“The mountain stands for the goal of the pilgrimage and ascent, hence it often has the psychological meaning of the Self.
The I Ching describes the goal thus: ‘The king introduces him / To the Western Mountain’ (Hexagram 17, “Following”). ‘The mountains are prophets.’ Richard of St. Victor says: ‘Do you wish to see the transfigured Christ? Ascend that mountain and learn to know yourself)’.”
Jung, Archetypes and the Collective Unconscious
Monviso: Alchemical Transformation
As a symbol … my mountain is Viso the Self in transformation and extension of who I am becoming, consciously and subconsciously
Self. The archetype of wholeness and the regulating center of the psyche; a transpersonal power that transcends the ego. It encompasses both the experienceable and the not yet experienced. … It is a transcendental concept, for it presupposes the existence of unconscious factors on empirical grounds and thus characterises an entity that can be described only in part.
The self is not only the centre, but also the whole circumference which embraces both conscious and unconscious; it is the centre of this totality, just as the ego is the centre of consciousness.
The self appears in dreams, myths, and fairytales in the figure of the “supraordinate personality,” such as a king, hero, prophet, saviour, etc., or in the form of a totality symbol, such as the circle, square, quadratura circuli, cross, etc. When it represents a complexio oppositorum, a union of opposites, it can also appear as a united duality, in the form, for instance, of tao as the interplay of yang and yin, or of the hostile brothers, or of the hero and his adversary (arch-enemy, dragon), Faust and Mephistopheles, etc. Empirically, therefore, the self appears as a play of light and shadow, although conceived as a totality and unity in which the opposites are united.
Like any archetype, the essential nature of the self is unknowable, but its manifestations are the content of myth and legend.
Nat and I often find that we are drawn to things that we need. Although we are not drawn often enough to recognise a sign of what is to come. This was the case last June when I added a copy of Oesterreich’s book “Possession Demonical and Other” to my holiday reading and set off for a week in the Umbrian countryside.
‘Possession Demonical and Other’ [1] was expanded and is much fuller than the original 2 articles, first published in “Deutsche Psychologie”. It includes first-hand accounts of a range of possessions dating back to 1563.
Oesterreich takes a scientific approach in defining and classifying possession. He identifies many diverse sources of accounts of possession such as academic and medical journals, Holy Scriptures, psychology journals and a wider range of written second hand and eye-witness accounts. In doing so he recognises the fallibility of auto-descriptive narratives, in that often the subjects (or victims) in the majority of possessions are not in a condition after the event to describe it. There are also many examples of post-possession amnesia.
The first part of the book deals with the subject of ‘the nature of the state of possession’ and he describes three ways in which possession is manifest;
The possessed takes on a new physiognomy (changing facial features)
Changes in voice – tone pitch
Change in personality demonstrated through utterances of another (or others as there were many citations of multiple entities possessing one person at the same time)
There are many examples of possession using the three manifestations; however, I suspect there are also many less fantastic and immediately observable examples of possession. Erwin Rohde (German Philologist) speaks of possession as:
“a transient derangement of the psychic balance, a state in which the conscious mind is dominated, of ‘possession’ by outside forces”
For many of us, the first thoughts of possession lead us to ‘that’ scene in the film William Friedkin’s film ‘The Exorcist’. Where possession occurs in an exciting or unusual (or more obvious and dramatic) manner it may be easily recognised and evaluated or defined. Maybe where it is less dramatic, it may be harder to recognise or define. I found myself wondering if the subtlety of manifestation makes it any the less of a possession.
I had booked the week long break as a surprise. Nat was going to stone carve for a week, and I was planning to catch up on some reading and not too much else. The setting was idyllic, a small cluster of renovated old Tuscan farm buildings became home for the small group of stone carvers and their associated friends, family and partners. We had taken a small apartment, below us was an American couple, travelling together, Maria was also carving but Alan just taking a European break from running a counselling centre in Colorado. I had an odd feeling about Alan, I could not quite put my finger on it, he seemed nice, but definitely a bit strange.
The first day had been a long drive, it was hot and we went to bed, it was then that I noticed Nat behaving strangely. It was not a dramatic event, just a small question, as he put his arm around me to go to sleep, he asked “who are you baby?” at first I thought he had said “how are you?” and so I replied “fine, but tired” then he asked the question again “no, who are you”. I laughed, turned over and went to sleep. When we got up the next morning I joked and asked if he remembered my name yet? He did not really understand what I was talking about and had no memory of what happened the night before. I put it down to tiredness.
Whilst Nat was standing in a field carving stone all day, I had started reading Oesterreich’s work, and was interested in some of the accounts of possession and his scientific manner of evaluating the difference between mental health delusions and real possessions. As we climbed into bed on our second evening, another strange conversation took place, Nat said in a low voice “it’s got to be good for you but even better for her” I was annoyed and replied “who the hell is her” it was the plaintive quality of the reply that unnerved me, he said “Lenni” it was at that moment I realised that he was not actually talking to me at all… Nat was asleep at least he appeared so at this time.
I did not understand, and went to sleep, but it unnerved me, there was something about the way he said my name. I did not immediately make a link to possession. That came later.
The weather had not turned out to be quite the midsummer sunshine I had hoped for we had freakish winds, storm clouds, thunder and lightning. So instead of lazing by the pool, I convinced Nat to take one day off and visit Perugia, it was here inside the Church of San Ercolano that I witnessed a transformation, quite suddenly I saw Nat fly into a rage and began shouting, saying things such as “ Bastard whore of Babylon, its lies, it’s all a sham, an outrage – this is not what it is or supposed to be” I dragged him outside, not understanding what any of it was about or why he suddenly felt the need to tell half of Perugia what was in his mind. Outside the church he seemed really tired, he was aware of what had been said and when I asked him he could not explain apart from saying that “it felt like it came through my eyes”. I made a mental note not to do anymore churches this trip – perhaps he was safer in a field with stones and little else!
The next evening we had invited Alan and Maria for a drink. I watched Alan intently, trying to work him out and not being able to identify what it was that left me unnerved. I noticed he kept glancing over Nat’s left shoulder. After about twenty minutes of polite conversation Alan suddenly asked Nat “Do you know the name of your spirit guide?” We were amused more than surprised; our interests in the occult had introduced us to many interesting people and ideas. (It took a couple more conversations and days before I found that Alan also had his own spirit guide and my initial reaction was actually not to him, but to his guide. I could actually see and experience him; the biggest clue again was in the eyes.)
