Conventional, creative, and centering uses of the cards to help you get inspired and come home to yourself.

Tarot imagery has inspired artists for centuries and continues to do so today. The iconography, the storytelling element, and, of course, the mystery of the unknown have a huge pull for any creative.

I personally came to this field later in life, or you could say that it found me.

As a kid, I wasn’t allowed to dabble in such tools. Growing up in the church, these kinds of practices were considered ungodly, and I ended up with a complicated relationship to magic, metaphysical, and occult items, even in a strictly artistic sense. On one hand,, they fascinated me and drew me in; on the other, they felt wrong and uncomfortable due to past programming. As I explored the cards more, they showed me a few interesting paths that surprised me, inspired me, and helped me see them in a whole new way.

I ordered a deck during COVID, when many of us were naturally drawn to healing tools and modalities. To be honest, the cards felt intimidating and even scary, especially when confronting some of the more intense ones like the Tower, Death, the Devil, and others. I set it aside, unsure of how to engage.

A few years later an amazing author and fellow Substacker, Chelsey 🔮 Tarot for Creativity, found me through our commn publisher Chronicle Books. I recorded an episode about her book Tarot for Creativity, and her framework for journaling and self-reflection rather than divination took me in a new direction that was gentle, curious, and non-condemning. I still use her brilliant book today, and it opened doors to even more resources and creatives that inspire me.

Chelsey Pippin (Mizzi)

My friend Sarah Potter Sarah Potter , a celebrity tarot reader, changed my life. Her book Sober Magic uses the tarot journey combined with the 12 steps to help individuals (myself included) move away from drinking and into more presence, self-awareness, and healing. Thanks to Sarah and her tarot guidance, it has been 10 months since I had my last drink.

In terms of navigating the scary cards, I have to shout out Tarot for the Wild Soul Lindsay Mack. The “bad cards” no longer intimidate me, and I found compassion, curiosity, and a deeper, less obvious meaning when interacting with certain images and messages. There are no doubt millions of amazing creators, experts, and readers who can guide you on how to use this tool, but I appreciate pracitioners who bring a gentle, trauma-informed angle.

Tarot for the Wild Soul

Today I want to share a snippet of visual art history of this practice based on a beautiful exhibition I visited at the Morgan Library.

Artist and Writer Ekaterina Popova at the Morgan Library

Morgan Library

Pamela Colman Smith (1878–1951) and Arthur Edward Waite (1857–1942). The Fool, from the Rider-Waite-Smith Tarot (Deck “C”). London: William Rider & Son, ca. 1921–31 (first published in 1909). Chromolithograph. New York, The Morgan Library & Museum, PML 199373.

The show consists of two parts. The first explores the origins of tarot in Renaissance Italy, and the second its contemporary interpretations by artists of the twentieth and twenty-first centuries. Among these creators are familiar names like Pamela Colman Smith (1878 to 1951), Leonora Carrington, and Chris Ofili.

According to the museum, “Created as a courtly game of skill, tarot was not associated with occult secrets, divination, or the power of fate until centuries later. By the twentieth century, the cards came to serve as a source of inspiration for artists, offering an alternative to the strictures of modernist aesthetics and allowing them to explore other universes and imaginative possibilities.”

As I got more interested in the world of Tarot, I started to notice the influence of the cards on artists. At a surrealism exhibition at the Philadelphia Museum of Art, the gift shop featured a deck by Dalí. And it wasn’t until I visited a Leonora Carrington exhibition at L Space in NYC earlier this year that I realized the artist herself had made a stunning deck.

Remedios Varo, Leonora’s best friend, is featured at the Morgan Library as well.

The inspiration for this exhibition was the Morgan’s Visconti-Sforza Tarot cards, the most famous deck to survive from the Renaissance.

Below, I am sharing a few of my favorites from the show.

I am curious. Do you use Tarot in your creative practice? If so, how?

Bonifacio Bembo, Death from the ViscontiSforza Tarot Cards. Italy, Milan or Cremona, ca. 1456-58. The Morgan Library & Museum

Chris Ofili (b. 1968). Midnight Conjurer, 2026. Ink, watercolor, staples, and paper collage on paper © Chris Ofili. Courtesy the artist and David Zwirner.

Leonora Carrington at the Morgan Library

For The Silo, Create! Magazine and Ekaterina Popova.

“Art is a lie that makes us realize the truth” –Pablo Picasso

Pablo Picasso (Spanish, 1881-1973) was one of the most well-known artists of the 20^th century. Throughout his long and prolific career, Picasso both innovated and participated in important artistic movements such as realism, cubism and surrealism. In comparison to Vincent van Gogh, the infamous starving artist, Picasso was one of the first modern artists to achieve great wealth and celebrity in his lifetime.

Possibly the most important work that Picasso produced was Guernica (1937).

This large scale black and white mural (approximately 12 x 26 feet), was commissioned for the Spanish Pavilion in the 1937 World’s Fair in Paris and was completed by Picasso in under a month. In it, the artist depicted a catastrophic incident from the Spanish Civil War, wherein the Nazis conducted carpet bombing experiments on the town of Guernica, in the Basque region of Spain.

Historically, Spain had been ruled by a monarchy up until the 1930s, at which time it was replaced by a republican government that promised social and economic reform and a redistribution of goods and land. Spanish conservatives disliked this idea and headed by General Francisco Franco, they launched an insurrection that led to the Spanish Civil War. Aided by the Fascists and Nazis, General Franco assumed dictatorship of the country and ruled until his death in 1975.

During this time of turmoil, Picasso was not in Spain but working in Paris.

This is important to note when considering his choice of palette. He would have been paying attention to the events taking place in his native country largely through newspapers, transforming the black and white newsreel into a large scale canvas. Also, by choosing a dichromatic colour scheme, Picasso allowed the subject matter to stand out over colour.

Prominently positioned in this work is the Minotaur (a half-bull/half-man monster), an important symbol for Spanish people representing the tyranny of General Franco and his Nazi and Fascist supporters. Picasso used distortion in the imagery and figures to portray the horrors and suffering of innocent civilians massacred by the carpet bombing. This, in combination with the palette, evokes in the viewer the sensation of a stark nightmare, tying the work to the surrealist movement.

On a final note, Picasso was adamant that this work not be displayed in Spain until democracy was restored.

On loan to the Museum of Modern Art in New York, Guernica was returned to Spain in 1981. For the Silo, Eve Yantha.

The Silo

Tag Archives: imagery

The Visual History Of Tarot Cards