Friday, 20 March 2020

Kemetery virtual reveal


My live feed reveal of new painting Kemetery last night had worldwide viewers between You Tube and Instagram. It was a fun event to do and I have included the link to the You Tube version here.


If you go to my You Tube channel you will find other vids related to my work too. Subscribe so you can keep in the loop.

Friday, 6 March 2020

My Nympho Adventure In The Yarra Valley

The Blue Lotus Water Garden is tucked away on the outskirts of Melbourne metro, and is another great example of the hidden treasures this city yields when you go searching.


When you walk through the admission area a world of ponds, flora, nature and boundless VIBRANT colour awaits. I had no idea that the lotus species had so many variations and so many peculiarities such as giant lily-pads, curious pods from which the plants emerge and a range of luscious colours.


Information stations are posted throughout the park - and to be clear this is not a tiny setting, the grounds are vast - where you can learn about the various species of plant that you are viewing, famous botanists that procured the plants for Melbourne and other stories, as well as information about where the plants thrive in other parts of the world.


Fans of Impressionism will love the attention given to Monet on one such board and the beautiful lake (complete with a red bridge) that is named after him. One imagines that coming here on a warm day with some art materials and setting up under one of the many pergolas that abound throughout the property some great art might be made.


It was an overcast and drizzly day yet still the haunting luminescence of the flowers' petals were clearly present as my photos attest. Even though the computer screen can not convey the brilliance of the colour (that's what we artists are for!) it gives a good indication.


The Blue Lotus is sacred to the Netjer / divine being / god / Nefertum, and I imagined a sculpture of Him emerging from the centre of one of the many lakes. I have included my rendering of the deity from my 2016 painting The Netjeru In New York City below so that so you can get a taste of one of His divine forms.


Next time I visit - and I plan to cum again - I hope to purchase some lotus spagyric tinctures, perhaps some nootropic powders, and essential oils.


The Blue Lotus sacred to Nefertum is the species Nymphaea caerulea, and hence the title of this review. It kept getting spell checked to nympho so I left it in. So I also got inspiration to write an erotic short story but it's not for publishing here.












There was a carnivorous plants section and some wonderfully healthy specimens like this one live there; I hope to see Venus Flytraps added to this collection next time

The God Nefertum - Lord Of The Blue Lotus,
Divine Lion,
Son Of Ptah and Sekhmet
from my 2016 painting
The Netjeru In New York City

Saturday, 8 February 2020

The Majestic Medu - Why I Include Them In My Art And What They Mean To Me


I want to discuss my use of hieroglyphs in my paintings, the sacred writing (the medu) that was used in Ancient Kemet, and how their importance in my life as an artist and seeker of the mystical has grown significantly in the last few years. May Djehuti guide my hand and direct my thoughts as I do this!

Note: I have deliberately used links to earlier posts from my blog archive (usually in reference to paintings that I refer to) in an attempt to get the reader to mine that archive.

Technology
The medu are a system of writing that I believe we are yet to fully understand. We can translate the mundane aspects of what they convey, but there is a hidden layer to them that I feel needs to be read shamanically in order to make true sense of what has been inscribed.
I am discussing sacred texts in this case, the writings we have found in tombs and temple walls. These were not meant for profane eyes, and as only a tiny proportion of the ancient population was able to read anyways, this likely remained the case for centuries.
This technology may mean that when we read the medu, it works in a different way to reading something in our own language. If the medu are mystically alive it may also mean that as we read them, they read us.


Djehuti detail from my 2016 painting The Netjeru In New York City

Mystical windows

I have discovered that some glyphs have properties whereupon one can look into a different world or state by meditating upon them. Sometimes it is quite clear the connection the glyphs make between me the observer and what is observed and sometimes it is not.

Logos and talismans of the gods
Some glyphs are very potent with certain Netjeru. The tyet sign is a good example. It is a knot found worn on many examples of people and Netjeru yet seems to very much be resonant of Auset, hence its nickname the Knot of Isis.
I find the rotated ka sign with a tail resonant with Nehebukau as it is only found in the spelling of His name.
The medu that make up the names of the gods and that we use to identify and in some cases distinguish from other gods are potent forces of themselves. For this reason I include them in all paintings that feature Netjer.
In the same way we use logos today, I think the medu had a head start on this. I do believe that Laird Scranton mentioned this idea in a interview recently.

Sacred and profane
I think the medu work one way when conveying data and quantifying (just like modern letters and sentences that form stock-take information for example) and another when addressing the Netjeru or sacred material.

The Kemetic palette - identifiable signs and not so identifiable
Egyptology has done a great job in identifying what most of the signs actually are, distinguished from what they represent, how they sound and what they convey.
Most signs are straight forward - we can see when we are looking at a duck or vulture for example.
But others have mystery. The most famous example is the ankh. Despite countless depictions in painting and sculpture of this sign being held in the hand like some kind of clutch purse, there are theories that range from it being a sandal strap to a penis entering a vagina.
I have found new dimensions to signs that resonate with our perceived meaning of them, as well as completely different ones that I am still trying to make sense of.
I have written here about the sign designated as Gardiner sign X8.