However I was more surprised when Nat answered “Err I don’t know, Zophiel I think, but there is another name too… err Barachiel”
Clearly the – “iel “suffix indicated an angelic reference, but beyond that we had no information. We have a long interest in Angels, daemons and the esoteric. We have often researched old and archaic texts and come upon interesting myths, stories and legends. Many of these provided the basis for Nat’s painting and art. I was surprised as I had never heard of either of these names, nor at that point, had Nat. He was unsure as to the source of this information and tried to shrug it off, but at that moment, I had begun to understand what I had observed over the previous days.
It was not until we returned home a week later, were we able to undertake any real research. Then through a mixture of old texts and internet searches we were able to piece together a bit more information. Zophiel, is indeed one of the names given to an Angel. Nat sensed that there were two entities, Zophiel the foremost, Barachiel the lesser, but there all the same. We knew from previous experience that researching Angels and angelic references is not always straight forward or easy. There are often different names and sometimes conflicting information depending on the particular texts. To overcome this we usually try to triangulate the information we find, and track back to the most original sources and texts available.
So in researching the two names that had come to Nat, we found Barrachiel [2] also referred to as Barakel, Baraqiel, Barakiel, Baraqijal, Barqiel, Barachiel, Sachiel. Barbiel [3] (in 5thC manuscripts the letter ‘K’ and ‘b’ are not easy to distinguish) Meaning “lightening of God” One of the seven archangels and of the four ruling seraphim. As Seraphim, Barachiel rules The Confessors and is Prince of the Second and Third Heaven and Gate keeper of the East Wind [4]. Also one of the Enochian Fallen Angels, Grigori or watchers who united with the daughters of men. In this role who taught humankind Astrology.
He was leader of the “Chiefs of Ten” a troop of Fallen Angels. [5] Associated with Barbiel [6]who serves as one of the seven Electors (of Hell) under the suzerainty of Zaphiel. He is cited in the Book of Rezial to be the angel who guided Shem. A protector of seasonal attributes for sustained life. There in the preservation of crops, the prospering of the birds of fowl and the surety that mines would be plentiful of metals and gemstones.
Zophiel, Zaphiel, [7] Zafiel, Iofiel, Zaphkiel, Zappiel, Jophiel, Cassiel, Zaapiel[8]. Meaning “Knowledge of God” ,“God’s Spy” and “God’s Rage”. In solominic rites he is invoked in the prayer of the master of the Art. He assisted Michael as a standard bearer in the battle for heaven. He is also cited as Ruler of the Cherubim[9]. He was the preceptor of Noah. As Zaapiel derived from Za’ap (Hebrew) meaning rage, anger or storm he is also recognised as angel of storms.[10] As Zafiel he is the angel of rain. He is responsible for the condemned souls and there transition to Sheol, where he beats them with rods of burning coals.
As Iophiel he was the preceptor to Noah[11] and his sons as Barachiel was to Shem; teaching Noah how to construct the Ark. Paracelsus cites him as the Intelligence of Jupiter [12] and in the Kabbalah he is the angel of Binah, therefore an angel and archetype of the erudite specialist. He is also associated with artists, illumination [13].
Our research led us to many references for both Zophiel and Barachiel. We were able to make some connections to our findings; including the obvious links to artists and metal workers (Nat also makes jewellery and sculptures using precious metals and gems). The unusual inclement weather and the storms were not like common summer storms, they lasted for days with high winds and rain.
Over the next few weeks, Nat’s odd behaviours continued, they were not constant, but were frequent. Now I was watching more intently I could see a slight change in him and although his voice did not change his syntax did, it was slight, but noticeable. His eyes also seemed to change, his pupils dilating a little. This was not as in the fantastic and dramatic effect used in the ‘Supernatural’ TV series, but I did later find a reference that described a test for obsession (by which they mean a permanent possession).
“The eye is the window of the soul,” and only the true owner is capable of contracting and expanding the iris, or pupil, of the eye. If we take a person we think is obsessed to a darkened room, we shall find that the pupil of his eye will not expand if he is obsessed. Neither will the pupil contract when we bring him into the sunlight. In short, the pupil of the eye will respond neither to light nor to distance when a person is obsessed.” [13]
With Nat, obvious fleeting moments of rage were apparent. One morning, finding him asleep in his studio with the name Zophiel writ large on the floor, when I asked him why he said “I needed to be able to stand on the name”, this made no real sense to him or me, but I was glad the urge came in his studio and not in the sitting room or kitchen.
The other significant change was in Nat’s painting. His style changed dramatically, the subjects of his work are often related to Angels, and research has inspired many of his paintings, but the new paintings since this experience are different. The subjects are still related to Angels, their content putting a new and different emphasis on measurement, temples, new geometric shapes that represent deep and profound concepts. I would not classify this as channelling or created whilst he was in an unconscious/somnambulistic state, he was very much aware of what he was creating, but felt influenced.
The first piece he named “A conversation with Zophiel”, the subjects are space, time, measurement and a relationship with a creator. Austin Osman Spare described his magical processes as an “interaction between the conscious and sub-conscious”[14]. Spare talked about the “dream man” and bringing thoughts, ideas and images from the back of the mind into the public domain. In Nat’s case, the interaction is not with his sub-conscious, but with another, residing albeit temporarily within. Nat felt that he became more aware, his fields of perception were opened and whilst he could not find the words to describe clearly the process, he sensed a guidance and new direction in his thinking. I asked him to describe what he experienced, it has taken many many times before I was able to get him to articulate this experience, finally, he surmised it as;
“It is difficult to articulate what this feels like. At best I can say it feels like ‘they’ are behind me, like a shadow (this is not meant to infer any malevolence). A free willed consciousness I am in conversation with. As a boy it was more like a body of others…now it is more intimate with perhaps, I believe, two. When I am aware of their presence I feel that I am looking through my eyes as more than one. I am thinking as a multifunction, in a dialogue of shape, colour and touch…no sound as I can recall. They also evoke emotions within me. These sometimes have to come out particularly when something needs to be said. I’m not sure of my self control in this aspect of it all really.
I have been connected to “others” since my early childhood. These are memories now, faded and recalled as thin reflections, transient and dreamlike. Recently I have been aware of these feelings again. Stronger more tangible I think. These recent encounters have found themselves in my drawings, scribbling and now my paintings and three dimensional work.[15]
At the moment these ideas are “grand” in materials and geometric construct; defined symbolically located from my internal ruminations and reference material that attracts me. Am I aware of these others”.
