perception, ‘mind’, nature and meaning itself, is pre-determined by archetype.

Recurrent optional features, and axial spacing of the eyes or focal points of characters in artworks and built sites, enabled the discovery of five layers of perception and expression in all styles and cultures. Below is a guide to how to identify the subconscious structure, or visual and spatial ‘DNA’, in any complex artwork or built site. Archetype guides the way that nature and culture expresses matter, energy, and meaning. Thus structuralist anthropology analysis raises the innate blueprint of archetype to conscious understanding for the first time. The rigorous underlying regularity in apparently random behaviour is named mindprint in artworks (Furter 2014), or stoneprint in built sites (Furter 2016).

Demonstrating this natural, inborn imprint in artworks, reveal how themes, symbols, styles and even ‘different’ media, all use the same repertoire of features (see the list of known features, and the axial grid model below).

In 2010, after 26 years of study in the human sciences (anthropology, psychology, sociology, archaeology, art history) and crafts (astrology, I Ching and other forms of divination), I found previously unknown recurrent features in rock art, and started testing other art forms, styles, and media. By 2011 I had confirmed the specific structure, and the average frequencies of optional features, in Renaissance, ‘Ethnic’, Religious, Modern, Surreal, Abstract and all other recognised art styles. By 2013 some of Pablo Amaringo’s ayahuasca-styled artworks were part of the evidence (Furter 2014; Mindprint p157). By 2017 I found that several artists inspired by ayahuasca visions (such as Nic Warner), were designing works as complex in conscious concept, and in subconscious structure, as masters in any other style or school (see Recently I demonstrated how three aya-styled artists subconsciously express the universal structure (Furter 2019; DMT Times). This article adds more artworks and artists to the database of subconscious expression of the core content of culture.

The only structuralist difference from other art styles, is that the inherent time-frame in ayahuasca art tends to be in Age Pisces-Aquarius, or in Age Aquarius. This framework was formerly found mainly in monumental public works intended to perpetuate an event or culture. The current Age transition is confirmed by the prominence of type 5 Priest or Ritual, or its opposite, type 13 Heart or Death, in the artworks; and by extra features of type 5 in the artworks. For the last 2000 years, from about BC 80 to AD 2016, the dominant time-frame was either Age Pisces, or the foregoing Age Aries. Artists in every Age mostly express the time-frame of the former Age, wherein they believe their culture was rooted or formed. Age transitions are always subtle and gradual. Some themes in recent New Age art, reveal a sense of dread and expectation of immanent change.

One species, one culture, programmed to divide

Cultural media allow superficial differences to support competing socio-economic interests via tribal bonding. Our hard-wired compulsion to express the same innate story worldwide, is ironically as strong as our compulsion to rally around the slightest differences. These cultural ironies are also inherent in our eternal obsession with the afterlife and the subconscious (see Ayahuasca Oracle of the Dead as counter-cult to Divide and Kill culture, on We fear and repress the subconscious, yet we seek some assurances and interaction from it. Our rituals, diagnoses, healing, drugs, maturity cycles, myth, drama, art, theology and science, invoke and use conscious and subconscious logic. Individual and social maturity cycles strive to reconcile life and mortality, and painful differences between our conscious and subconscious compulsions.

Art comes from archetypal inspiration, prompted by nature, innate perception, and some examples; not from number, myth, decans, zodiacs, drugs, or any media in particular. See some Surrealist artworks, and some DMT-styled artworks in structuralist analyses on

How to identify archetypal structure in artworks

The five subconscious, structured layers of expression globally, are (a) typological characters with specific optional features; (b) type sequence, clockwise or anti-clockwise; (c) axial grid between eyes or focal points of pairs of opposite types; (d) three pairs of polar junctures, implying three planes of expression; (e) orientation of polar pairs vertical or horizontal to the ground-line or a cardinal direction, co-incidental with the seasonal time-frame of the local culture. Here is a guide to how to identify the subconscious structure, or visual ‘grammar’, in complex artworks containing eleven or more characters.

The axial grid model of archetypal characters, labelled as generic social functions, with their sequential, spatial and polar relationships (after Furter 2014, 2016, 2019). Nature and culture projects archetypal structure on a plane, around an axial centre, with some features analogous to cosmology.

The types could be labelled after any popular set, such as species, myths or months. Generic labels, such as social functions, avoid the false impression of diffusion from one particular medium or culture. Here is the set of mindprint labels to identify archetypal characters. Axial opposites are given above/below one another:


1Builder 2Builder 2cBasket 3Queen 4King 4p
8Healer 9Healer 9cLid 10Teacher 11Womb 11p


5aPriest 5bPriest 5cTail 6Exile 7Child 7g
12Heart 13Heart 13cHead 14Mixer 15Maker 15g


cp csp ? ?


Characters expressing archetypes always have their eyes (except a womb at 11, and a heart at 12/13), on an axial grid, formed by standard pairs (1v8, 2v9, 3v10, etc). Artworks also express two ‘galactic’ polar points (4p v 11p); two galactic crossings (7g v 15g); and three polar points: Midsummer or Celestial Pole (cp), Midwinter or Celestial South Pole (csp); and Ecliptic Pole at the axial centre (unlabelled to avoid clutter). Polar points are not on eyes, but on limb joints.

The four main types could be doubled, as they are in the axial model (1v8, 2v9; 5a v12, 5b v13); or they could be single (2v9; 5v13). The total is usually twelve, fourteen or sixteen. Some other pairs may also be doubled in complex artworks. The axial grid always confirms the sequence of eyes along the edge.