The sign designated Gardiner list X8

This sign has been the subject of much contemplation and meditation for me so the assertions in that article were not written lightly. It has spurned inspiration for one of my most sacred paintings, Hierophany. Can hieroglyphs also function as powerful sigils?

My painting from last year, Hierophany
Acrylic on gessoed board
70cm x 100cm
Spells and formula
Word plays and puns are abound in Kemetic writing, and some more astute observers have recognized this interplay as a type of magick. This was first bought to my attention by RA Schwaller de Lubicz in the Her Bak volumes which I read in my early twenties and have reread since.
Can we ever find the true power behind magick spells until we figure out exactly how the Kemetic language sounded? Maybe not, but its worth trying and some attempts to do so have been undertaken using Coptic as a starting point.

Decoration in Kemetic art as well my paintings
Examples abound from the archaeological record of the medu being used in decorative patterns, and it is clear that the ancients paid attention to the layout and placement of the letters so that they looked commanding in and of themselves, as well as the object they decorated or the person or deity they referenced.
I have used hieroglyphs in many ways over the years. Purely decorative (as in the lower portion of Propaganda, 2017), prayers and petitions (Winged Set, 2013, Winged Heru, 2017), actual passages from sacred texts (Zemmit, Zemit, 2019, Anger 2013), as stand alone sigils that might be passages to other realms (Hierophany, 2019, The Artist As Beloved Of Heru And Set, 2014).

Anger
2012
Acrylic on canvas
48' x 60"

The Pyramid texts of King Pepi I and King Merynra
As I continue to delve into sacred texts, read hieroglyph decipher manuals, and meditate on these sacred tools, I feel a resonance with them that seems to connect with Netjer Themselves.

In most cases these days, whenever I paint the Netjeru I include Their name in glyphs as part of the heka I am making with the artwork. Those familiar with my paintings will note that 2 sets of pyramid text utterances have been featured across many paintings.

The text from Pepi I has been one that has fascinated me for a long time, and I use it as my Artist Statement on my website: I feel that it encapsulates what I do that strongly.

I first featured this text in a painting from 2018, Dazzled by The Mirror of Heaven. I repeated it on the entrance stelae to Magickal 142 again later in 2018, and feature it again in an upcoming work, Kemetery.

The King Merynra text known as Utterance 570 from that corpus of work has been featured in Zemit and Zemmit. I speak this utterance daily as one of the most sacred texts that has been bequeathed to us from the Kemetic civilization and one that resonates most strongly with me personally.


Monday, 30 December 2019

Miracles that may go unnoticed - a final post for the decade

As a result of falling ill earlier in December, my vacation in my hometown of Adelaide took on a different hue. I have not been as sick for as long as I remember, and it certainly knocked me off my feet. Result was that I had to slow down.

Moving at a different pace allowed me to appreciate my friends, family and my hometown more than ever (I am not usually kind about Adelaide, but I have a different* viewpoint now). The vacation, now over, was healing and therapeutic.

On the drive back yesterday I was plagued by urgent urination: I had 2 strong coffees before the 9.5 hour long trek from Melbourne to Adelaide, and as I have not been ingesting as much since getting sick a few weeks back, my body couldn't handle it.

I pissed myself a little before I got to Tailem Bend and had to endure going to a service station toilet with a patch on my light coloured shorts. To avoid this happening again, as soon as the urge hit the next few times I pulled over straight away.

As turns out, I pulled into a stop at the Pink Salt Flats in Lochiel, Victoria. I didn't even know this existed. After I used the toilet from hell there I braved the 45 degree heat to venture on to the salt flats to take this footage. It reminded me of being with Ptahmassu on the Salt Flats in West Wendover.





These pics of Ra majestically finishing His daytime journey (rather close to our planet I might add - it was a very hot day) came from the night before at Brighton Beach, South Australia.



It was an interesting decade.

Onwards.

*somewhat different

Wednesday, 25 December 2019

2019 The Year That Was

I wanted to post this list to highlight the good and great inspirations I found over the course of the year. Performances, shows and music that gave a flavour to the year and formed something of a backdrop for the art I created myself. It's not exhaustive, and more a bit of fun. Take it as you will.

Music
Ladytron VI


Ladytron released their long awaited 6th eponymous album to much acclaim earlier this year. It was a well deserved acclaim as the album is a top to tail wonder of brilliant tracks.
We knew the set would be a winner when the single The Animals was released close to a year earlier - the song was such a powerful return for the group and is likely one of the best songs they have written. The Island followed later and was another exceptional track although very different in feel to the predecessor.
When Far From Home came as the 3rd single (this song is one of my personal faves) at the time the album was to be released I knew that the new CD was going to be a killer.
The album is a worthy successor to the 5 that preceded it and to my ear takes a nod very much to the last 3 (Gravity The Seducer, Velocifero and the Witching Hour).
The return of Ladytron has been most welcome and coloured the year for me as I have thrashed the album so much.