I am spiritual not religious. I often say that the idea of religion and religious activities offend me. They do, I struggle with ideas that control people and I understand religion doing this therefore constricting personal growth. Choice and freewill are victims of this by religion fear of loss and lack of control. Therefore, primary ideas form religions and beliefs have become politically distorted and have lost their way. However, it is now that I am able to start to understand why.
I think that religion has been useful for people to explore what it is about life they understand and their place within it. In the past, archaic and more recent, it has acted as a scientific and philosophical release to understand our position in life and our relationship with the intangible. So I am often found saying, “Magic, what is magic? Well it is science not yet best explained.”
I am easily attracted to icons and symbols, usually arcane, as starting points to explore my relationship with the self….external and internal. In all of this I am aware of “others”…these are beings that permeate through all religious cultures and have connections in animistic, scientific and spiritual realms and understandings. My research and reading is centred on all of this.”
When Oesterreich explored the subjective nature of the possessed, he concluded the possibility of both evil and good entities possessing a person. In some of the examples the possessed person was described as somnambulistic- which is defined as an abnormal condition of sleep in which motor acts such as walking are performed. In these circumstances, clearly the possessed person is completely unaware of their actions. However there are also many cases where the possessed person remains lucid and retains consciousness if not control. I noticed with Nat that on the whole he retained clear consciousness, however there were moments when he was unaware of what had passed and did not have any memory of parts of conversation or his actions. This influence continues today, all the paintings since this experience are produced using a great deal of metal and metallic paint, primarily gold, but also copper and bronze.
So Zophiel still seems to be around; Nat describes him as ‘somewhere in the background’. To paraphrase Rohde, Nat experienced a passing change of his psychic balance, in which his conscious mind has been influenced rather than dominated, of ‘possession’ of an outside forces. In this case, Nat believes the external force was not attempting to dominate and be a controlling force, but more open to a new level of awareness and understanding.
Whilst not obviously, ever-present Zophiel and Barachiel have become a constant in Nat’s work, some of which will be exhibited in Turin this year. As for this year’s holiday reading – I intend to choose carefully what is added to the list!
1 Oesterreich, T.K. (1930) Possession Demonical and Other, Kegan Paul, London
2 Ginzberg, L. (1909) [edition 9, 1998], The Legends of the Jews, The John Hopkins University Press
3 Liddell, S. & Mac Gregor , M. & Crowley, A. (1995)[ second sub edition] The Goetia: The lesser key of Solomon the King : Lemegeton-Clavicula Salomonis Regis, book 1, Weiser Books
4 Savedow, S. (1701) [2000] Sepher Rezial Hemelach: The Book of the Angel Rezial, Weiser
5 Camfield, B. (1678) Theological Discourse of Angels, London
6 Barrett, F. (1801 ) [2000], The Magus: A Complete System of Occult Philosophy, Red Wheel/Weiser
7 Klopstock, F G. (1826) [2007], The Messiah, A Poem, Longman, Rees, Orme, Brown, and Green
8 Skinner, S & Rankine, D. (2005) Keys to the Gateway of Magic: Summoning the Solomonic Archangels & Demon Princes, Part 1363, Golden Hoard Press
9 Ambelain, R. (1951). [1990]La Kabbale Pratique Book I, Bussière
10 Bar Yohai, S. Berg, M. (2000) The Zohar, numbers 154a, Kabbalah Publishing
11 Milton, J. (1759) [2006] Paradise Lost. Oxford University
12 Davidson, G. (1971) [1994]. A Dictionary of Angels, Simon & Shuster
13 Fischer, L. (1996) Angels of Love and Light, Zephyr/T M P (Transformational Media Publications
14 Spare (1913)The Book of Pleasure (Self-Love): The Psychology of Ecstasy. Spare
A transforming download of shimmering ‘light’ that luminates the inner essence of perception and realisation. The entry point through the Kapala – the cranial grail. The point of enlightenment and translation into energy.
Some significant paintings that point at this energy:
Red Lands – the placement of God’s Tomb; the place of sanctuary and decay.
Anointed – ancient acts, new behaviours; transient connections.
True Light – accepting the download, the point of realisation.
All Monviso creations as: The Mountain that emanates ‘the’ grand presence ( see Mountains below)
There are two that conjoin towards a singular happening; Zophiel and Barrachiel. Sometimes their presence is distinct and at other times combined towards a stronger energy. They both appear in many seals as part of the whole meaning of influencing forces.
Zophiel, Zaphiel, Zafiel, Iofiel, Zaphkiel, Zappiel, Tsophiel, Jophiel, Cassiel, Zaapiel. Meaning ‘Knowledge of God’,’God’s Spy’ (watcher) and ‘God’s Rage’. In Solomonic rites he is invoked in the prayer of the master of the Art. He assisted Michael as a standard bearer in the battle for heaven. He is also cited as Ruler of the Cherubim. He was the preceptor of Noah. As Zaapiel derived from Za’ap (Hebrew) meaning rage, anger or storm he is also recognised as angel of storms. As Zafiel he is the angel of rain. He is responsible for the condemned souls and their transition to Sheol, where he beats them with rods of burning coals.
As Iophiel he was the preceptor to Noah and his sons as Barrachiel was to Shem; teaching Noah how to construct the Ark. Paracelsus cites him as the Intelligence of Jupiter and in the Kabbalah, he is the angel of Binah, therefore an angel and archetype of the erudite specialist. He is also associated with artists, illumination.
Barrachiel also referred to as Barakel, Baraqiel, Barakiel, Baraqijal, Barqiel, Barachiel, Sachiel. Barbiel (in 5thC manuscripts the letter ‘K’ and ‘b’ are not easy to distinguish) Meaning ‘lightening of God’ One of the seven archangels and of the four ruling seraphim. As Seraphim, Barrachiel rules The Confessors and is Prince of the Second and Third Heaven and Gate keeper of the East Wind. Also, one of the Enochian Fallen Angels, Grigori or watchers who united with the daughters of men. In this role who taught humankind Astrology.
He was leader of the ‘Chiefs of Ten’ a troop of Fallen Angels. Associated with Barbiel who serves as one of the seven Electors (of Hell) under the suzerainty of Zaphiel. He is cited in the Book of Rezial to be the angel who guided Shem. A protector of seasonal attributes for sustained life. There in the preservation of crops, the prospering of the birds of fowl and the surety that mines would be plentiful of metals and gemstones.
