Does the elusive flower decide to not bloom because there is no one there to tell her how beautiful she is?  Does she forget to unleash her fragrance because no one will ever venture far enough to smell her essence?   Beauty needs no external witness or validation to exist in nature.  If the beauty we create is not sought out or isn’t openly appreciated by others, let us not be discouraged.  We are beautiful because it feels good to be so.  So much joy is gifted to the one who makes their world more beautiful, even if they are the only one to experience it.  Beauty is in the eye of the beholder, and in the heart of the creator.

…

This new painting, Communion was completed as we wrapped up the year 2011.  This piece began years ago, at a festival with Even Oldridge of Divine Reflections.  He offered to collaborate, and I gladly accepted.  He photographed me embodied, then with his special painting technique created a black and white portrait, printed it onto canvas, and sent it to me to paint.  Adding color and drawing from the abstract liquid forms this story that longed to be told, the vision took shape.  This is another mirror, an invocation, a peek through the veil of what  occurs when the offering of this dance is made.

Even’s work, “Wishbringer” and the seed for “Communion” is below.  See his work at divinereflections.ca

…

The Mirror was about a four year process with long periods of dormant time between painting sessions.  The two nagas, or snake women mirror each other, though they are the same being.  Uadjet, the winged serpent goddess, the protectress of Lower Egypt, also known as the goddess of childbirth and protecter of children and kings, is in the center.  Nekhbet, the vulture goddess and protectress of Upper Egypt, appears on both sides of the bottom of the painting, holding the shen, a symbol of eternity.  The ankh: key of eternal life, the djed: representing stability and strength, and the Ieb:  the heart, unite in the center. Above are the sun disk and three hieroglyphs that look like heart-shaped stringed instruments, but may also be symbolic of the lungs, represent unity and perfection.  This arrangement of symbols are found on a ben ben stone (pyramid capstone), held in the Cairo museum. The winged sun disk is emanating a geometric pattern, called the “breath of the compassionate”, where the expanded, eight sided stars indicate the inhalation, and the contacted shapes, the exhalation.  A golden eye lashed in dark feathers is representative of the higher perspective of self.  Cosmically filled void spirals through the space like eloquent music.

I had put this painting on the back burner for about a year before I began my final work on it.  As soon as I began to add the Egyptian elements into the piece, I was invited to dance at a priestess convocation at an Isis temple, where I danced the vulture goddess, and was ordained as a priestess of Isis.

13″ x 19″ Giclee Print on Paper

8.5″ x 11″ Giclee Print on Paper

YUM!

Eye Wish is my first journey with sacred geometry.  The 36″x48″ canvas was divided down the center with a line, which was then divided at the golden mean, or pi ratio.  A circle was drawn around this point, that blossomed in a flower of life pattern, consisting of 19 circles.  A large circle was drawn around this flower, and was met with a smaller circle below it, the size of the inner seven circles, known as the seed of life.  I drew a Metatron’s cube in the center of the circle and pulled out the star tetrahedronal shape, as well as the dodecahedron, a platonic solid correlating to the ether element and also theorized to be the global shape of the universe.  A larger dodecahedron, was formed within the lower circle.  The first piece of imagery to meet the canvas was the vulture skull in the center, followed by the dandelion pod, then the fetus, then the serpents… At this point I knew I had embarked on a very long journey, which at times intimidated me greatly, but excited me even more.  The symbology continued to appear through the brush, one at a time, like baby steps, until three years and seven months later, it was completed on the summer solstice, 2008.

The intention of this painting is to be a prayer for the new generation of humankind entering our world.  The rainbow colored third eye of the unborn child expresses the ability to see the full spectrum of all life and events.  The tear dropping from the eye, which is a star in the Pleiadean system, drops into the dandelion pod.  Wishes are made while blowing the seeds of these pods, and painted into these seeds are chrysalises birthing new butterflies.   Butterflies, serpents, vultures, and phoenixes are all symbolic of transformation.  As the human consciousness is in it’s transformational process, these creatures help show us how graceful it can be, by simply shedding skin, emerging from a chrysalis, rising from the fires of our hearts, and turning what was dead and putrid into life.

Also shown in this work are the twelve strands of fully activated DNA, the singularity or black hole of a galaxy represented by a heart, held by a rose, symbolizing the Divine feminine… space.  Rising from the heart is the dorje, the Tibetian thunderbolt.. truth, flanked by the prayers of our ancestors, that we may learn from their mistakes and accomplishments.  Above them is a Shiva skeleton, with the Earth inside of his crystal skull, being pulled into the heart of the lotus by a scarab, the Egyptian symbol of eternity, through the waters where the prayers have fallen.   Along with the skulls of vultures, there are the skulls of owl and eagle, Moon and Sun, masculine and feminine.  The rainbow serpent skeletons meet in the middle, where the vertical median of the painting is divided at pi.

