Unicorn, oil on canvas panel, 8″x10″, 2013 – Private collection
I believe in unicorns.
The Mirror, oil on bristol, 11″ x 14″, 2010
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.
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Eye Wish, oil on canvas, 36″ x 48″, 2008
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.
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I Dreamt I Was Made of Nectar, oil on canvas, 14″ x 18″, 2010
I dreamt I was made of nectar was originally intended to be a loose self portrait, quick and expressive. However, I found myself delving into infinite realms of potential juicy detail, so… I went with what I know best. The hummingbird, a spirit heralding great joy and huge heart is my guide. He is emanating a nine sided mandala. The number nine is representative of perfection and completion as the final single digit. My skin is covered with liquid nectar filagree and the dark side of my face morphs into dragon form.
This piece was in creation during the passing of my father, so it was a great journey transmuting grief into joy and peace through the process of painting it.
One day, when I was having difficulty with the color scheme of the hummingbird, the sun shone through a small west facing window in my room, hit a crystal on my altar, then spread its light across the bird. I photographed the phenomenon, and painted the spectrum into his feathers.
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Golden Purifier, oil on panel, 7″ x 9″, 2010
Original available for sale: Contact artist for information.
Cathartes Aura, or golden purifier is the Latin name for the turkey vulture. This totem is a very powerful one for me. They are a living embodiment of the Phoenix, as I see it, as they consume what is dead and create life from it. These creatures lack a voice box, leaving them only singing in crackles and hisses, the sounds of flame. I started this painting during a major interna cleanse, and finished it later that month in November of 2010.
Aswan, oil on canvas, 12″x 16″, 2010
Original available for sale: Contact artist for information.
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.
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One Heart’s Journey, oil on canvas, 18″ x 24″, 2009 – private collecton
One Heart’s Journey is a depiction of the transformational journey through destruction into healing and unification. The bones in the fire are the remnants of the ego before the flames burn that which no longer serves away. Five deities, Quan Yin, Kali Ma, Yeshua Jesus Christ, Hathor and Buddha surround the fire as guides for the spirit through this dying process, holding compassion and healing as the much needed ego breakdown occurs. The flames take shape into a vulture spirit, who holds the heart in her beak. The heart’s essence billows forth as smoke, forming into two rainbow winged serpents emitting a shipibo medicine matrix. These serpents are symbolic of healing and rebirth. Out of the flames arising from their wings, the hummingbird phoenix emerges, sipping nectar from Divine Source. Lilly nectar was painted into the lilly.
This painting is much like any death process one goes through. We let what ails and holds us back burn away, our prayers bringing us great healing and recoding our DNA, rearranging our brain receptors and creating new neural pathways that allow us to break harmful habits and develop new ways of thinking and responding. This imagery is also suggestive of an shamanic ayahuasca journey, where one goes through a healing ego death. Much of the symbology often appears for those who embark on this type of medicine experience, and the shipibo style matrix is akin to the weavings of the Shipibo people, keepers of the ayahuasca lineage.
This painting was commissioned for a soul on a deep healing journey, that brought him from the abyss of self destruction into new life.
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Milk and Honey, oil on canvas, 16″ x 20″, 2003 – private collection
Milk and Honey was the first painting I completed. I finished it in 2003. Eight months of full time labor on this piece, working on the floor of my bedroom in Austin, TX, resulted in an image of a woman in sweet ecstasy with herself. This painting was inspired by a photograph that was taken of me in the Red Sea, Eilat, Israel. I had put my long dread locks in the water and flung my head back, spraying an arching crown of suspended liquid. The colors and shapes are representative of the heart. She stands in an infinite sea of roses, and liquid spiraling shell shapes, colored to imitate the sensual tones of the vagina. The peacock feathers tell of a beauty that is self aware. This piece is intended to express the ecstatic state of one who is fully aware and comfortable in her own beauty.
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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.
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Heidi Hathor Love Godess is a tribute to our beloved sistar, Heidi Murphy, who lost her life in Bali in February 2008. She was and is most loved through out our community and lives on through her inspiration, sweet memories and many pixie dusted visitations into our dreams and waking lives. Snakey.. kitty.. birdy.. Owl and Hathor magic.. Naga Kanya and Auryn.. Photos of Heidi by Arrow One and Carey Thompson. This is a photoshop creation.
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