Under spred Ensignes moving nigh, in slow
But firm Battalion; back with speediest Sail
ZEPHIEL, of Cherubim the swiftest wing,
Came flying, and in mid Aire aloud thus cri’d. (Milton)
In short, the Zophiel/Barrachiel conjunction being a somewhat critical wrathful reckoning of what is the true way, at times this activates and is visible. I have this temperament and at times feel subsumed by this energy. Not to be vindictive but to cleanse, white heat, a purging of that which isn’t right. This sometimes has to be controlled by my human shell so that there is some containment and reduction for the benefit of others.
The Temple and the Red Bird
The Temple that houses The Tomb of God
(Hymn Translated to English)
This House causing Light
Open the gate for me
So that I can enter here
This tomb of God
This House of the Red Bird
Liminality, Space & Time
One dream that has stayed with me is that of a double room, one resplendent, one empty. After I had this vision, I realised that there is something important about resonance, time and space. After this there were more dreams about the temple.
There has been knowledge about a space and boundary of a place that is twofold. This space, a temple, is a place that is sacred to what has to be kept secure. I have been to these places, not sure of where they may be in the common sense, but they certainly exist.
The construct of the temple is realised when crossing the ‘null point’ in other terms as in physics ‘Zero Point’
Definition: A point of view …
Zero-point energy (ZPE) is the lowest possible energy that a quantum mechanical system may have. Unlike in classical mechanics, quantum systems constantly fluctuate in their lowest energy state.
As well as atoms and molecules, the empty space of the vacuum has these properties. According to quantum field theory, the universe can be thought of not as isolated particles but continuous fluctuating fields: matter fields, whose quanta are fermions (i.e., leptons and quarks), and force fields, whose quanta are bosons (e.g., photons and gluons). All these fields have zero-point energy. (That’s a mouthful!)
These fluctuating zero-point fields lead to a kind of reintroduction of an aether in physics, since some systems can detect the existence of this energy; however, this aether cannot be thought of as a physical medium.
I believe that in the scientific world this probably is useful, in the spiritual, transpersonal and magical world, this is a gathering and source of possibilities.
The temple switches and is entangled between these two rhythmic parts of which are governed by other types of forces. There is a relationship of balance and parity, albeit different in the variation of need by us and others not in our understandable space. I am of a mind that Zophiel and Barrachiel hold some governance here. Angelic positions are here and the role of their intention, I sometimes believe we just get in the way, which causes some ripples and changes the course of things. Alchemy, ritual and dumb politicking for the masses which creates energy. God is in the atom, inert or not? … is this the point people consider me unbalanced?
Chemists take inert to mean a substance that is does not react with other substances. Gold is inert in the chemical sense because it does not react with any other substances and this is attributed to the stable and balanced configuration its electrons. God has stopped … a death, for now resting, the world as we know it is governed by the ones that watch and oversee. Nonetheless a space is created for the safe keeping of this God, sacred, profane and protected. There is an essence to slow time that isn’t respected enough.
Something from my decorate:
How do we perceive that space exists? Is space a dimension that may be brought to awareness, existence, being created by an action in a moment, however long that seems to be, Doreen Massey (Sociologist) suggests that representation is spatialisation, ‘movement visibly consists in passing from one point to another, and consequently in traversing space.’ This implies that direction and in this reference linear direction is divisible allowing parts to exist in various modes, distance, direction, area, time all happening instantaneously. I wonder if this is the same when we encounter another person, the creation of recognisable features born from the detection of something happening, maybe a perception that something is going to happen or has happened becoming evident as that space is divided into perceivable zones raising possible functionality between the two parties involved in that particular encountered created space and from this a notion what meaning and value has this space for either protagonist involved?
Awareness springs to mind here, there is at present, approaches to homeostasis and well-being that a focus on the use of space in the present moment, Mindfulness is a popular example here; appreciation of the present space or instance or instances. Instance maybe something fashioned between the concept of past and future and again this is only supposed by the perception of preceding experience and the spaces of future possibility, which brings to the foreground that instance may have potentiality, functionality, measurement and value. In addition to this, does being aware freeze a moment in time, singling out something from the multiplicity of other spaces? If so, is this dependant on what we bring to that instance, would this determine the possible use of the instance of a recognised potential space, what is the use of space and is it of value?
We know about space when something moves or catches our intention, cats and paper bags spring to mind! Otherwise it is returned to the Null /Space. There is more about this and psychopomps of the soul that carry us to the next space, ravens are one of these vehicles (this is another story)
Ravens; a taste:
The image of the raven, black-winged, glassy-eyed as it picks at the bones of the dead, calling its carrion cry across a Gothic graveyard, is one that is indelibly linked with horror in the public psyche. Perhaps this is thanks to Edgar Allan Poe’s iconic poem of the same name, perhaps to the legends of the Tower of London, perhaps even to the very trappings of cinema and literature. Whatever the cultural background to the raven’s place in the psyche of western Europe, it is not the only avian creature that enjoys or on occasion, suffers from this association with death. Away from Europe, in ancient Japanese culture we find an echo of the French belief with birds serving as psychopomps, carrying the dead to the afterlife. Native American folklore held that the souls of tribal chiefs lived on in birds of prey, the powerful symbolism of these majestic creatures a world away from the unbaptised souls of the infants who flew over France awaiting salvation.
It seems that, across nations, cultures and religions, birds have been associated with death for centuries. Whether they carry omens of tragedy to come or provide a vessel for earthbound spirits, from Melusine’s raven to the modern belief that fresh white feathers might be a sign of comfort from a deceased loved one, birds have never been far from the arena of death folklore. Birds are, of course, free to go where we cannot. They soar and fly, reaching more closely to the heavens than any other creature and perhaps this is why they are so inextricably linked with the fate of the soul. (Curzon, C. 2016) The Guardian.
Envisioning the temple, concealed in time and space
The Temple (É) – The Tomb
The construction of E-ninnu:
He stretched out lines in the most perfect way; he set up a sanctuary in the holy uzga. In the house, Enki drove in the foundation pegs, while Nanshe, the daughter of Eridu, took care of the oracular messages. The mother of Lagash, holy Gatumdug, gave birth to its bricks amid cries, and Bau, the lady, first-born daughter of An, sprinkled them with oil and cedar essence. En and lagar priests were detailed to the house to provide maintenance for it. The Anuna gods stood there full of admiration.
I feel that this Temple has a likeness to something Sumerian.
