Leonora Carrington’s Law of Briah (1966) embodies the artist’s idiosyncratic fusion of Surrealist themes with mystical and occult symbolism, a hallmark of her work during her prolific years in Mexico. Painted two decades after she relocated to Mexico in the 1940s, Law of Briah exemplifies Carrington’s evolution within the Surrealist movement and her deep engagement with esoteric philosophies, indigenous symbolism, and the interconnectedness of the natural and supernatural. The work’s title itself draws on Kabbalistic cosmology, as “Briah” refers to the world of creation in Kabbalistic tradition, linking it to Carrington’s abiding fascination with spiritual transformation and the hidden dimensions of reality.

Law of Briah features a gathering of ethereal, anthropomorphic figures clad in dark attire and bowler hats—a recurring motif in Carrington’s work, suggesting figures of authority or intellect yet also conjuring a spectral presence. The figures, with elongated limbs and fantastical hybrid forms, appear to be engaged in a cryptic, ritualistic activity around a table marked with geometric symbols, reminiscent of alchemical or mathematical diagrams. The scene is enclosed within a sparse, muted-toned room that feels both confined and limitless, creating an atmosphere of eerie timelessness. A mysterious crystalline form appears in the background, further imbuing the setting with a sense of ritual or occult experimentation. The effect is one of quiet yet intense focus, as though the figures are engaged in a solemn task governed by esoteric knowledge—an exploration of hidden, metaphysical realms.

This painting resonates with other works Carrington produced in the 1960s, a decade during which she delved even deeper into mystical themes, combining her Surrealist roots with her explorations of Mexican indigenous traditions and alchemical lore. Works like El Nigromante (1960) and El Gran Mundo (1964) similarly portray figures engaged in esoteric practices, using dreamlike spaces and symbolic objects to evoke a parallel dimension that exists just beyond ordinary perception. These pieces embody Carrington’s unique synthesis of European Surrealism—imbued with automatism, psychological archetypes, and subconscious exploration—and her Mexican influences, which brought a new dimension of mysticism and spiritual depth to her oeuvre.
Law of Briah also speaks to Carrington’s connection with the broader European Surrealist movement, which, though initially centered in Paris, found a revitalized, transcultural expression through her work in Mexico. Like her contemporaries André Breton and Max Ernst (with whom Carrington had a romantic relationship before moving to Mexico), Carrington sought to unlock new realms of experience through art. However, unlike Breton and Ernst, Carrington distanced herself from purely psychological interpretations, aligning instead with a mystical surrealism that integrated indigenous mythologies, Kabbalistic references, and alchemical symbols. This shift was influenced by her immersion in the intellectual and artistic circles of Mexico, where she collaborated with other Surrealists like Remedios Varo and the photographer Kati Horna, both of whom shared Carrington’s fascination with occult practices and metaphysics.

In Law of Briah, Carrington captures a moment of otherworldly communion, where the figures' strange attire, elongated forms, and mystical expressions transcend ordinary reality. The muted palette and confined interior evoke a timeless, secretive space, an “alchemical chamber” where rituals are performed in service of transcendent knowledge. This work is a testament to Carrington’s mature style in the 1960s: a surreal, introspective, and richly symbolic vision that transcends the personal unconscious to encompass a universal, spiritual quest; a deeply personal, mystical path that continues to captivate and inspire.