Grey portrays the human body as translucent, revealing complex anatomical systems rendered with medical precision and interweaving these with glowing subtle energies. By using visual metaphors of transparency and inner light, his paintings allude to the process of becoming spiritually aware, holy and enlightened.

Grey spent several years employed by Harvard Medical School in the medical museum and anatomy lab, preparing cadavers and studying the human organism. He came to see in the human anatomy a microcosm of the many systems and levels if order in nature. At Harvard, he also worked briefly with researchers in experiments investigating the body's healing energies.

The subject of Grey's art centers on the nature of consciousness and vision states. He sees himself as continuing in the tradition of visionary artists like William Blake, Pavel Tchelichew, Jean Delville and Gustave Klimt.

Grey's paintings point to the invisible spiritual world, which has been described by mystics. Grey applies his unique perspective to images of the archetypal human experiences from birth to death. In doing so, he employs a variety of familiar religious symbols and figures, including the ubiquitous halo, the flaming aura, the chakra, Adam and Eve, Buddah-like figures, demons and angels.

The exhibition of 18, mostly life-sized works includes selections of narrative paintings, portrayals of prayer, meditation and shamanistic ritual and the artist's seminal work, "The Sacred Mirrors."