The Sumerian term É.GAL (‘palace, literally ‘big house’) characterised as a city’s main building. É.LUGAL (‘king’s house’) was used synonymously. In the texts of Lagash, the É.GAL is the midpoint of the ensi’s government of the city, and the site of the city archives.
Sumerian É.GAL is the probable etymology of Semitic words for ‘palace, temple’, such as Hebrew היכל heikhal and Arabic هيكل haykal. It has thus been considered that the word É originated from something akin to *hai or *ˀai, especially since the cuneiform sign È is used for /a/ in Eblaite.
The Red Bird
The Red Bird is also elusive, I feel that this bird is a symbol or metaphor for protection and for being continuously led down a path of enquiry, this is a questing metaphor. She is my guide.
I also recognise this in my synaesthesia, reversal of spaces and thought processes that get entangled. Plus, directions inverted and number day confusion. I often feel that I have been plummeted into an unfamiliar world. Awkward, did they feel like this in the earthly domain?
Example
Number
Colour
Texture
Other
1
White
Powder
White Noise
2
Cobalt
Biscuit ceramic
Soft Rustling
3
Orange
Fire
Hum of Heat
4
Sage Green
Gentle Leaves
Breeze
5
Post-box Red
Glossy/Rigid
Strong Unyielding Powerful
6
Silver
Metallic/Mercurial
Liquid
7
Yellow/Gold
Metallic
Slowly Turning
8
Raven Black
Soot
Deep
9
Brown
Suede
Pliable
The Mountain
The mountain is thought to contain divine inspiration, and it is the focus of pilgrimages of transcendence and spiritual elevation. … It symbolises constancy, permanence, motionlessness, and its peak spiritually signify the state of absolute consciousness.
‘Gilgamesh persists and the guards open the gate of the mountain to him. Then Gilgamesh followed the sun’s road to his rising, through the mountain. When he had gone one league the darkness became thick around him, for there was no light, he could see nothing ahead and nothing behind him’.
What is it that makes for a psychological attitude in analysing a mountain experience? The analyst must 1) see the mountain as internal,
2) try to place the inner mountain in relation to the overall inner “journey” on which the person experiencing the mountain is embarked, and
3) analyse how the experience is embedded in the everyday life of the individual who received the image.
This is the motif of returning to the creation (to the Garden of Eden), to a place where death is impossible. It is called ‘cleansing the self’ (penance), and, as in Dante and Deguchi, to be cleansed in this way is to cross a river on a mountain. However, unlike the physical or meta-physical mountains I discussed earlier, the mountain here is one hundred percent psychological. The scaling “the battlements of wisdom” (XII,17.19), the crossing of the river, and the entering of the “pristine state” goes on inside, and the end state is conceived of as a psychological or inner state — ‘your self serene, immaculate,’ ‘man’s pristine state of immortality,’ scaling ‘the battlements of wisdom’.
Back to Sumaria – Mount Mashu whose ’peaks are as high as the wall of heaven,’ crossing these Mount Mashu is a prelude to the instruction of the immortal, Utnapishtim. Gilgamesh, after crossing twelve leagues of darkness a kind of Garden of Eden is entered which related to learning through the abyss, facing you fear.
famous swahili song: “Malaika, nakupenda Malaika” (meaning “I love you my angel”).
Lion Hill – Belgium
The lion hill, which is the main memorial monument of the Battle of Waterloo, indicates the spot where the Prince of Orange was wounded. A total of 226 stairs leads to the top of the monument where one can enjoy a beautiful view of the entire battlefield. Tickets: at the Visitors Center Price: 1,20 Ä (Euro).
King William I of the Netherlands ordered the construction of this monument in 1820, to commemorate bravoury of his son, the prince of Orange, who was wounded here during the battle. The construction started in 1824 and was finished in November 1826. The hill is the ideal place to have an overview over the entire surface of the battlefield. A total of 300.000 m≥ of earth were moved to erect this (for its era ) imposing monument. The earth was taken out of the fields between the “Haie Sainte” farm and the sunken lane behind which the Duke of Wellington had strategically positioned his troops.
The earth was poured into a hill by working women from the Cockerill company in LiËge, where also the Lion statue was cast. The hill is 43 m high and at the basis the circumference measures 520 m. A total of 226 stairs lead to the top of the hill. The socle on which the lion stands has been build in brick throughout the entire hill. The Lion itself weighs 28 tons, is 4,45 m high and 4,50 m long.
The statue was brought via the waterways between LiËge, Dordrecht (in Holland), Antwerp and the canal of Willebroek to Brussels. From Brussels it was brought on horse-drawn carriages to Mont-St. Jean.
Legend has it that the statue was cast from the bronze of the guns and weapons the French left behind on the battlefield. It is only a legend !
Lion Hill in Sungai Siput, Perak
Lion God? Vaishnava community. Celebrations at an ISKCON temple in the hills and pine forests close to the old German city of Passau
Sword by His side, a necklace of saligram-silas round His neck, His right hand raised in abhaya-mudra, Lord Nrsimhadeva looks ready to bless and protect His devotees in this blue and silver decoration.
This was Narasimha Caturdasi, the fourteenth day of the lunar month of Vaisakh, when devotees celebrate the divine appearance of the Lord when He appeared in the form of a half-man, half-lion to protect His child devotee, Prahlada.
White Lion, Lion Hill, Fobbing?
Lionel – Name –
Pet form of French LÈon, meaning lion
Arthurian Legend – Sir Lionel, younger son of King Bors of Gaunnes (or Gaul) and brother og Bors the Younger. Cousin of Lancelot and Hector de Maris. When their father dies in battle agianst King Claudas, Lionel and Bors are recused by the Lady of the Lake and raised in her underwater kingdom alongside her stepson Lancelot. All become knights of the round table.
Lemuel? –
‘Leib’ is the Yiddish version of Leo, and that’s why your dad’s English name was Lionel. The Hebrew equivalent of Leib/Leo/Lionel is Arye, and the nicknames for Arye are Ari and Arik.
It could be argued that serpent mythology is the most widespread mythology known to humankind. Our interest is in understanding what the serpent represents and the relationship between angels and serpents. This culminates in the stories that relate to the winged or feathered serpent.
Serpent Mythology
Some of the oldest known serpent myths were developed by the Sumerians. But even before the Sumerian legends there are artefacts with a gigantic snake winding over the whole universe. The serpent can also be found below a growing plant or above the belly of a pregnant woman. The serpent is seen as a symbol of energy and life.