At the bottom of this piece, there is a drop of blood, sacred life force, dripping down from the tears shed above, into the vast pool of the universe.  The ripples turn to waves, magnifying intensely each time.  This is representative of how even the smallest intention, thought or prayer is magnified as it ripples throughout the fabric of space time.  From the blood droplet emanates a heart beat, turning into rose petals, revealing this prayer to be one of love and from the heart.  It drops off the legs of Grandmother spider, master weaver of the worlds.  Her web is the geometric blueprint from which the rest is formed.    The two serpents eating the egg, wrap around the space below and frame the top, creating a figure eight, or infinity symbol with their bodies.  At their tails, they grow feathers, and merge with the Phoenix wings forming into hands.  The hands held in with the thumbs crossed over the palms, was taken from the walls of an Egyptian temple where the deities of the pantheon were holding hands in this way.  This is showing the uniting of the God ideals, when humanity recognizes Divinity as one and the same, through all of the names, incarnations, embodiments, and attributes.  This is the prayer for people to accept and honor all spiritual belief systems with compassion and understanding..  Unity consciousness.  This Divine love is blessing the crown and opening the rainbow eye of the child, while downloading knowledge of healthy interface between humanity, technology and nature,   This is represented by the circuit board shipibo patterns around the baby’s head.

Anointed into the painting are the DNA codes of many of the lifeforms depicted.  There are dandelion seeds, ground and crushed aya vine, chakruna leaf, rose petals, spider, bee wing, filings of owl bone, vulture bone, snake bone, and other feather quill painted into their respective images.  There are also drops of rose oil, tears, and moon blood as well as the ashes of a dearly departed beloved mixed with sands from inside the great pyramid in Giza.  This alchemy links the genetic codes directly into the imagery, amplifying the resonance and weaving the two dimensional through the multidimensional.

The serpents are found wrapping around the sacred Banisteriopsis Caapi vine, or Ayahuasca vine, while the leaves of the chakruna plant reach out into the flower of life patterns.  In the clouds, the feline sphinx guardians wisp through the left skies and the dragons fly through the right. There are many more pieces of this painting I cannot begin to describe or understand logically.  Eye Wish fills the heart through the eyes, and leave the mind empty and full at the same time, like witnessing Divinity.

Yin and Yang is a hybrid of oil painting and digital photoshop work.  Light and dark dance and entwine with one another, giving full expression to each other against the contrast of it’s opposite.  it is at night when you can see the brilliance of the stars.  In the dark, the light shines brightest.  The brightest light casts the deepest shadow. Space must exist for stars to be born.

The filagree was cut from the painting, Milk & Honey.  The serpent hatching from the egg and the wings flanking the snow leopard are also parts of other oil paintings.  The remainder of the image was remixed from the digital collage, Heidi Hathor Love Goddess.

I began Aswan years ago while living in Texas.  Still in its impressionistic conceptual phase, It spent some years untouched before being revisited.  There were a pair of swans at the Isis Oasis Sanctuary, north of the bay area in California.  I always loved visiting the swans.  They would always approach people and speak with them in a sweet manner.  I came to Isis Oasis for priestess ordination, and I saw the black swan, Luxor, in a pen with peacocks.  I later saw a pair of large white wings on a table in one of the buildings.  I gasped for I knew these were of the swan.  There had been a city water ordinance declaring they empty their pond for a time.  During these dry months, Aswan was attacked and eaten by either a coyote or a fox, as she was unprotected by her aquatic habitat.  Sadly, Luxor had lost her best ally, her reflection of light, Aswan.  My heart broke open at this, and I finished this painting and dedicated it to Aswan, of Isis Oasis.

The Mirror was about a four year process with long periods of dormant time between painting sessions.  The two nagas, or snake women mirror each other, though they are the same being.  Uadjet, the winged serpent goddess, the protectress of Lower Egypt, also known as the goddess of childbirth and protecter of children and kings, is in the center.  Nekhbet, the vulture goddess and protectress of Upper Egypt, appears on both sides of the bottom of the painting, holding the shen, a symbol of eternity.  The ankh: key of eternal life, the djed: representing stability and strength, and the Ieb:  the heart, unite in the center. Above are the sun disk and three hieroglyphs that look like heart-shaped stringed instruments, but may also be symbolic of the lungs, represent unity and perfection.  This arrangement of symbols are found on a ben ben stone (pyramid capstone), held in the Cairo museum. The winged sun disk is emanating a geometric pattern, called the “breath of the compassionate”, where the expanded, eight sided stars indicate the inhalation, and the contacted shapes, the exhalation.  A golden eye lashed in dark feathers is representative of the higher perspective of self.  Cosmically filled void spirals through the space like eloquent music.

I had put this painting on the back burner for about a year before I began my final work on it.  As soon as I began to add the Egyptian elements into the piece, I was invited to dance at a priestess convocation at an Isis temple, where I danced the vulture goddess, and was ordained as a priestess of Isis.