Structuralist analysis of artworks could be tested and compared in the standardised mindprint format to fill in, with optional features to confirm or delete, as known by May 2019:


,,,,,,[Artist]; ,,,,,,[Artwork] expresses ,,,,,,,

General themes in ,,,,,,,,’s ,,,,,,,,,, artwork, are type/s ,,,,,,,, typical of ,,,,,,,,,,, (here ,,,,,) and ,,,,,,,,,,, (here ,,,,,,,,,,).


,,,,,, [Artist]; ,,,,,, [Artwork title] (image after ,,,,,,,,. Mindprint labels and axial grid by ,,,,,,,,,,,,,,). The general theme in this work is indicated by extra features of type ,,,, typical of ,,,, and ,,,, and ,,,,.

Type Label; Character (archetypal features):

[delete the optional features that are not expressed]

1 /2 Builder; ,,,, (twist, cluster, bovid, bird, tower, build, sack, hero, book, spring, maze, pit, rain).

2c Basket; ,,,, (weave, shoulder-hump, instrument, container, hat, weapon, throne, snake, secret, planet, arm-link, leg-link).

3 Queen; ,,,, (neck long/bent, dragon, sacrifice, queen, spring, school, fish, ram, pool).

4 King; ,,,, (squat, king, twins, rectangle, sun, bird, fish, furnace, field).

5a/5b Priest; ,,,, (colours, priest, hyperactive, tailcoat head, assembly, horizontal, water, heart, large, bovid, reptile, winged, invert, weapon, sash, judge, felid of 13 opposite, equid).

5c Basket Tail; ,,,, (weave, tail, container, tree/herb, reveal, maze, disc).

6 Exile; ,,,, (ingress, egress, horned, sacrifice, small, U-shape, double-head, caprid, reptile, tree, disarmed).

7 Child; ,,,, (bag, rope, juvenile, unfold, beheaded, chariot, mace, eyeless).

7g Gal.Centre; ,,,, (limb joint, juncture, path, gate, water).

8/9 Healer; ,,,, (bent forward, strong, pillar, heal, disc, smelt, trance, canid).

9c Basket Lid; ,,,, (disc, hat, lid, instrument, reveal, hump, planet, weave, enforce, pillar, snake, metal, arm-link, leg-link).

10 Teacher; ,,,, (arms up, staff, hunt-master, guard, metal, market, disc, council, snake, ecology, school, carousel, canid).

11 Womb; ,,,, midriff,,,, (womb, wheat, water, law, felid, tomb, interior, library).

12/13 Heart; ,,,, chest,,,, (heart, felid, death, rounded, invert, weapon, war, water-work, angel).

13c Basket Head; ,,,, (oracle, head, hat, lid, weave, tree, tail).

14 Mixer; ,,,, (ingress, egress, time, tree, bird, angel, antelope, felid, reptile, fish, canid, dance).

15 Maker; ,,,, (churn, rope, rampant, order, bag, mace, weapon, doubled, smite, sceptre, face, canid, reptile, winged).

15g Gal.Gate; ,,,, (juncture, limb joint).


Axial centre; Unmarked /on ,,,, (limb joint /juncture).

04p Gal.S.Pole; (limb joint, juncture).

11p Gal.Pole; (limb joint, juncture).

Cp Midsummer; ,,,, (limb joint /juncture).

Csp Midwinter; ,,,, (limb joint /juncture).

Midsummer is on the horizontal /vertical plane /north-south meridian /east-west latitude.

These markers place midsummer in Leo /Cancer /Gemini /Taurus, thus spring and the cultural time-frame in Age Taurus /Aries /Pisces /Aquarius, confirmed by ,,,,,, prominence.

Structuralist features of expression are universal, and subconscious to artists, architects, builders, crafters and members of any culture.

[Delete the optional features that are not expressed in your example]


Polar markers usually place midsummer on or near type 12, 13, 14, 15 or 1, implying spring and the cultural time-frame 90 degrees earlier (in seasonal terms), in Age Taurus1, Taurus2, Aries3, Pisces4 or Aquarius 5a. The spring type is often confirmed by some kind of prominence of the character expressing type 1, 2, 3, 4 or 5.

See some structuralist analyses reports on artworks in related styles, and examples of the absence of mindprint in photographs, on

By Edmond Furter. Visit and

Some sources and references

Boole, G, 1854 /2003. Laws of thought. Buffalo:  Prometheus Books

De Santillana G. and Von Deschend, H. 1969. Hamlet’s Mill: An essay on myth and the frame of time. Boston: Gambit

Furter, E. 2014. Mindprint, the subconscious art code. USA:

Furter, E. 2015a. Gobekli Tepe, between rock art and art. Expression 8. Italy: Atelier Etno

Furter, E. 2015b. Rock art expresses cultural structure. Expression 9. Italy: Atelier Etno

Furter, E. 2016. Stoneprint, the human code in art, buildings and cities. Johannesburg: Four Equators Media. (Extracts are posted on

Furter, E. 2017a. Recurrent characters in rock art reveal objective meaning. Expression 16, June. Italy: Atelier Etno

Furter, E. 2017b. Stoneprint tour of Paris. Stoneprint Journal 3. USA:

Furter, E. 2018a. Babylonian Plough List decans. In Gobekli Tepe art is archetype, not a zodiac.

Furter, E. 2018b. Stoneprint tour of London. Stoneprint Journal 4. USA:

Furter, E. 2018c. Culture code in seals and ring stamps. Stoneprint Journal 5. USA,

Furter, E. 2019. Rennes le Chateau stoneprint tour. Stoneprint Journal 6. USA,

Furter, E. 2019. Ayahuasca artists also express universal meaning. DMT Times

Levi-Strauss, C. 1955. Mathematics of Man. Paris: Bulletin International des Sciences Sociales 6:4.

Temple, R. 2003. Netherworld. London: Century

Zipf, G. K. 1949. Human behavior and the principle of least effort. USA: Addison-Wesley