Early Sumerian artefacts show a tree or pole called the “axis mundi “. It represents the centre and support of the world. Guarding the axis mundi is a serpent or pair of intertwined serpents. Here are the early associations between the serpent and the rod which later appear in the Bible and as the caduceus.
Kulkulcan was one of the major gods of the Maya. He was also present in Toltec mythology. Kulkulcan was a god of the four elements, and also the creator god, the god of resurrection and reincarnation. He may have originated from Toltec myth, where he was a divine hero who taught the Toltec laws, fishing, healing, the calendar and agriculture. His name means “the feathered serpent” and the Aztecs merged him with Quetzalcoatl.
Quetzalcoatl had the ability to transform himself into the shape of a man. He is often depicted in both guises. His enemy was Tezcatlipoca, the god of darkness. Quetzalcoatl is associated with the sun, as had Kulkulcan before him. In mythology after a battle Quetzalcoatl fled to the eastern shore with the enemies behind him. He sailed away, making a boat from the bodies of intertwined serpents, promising to return in triumph.
The early Phoenicians worshipped a serpent god called the Basilisk. This has been considered an early phallic god, common in ancient religions.
The Basilisk, though usually considered a serpent, does not always have clearly defined anatomical features. To look directly at a basilisk is to die, so it is impossible to picture them accurately. It is almost always an icon of fear. This ability to kill with a glance is shared by the gorgons of Greek mythology, who may be the ancestors of the basilisk. The only way to kill a basilisk was the way Perseus slew Medusa, by use of a mirror-like object in which the reflection could be viewed.
It is Greek mythology which provides the constellation Draco or the Dragon. [Draco is the pet of Zeus]. This “dragon” is clearly a serpent.
Also, in Greek mythology, there is the serpent guardian figure from Sumerian or Akkadian times. A great and wise serpent, called Ladon. Ladon guards the tree of the golden apples of the Hesperides. This mythic tree is guarded by an immense horned serpent which coils up around the tree. Herodotos documents winged snakes as divinely appointed guardians of the spice-bearing trees of Arabia.
Aescepulus or Askepulus, the god of healing. This god appeared to the Romans in the form of a snake. It is written that Aescepulus learned the art of healing by watching snakes.
A snake symbol which was Greek and is still in us today is the caduceus. The caduceus, which is recognized internationally as the symbol of medicine, began as the token of Hermes, the Greek messenger of the Greek gods, and god of healing. This winged tipped, snake entwined rod is reminiscent of the very early Sumerian and Akkadian tree of life and knowledge guardian images.
Serpents and Theology
In Biblical passages regarding serpents, they are not specifically called evil creatures. Rather, the snake is used as a symbol for everything from the Devil to the highest order of angels; from lying to wisdom. The serpent’s identification with evil is the one which caught the Christian imagination, and it was the dragon image which caught on. In the story of the war in heaven, [Revelations] Michael, and his angels, fight the dragon. This dragon is identified as ‘that serpent of old that led the whole world astray, whose name is Satan or the Devil’.
This symbolism is common to the Bible and should not be taken as a literal judgment about the snake. It is also told that Yahweh sent fiery serpents [seraphim] among the people In Isaiah a description of the highest of all of God’s angelic creatures, the Seraphim. The word ‘seraph’ [of which Seraphim is the plural] can be translated “fiery serpent”. .And in Judaism one of the most powerful of the heavenly creatures may have serpentine connections, the Seraphim.
Ouroboros
The word Ouroboros encompasses many cultures, including the Norse legends. Today Ouroboros is strongly associated with alchemical processes. It is the serpent or dragon biting its tail. From this we see the symbolic connection to the returning cyclical nature of the life. Carl Jung would refer to the Ouroboros as an archetype.
The serpent is a symbol of humankind’s extended knowledge of itself, and still today holds a magical and mystical place in our psyche. In science the link between serpents, the dna double helix and the cosmic spirals that are produced throughout our galaxy and universe are still to be understood. This link between the micro and the macro forms the basis of the search for the truth about our existence in the universe, where we came from and where we might be going to.
How creativity can further understanding between coach and coachee or tell me about your Purple Polka Dot Piano.
According to The British Association of Art Therapists, Art Therapy intends to work with the client using art media as a principal approach for communication and to support a client to influence personal change and growth through the use of art materials. Art Coaching, by my definition, intends to work with the coachee, making or using art references, to reveal where they are at and where they want to go, but with a specific focus on themselves in their working environment. This article aims to share a methodology for an approach to coaching, that of using our greater self to guide us. This includes aspects of transpersonal work..
Transpersonal coaching to help the clients access parts of their psyche and to search for meaning and if need be, to make sense with what they have done, where they have been, what they are doing and where they may want to go. Frequently we are unaware of the symbols we carry around and surround us. These symbols can help us explore some of the conversations that have not been had with the Self. The approach to help the coachee to access their symbols can be varied, sometimes the coachee will be aware of them but will not know why they are experiencing them. Many of us have personal metaphors that we treasure or believe that they are telling us something, but to what these mean may not be so clear with further consideration. As a coach I am interested in from where these personal symbols stem and to what they are telling us to do, where do we go from here, what is the message, where are we now, where do we want to go? Which links closely to what can be referred to as “natural” symbols, those being from the unconscious contents of the psyche and or variations on archetypal images. (Jung, 1964) In short what symbols mean to the person, the Self, rather than a symbol with an external excepted cultural reference as with religious symbols per se. To be able to articulate and explore these metaphorical images is another dialogue, as Diana Whitmore says, “imagery is the language of the psyche”, (Whitmore, 2004, p51) which can allow the coachee to access content that is not available to the conscious mind.
Early in my life I was fortunate enough to enjoy many creative aspects and traditions to a high level. These being mainly, Art School, the Martial Arts and Reiki, which I now realise can become active into coaching methodology. As a practicing coach and through studying for my Masters in Coaching Psychology I have become more aware of the synthesis of these facets of my life.
Deconstructing Art
Knowing how to “read” Art, and how to deconstruct imagery and artistic intention can help the coach and coachee search for meaning with the Self (true state) and knowing the Self through others’ Art. Careful use of training and development models can employ Art, whether that being personal or chosen imagery, to help the client find significance to their present situation, in turn this may lead to surfacing meaning or the birth of new ideas. The semiotic study can help the coach and coachee find structure and meaning and a language to their work together.
An example of how this works: Use images from contemporary and historical pieces selected by the coach or coachee, explore each piece using several themes. Example questions about each piece could be:
Elements – Why are they there? What are they doing? Where are they from? What do they remind you of? What’s missing?
Colour – How does this emotionally feel? Where have you seen this colour before? Which colour stands out to you? What does this or that colour remind you of?
Sizes and Shapes – What does one shape do to the next? If abstract, what is this piece saying to you? Would you add anything to this piece?
Position and location – If you are in this piece which part is you? If you were in this piece what would you be doing?
The coachee’s opinion of each piece of art isn’t mean to be questioned whether the Art is good or bad, it’s about what is the art doing for them or to them. The axiology of the piece is still important, but the significance for the coachee is more so, this is part of the surfacing of our hidden conversations with ourselves. As a coach I am mindful to follow the coachee’s journey of exploration with the intention of bringing the focus towards the coachee’s position and current circumstance. Respectfully helping the coachee towards further understanding their current climate and perspective about where they are. Through this exploration it is important that the coach doesn’t leap to any conclusions what a coachee’s symbol mean, no diagnosis, as this can lead to assumed self fulfilling prophecies and more subtle revelations can be cast aside. Meaning will gradually transpire from the coachee, time is the natural enricher here. Further to this would be questions about future orientation and next steps. For example, three important elements that can further our understandings of our current position in life are; what is there, what isn’t there, and how do you know?
Try the images for yourself, apply the questions above and see what happens for you.
Another approach maybe to explore how do others perceive us? With this in mind we could explore this using imagery.
On many occasions I have used Metaphor Box. This technique is used so that the coachee can understand how others’ perceive them. A select body of people known to the coachee is invited to post, through a slit in a box, imagery about the person in question. This happens for over a week. Following this , the coachee is shown the contents of the box and coach and coach review the elements within. The coachee talks about their perception of the images and draws conclusions about how they think they are perceived. After the coaching session the group can be brought together to share openly why they chose their images with the coachee. Each time I have used this method, the coachee has felt much better understood and there is a greater level of appreciation for them and the people involved in the exercise.
Making Art, Doing Art, Viewing Art
On different occasions I have used different methods for coachees to explore their domains. To make Art with coachees can help the coachee unlock emotions without words, which, I have found, with some, is less difficult for them at first than verbal discussion. What gestures, movement and body actions used to bring forth imagery may have some emergent messages for us about how we are going about our lives in general or more specific conditions. The use of the body is important to the overall effect of those things that we make, for example, Japanese brush and ink drawing and Iaido (Sword Drawing), Jackson Pollock, and more contemporary performance artist like Tony Orricco has provided some amazing examples of how we can use our body to release and realise inner understanding externally. By using the idea of inner release I have had coachees produceing images that have formed part of their self-realisation, which has contributed to them being able to move forward with intention and direction. Some have produced their own mandalas which when completed have formed a touchstone for their focus on life. On other occasions have given rise to coachees have becomeing more aware of their being by moving. My expertise in the martial arts has meant that I understand how the whole body benefits of being able to move more freely and the flowing of energy can release emotions and trapped feelings, from this, shared discussion about their sense of being between the coach and coachee can explored with greater significance.
Using Art and imagery has become a feature within my work; Art to help us know what we know and don’t know about each other can further communication between coach and coachee. Some more traditional coaching methods such as the use of the Johari Window and Kelly’s Construct Theory can be revised to bring about self-discovery. For example, as a coach I may ask a coachee to draw themselves on one side of the page and another person they are concerned about on the other side of the page. I ask questions about the coachee’s feelings by how they have drawn themselves, and then the other person who is represented can then be discussed. Comparisons, similarities and differences can be examined and any conclusions that may arise from this exploration between the two drawings and the relationship between the coachee and their person of concern. Sometimes a coloured drawing can bring forth even more information. For example, the uses of unnatural colours have a reason to be. “Tell me about the purple polka dot piano, in the drawing”. An extension to this, if appropriate, is to ask the other person in question to complete the same task, then the coachee can compare drawings with the other person and the coachee becomes the role of mediator for the paired discussion. Often quite surprising and revealing conversations can be had when this method is used. At a later date more drawings are made and the relationship between the drawings made at different times can be studied for similarities and /or differences. By using drawings made at different time scales the coachee often finds it easier to remember how they felt at those different times, thereby making it easier to talk about how things have changed over a period of time.
Touchstones, Metaphors and the Transpersonal
Metaphors and symbols have become a stronger feature within my work. They are and have been part of my own journey as a coach, but to be able to coach others to use and explore their metaphorical landscape has returned some personal privileged learning and growth, I always feel honoured to be part of anyone’s transpersonal journey. These artistic narratives can help to bring us forward, knowing where you are at, knowing a direction and the next steps with less or without trepidation to do so. We all enjoy our ventures and experiences if the way there is more comfortable.
A past coachee was struck by a recurring image that was causing him significant unease and emotional distress, that of the lion eating the sun. This image seemed to be ever present in his life on musical album artwork to advertisements, so much so, he asked me to help him understand the significance of the image, if the image had any symbolic reference and whether or not it was metaphorically significant for him in his life. Our journey together explored the image, and eventually through alchemical understanding, we both recognised that he was going through transformation. This transformation was part of a life stage transition from one realm of manhood to another and an adjustment in romantic expectation that was a constant painful series of rejections from another he desired to ill effect in his work place. The symbol was indeed reflecting these things as a transition through this lesson of the self and heart. This was an uncomfortable period in his life albeit rich and important for his sense of self.
I recently had the luxury of working with one coachee whose rich metaphorical journey, dynamic, passionate and ultimately life changing in a very short space of time. His voyage to find meaning through his symbols was abundant and we worked with his icons to liberate a thread of developing themes which eventually amassed into some clear decisions and changes in his life, restructuring his company, divorce, re-engagement of spiritual pursuits. The methods we used were the making of a mandala, research on flacons and angels, ancient oriental stick and body movement and dreamwork. The emotions wereno’t easy to witness at times, but necessary towards positive actions that surfaced for him. His distinct sensory appetite made it all deeply engaging for me, he told me that he found the coaching to be more than he had expected. He said had broken down the old road, a time of darkness and had forged a new path to the light, some of his metaphors were road and ground based; he had certainly grounded his new energy and could see a new way forward.
It is important here to explain that while this was developing I was mindful of not to create any dependency, the key issue here is to be a coach/guide, a critical companion on the journey but not someone to be dependent upon, we are always on a journey together for some of the time, this is true about all our encounters and relationships no mater how long that seems to last.
Personal Learning through Art and Synesthesia
What does this all mean for me? Well, there has been and still will be a lot of self-reflection and learning. Being able to use and revisit some of the skills I have learned and be able to use them again is engaging, enriching and in return more learning through coaching about whom I am. Art and art forms have always had an influence on who I may be. What we are, I believe, is not known, it’s a continuous exploration along the way and sensing this I believe we evolve through what we do. I have Synesthesia,a condition where one cognitive sensory pathway leads to another cognitive sensory pathway, for instance, numbers reveal colours to me. it’s not extreme for me but it does play a significant part in my life. I tend to feel my way through things, definition is mutable and occasionally I am surprised that my understanding of things is not so obvious to others. Colour for me is not just understood as theoretic happening but is emotive and sometimes surprisingly placed, as with my number/colour, lexem/colour and emotion/textural/colour synesthesia. Some of my perceptions about colours, sounds and emotions are apparently confused at times, for me this isn’t an issue it is normal and at times quite enjoyable. The experience is non theoretical because we are perceiving rather than conceiving (van Campen, 2008) my condition, I trust, helps me be more conscious and at times can support my level of connection with people. There have been studies that claim synesthetes to be sensitive to others’ emotion, when actively in session with people I would say this is true and is something I witnessed earlier in my life when working with people using Reiki. I could indeed ‘feel their pain’. Emotional interpretation of dreams and imaginings can help me connect on different levels often with some unanticipated results. Sensing what the other person may be experiencing emotionally and the imagery that goes with it, being experiential rather than an abstract concept. The two seem to work together as one. Synesthetes, some beingnatural empaths, spring to mind, feeling the pain and relief of others due to the “mirror touch” neurones in the brain (Banissy 2007). This seems to make sense to what I experience much of the time. Often I have a sense of what I like to call a persons emotional shape, this becomes stronger on touch. As a Reiki practitioner this engendered certain things to happen for the client, as emotions would be released and often they would realise something for themselves. I was just being a sensitive conduit for there energy to flow more freely.
As a practicing artist, I regularly venture into making. Making art is much about healing the self as concluding an artistic act. Many of my paintings are about realisations. They emerge, often figuratively and don’t necessarily start from one idea in mind. They also conclude through a nascent thought process through the emotions and when the sensation declines the piece of work is finished. Often I believe this is how many of us go through life moving from one surfacing experience, through a series of happenings and then we move on, never the same experience, sometimes similar or new. All these sensations overlapping in a sensory cocktail of colour and emotion, like many of Nabokov’s characters and the enjoyment of the metaphors of the senses (O’Malley, 1957).
With great respect to my all present and past coachees’ I have learned so much and I am still learning not only about how my coaching practice has evolved but how I am evolving as a person on many planes, for this I am humbled by their experiences and bravery to confront their symbol worlds giving me the strength to confront my own.
Using art and creativity in my coaching practice has certainly brought together an array of creative incidents for me, from my experience and understanding, when the coach and coachee are on a creative journey there is an illuminating restoration of truth for themselves and between each other, the wounded healer phenomenon springs to mind here (Yallom, 2009). So, I look forward to my next jaunt with another coachee and relish the thought of what they may imaginatively produce. A decent inspired travelling companion can make the expedition more meaningful.
Images to try and deconstruct
Image 1: Richard Long, “Garonne Black Mud Circle”. 2010
Image 2: Pierre Bonnard, “Dining Room in the Country” 1913
Image 3: Choo San, Body Art. 2012
References
Banissy, M.J. (2007) “Mirror-touch synesthesia is linked with empathy”. Nature Neuroscience published on line. Retrieved from http://www.daysyn.com/Banissy_Wardpublished.pdf Last accessed January 2013
Often I find that others find their archetypal parts of their construct when they discuss their fears and aspirations. When I ask them to take part in making imagery the elements they choose in those pieces also help to surface these parts of their personality.
This works for myself as for others. To draw out these elements to our conscious world can help is feel more focused towards our self efficacy…
“We’re going to kiss the snake snake on the tongue. Kiss the serpent. But if it senses fear, it’ll eat us instantly. But if we kiss it without fear, it’ll take us through the garden, through the gate, to the other side. Ride the snake… until the end of time”. – Morrison, J
I have Synesthesia,a condition where one cognitive sensory pathway leads to another cognitive sensory pathway, for instance, numbers reveal colours to me. It’s not extreme for me but it does play a significant part in my life. I tend to feel my way through things, definition is mutable and occasionally I am surprised that my understanding of things is not so obvious to others. Colour for me is not just understood as theoretic happening but is emotive and sometimes surprisingly placed, as with my number/colour, lexem/colour and emotion/textural/colour synesthesia.
Some of my perceptions about colours, sounds and emotions are apparently confused at times, for me this isn’t an issue it is normal and at times quite enjoyable. The experience is non theoretical because we are perceiving rather than conceiving (van Campen, 2008) my condition, I trust, helps me be more conscious and at times can support my level of connection with people. There have been studies that claim synesthetes to be sensitive to others’ emotion, when actively in session with people I would say this is true and is something I witnessed earlier in my life when working with people using Reiki. I could indeed ‘feel their pain’. Emotional interpretation of dreams and imaginings can help me connect on different levels often with some unanticipated results. Sensing what the other person may be experiencing emotionally and the imagery that goes with it, being experiential rather than an abstract concept. The two seem to work together as one. Synesthetes, some being natural empaths, spring to mind, feeling the pain and relief of others due to the “mirror touch” neurones in the brain (Banissy 2007).
This seems to make sense to what I experience much of the time. Often I have a sense of what I like to call a persons emotional shape, this becomes stronger on touch. As a Reiki practitioner this engendered certain things to happen for the client, as emotions would be released and often they would realise something for themselves. I was just being a sensitive conduit for there energy to flow more freely.
As a practicing artist, I regularly venture into making. Making art is much about healing the self as concluding an artistic act. Many of my paintings are about realisations. They emerge, often figuratively and don’t necessarily start from one idea in mind. They also conclude through a nascent thought process through the emotions and when the sensation declines the piece of work is finished. Often I believe this is how many of us go through life moving from one surfacing experience, through a series of happenings and then we move on, never the same experience, sometimes similar or new. All these sensations overlapping in a sensory cocktail of colour and emotion, like many of Nabokov’s characters and the enjoyment of the metaphors of the senses (O’Malley, 1957).
Nat - I'm just a work in progress 