Movies
Midsommar

I was highly anticipating this film having been so impressed by director Ari Aster's previous effort, Hereditary.
I was not disappointed. Aster is creating new inroads in horror with much of it (based on Hereditary and Midsommar) steeped in creepy occult and cult themes.
The artwork throughout the village added another layer of wonder and creepiness that was so simple in execution but so powerful in effect.
The Director's Cut had more clout than the original release but both stand alone as cinematic wonders.

Performances of note
Jack Reynor did a brilliant portrayal of Jack Parsons in Strange Angel. Sadly the series is now cancelled, but he was perfect for the role and a concluding Season 3 would have been most welcome. Note: Reynor also had a lead role in Midsommar.

Michelle Gomez did a brilliant Madam Satan in The Chilling Tales Of Sabrina. The subtlety to her performance I feel got overlooked by the otherwise over the top nature of the show itself, a very dark and well done over the top-ness I might add.

Jodie Comer got an Emmy for her role as Villainelle in Killing Eve so it's no secret she did an amazing job, but I still wanted to note it here.

Series
I loved Strange Angel and the 10th season of Archer this year.


Books
American Cosmic by Diana Pasulka 
I really enjoyed this for the insight it gives into the forming of new religions developing in our world, as well as the commentary of religion and paranormal phenomena over the years. The tie in to UFO culture - which is a great interest for me - forms the backbone of the book.

Face It by Debbie Harry
I have been a Blondie fan since I was a kid, and hearing these tales from Debbie Harry's life was an utter delight. Curiously, we don't learn a whole lot about who Debbie Harry is now - she has managed to keep that private, but the tale is ultimately told of one of the greatest collaborations (musical and romantic) in music history, that between her and Chris Stein.

A New World by Whitley Strieber
I am including this here, only 2 thirds the way through it, because I know already that this is an important book. Strieber is ultimately a prophet of new consciousness and his work will be remembered as pioneering, if not monumental in uncovering layers of our soul anatomy to remember the forgotten things about who we are as human individuals and as a species.
I am pleased he has taken a look into Soul Science via the Kemetic route, too, something readers of this blog know is a major interest for me.

Here's to a great 2020 everyone!

Sunday, 8 December 2019

The Details Of Grief


The Details Of Grief is a diptych that was originally a commission for a friend. I decided that I wanted to make a gift of the set as she and her partner have been big supporters of my work. Between them they own more of my paintings outside of myself.

The original painting from which this diptych is extracted is City Of Grief, created last year.

City Of Grief
Acrylic on gessoed wood panel frame
40cm x 50cm
October 2018

I have said nothing about this painting before, as I feel it is probably the most personal painting I have yet created. It speaks of a moment in my life that changed my destiny forever and resonates to this day. It is the first time I have painted Set in a form other than sha animal related. The oryx is another of Set's sacred animals but not usually seen as part of his iconography in the way depicted here.

I have used the same colours to replicate the diptych, including the mysterious and wonderful black created by Culture Hustle to replicate vanta black. It is interesting to me artistically that despite the absence of Set, Wepwawet and the street lamp, the diptych still very much emerges from its parent work in an unquestionable way.

The Details Of Grief
Diptych
Acrylic on wood panel
15cm x 30cm
December 2019





Friday, 25 October 2019

The Resurrection Of This Blog And Hierophany

This blog

A glance at the column on the right will show that my posts over the last few years have dwindled to single figures.

My decision to post less has been influenced by the rise of popularity of other platforms which coincided with the turning away from blogs generally. There are many dead blogs out there that dwindled in just the same way and many ended around that  2015 / 2016 period.

I flirted with and came off Facebook, am undecided about Instagram, and have kept Twitter going. According to SM specialists, Twitter never got huge in Australia as it has elsewhere around the globe, and many people that I talk to over here confirm this. There is an immediacy to Twitter that I resonate with. Like all the platforms it has its shortcomings, but I do not intend letting it go at this stage.

Which brings me to this blog.

I have considered finishing it up, taking it down permanently, temporarily, revamping it, editing it so only art related posts remain, editing it so no art (of mine) posts remain, and have come to the conclusion that I will persevere.

I am frustrated by the lack of interaction here. Social media was meant to be about sharing and commenting and interacting and as shallow as it may be to say so, the lack of likes and views has been discouraging.

I am aware that blogger as a platform is not popular. I have been told that leaving a comment here requires a process that some are unwilling to undergo (I do not blame them for this) but this still doesn't justify the deafening silence.

I do not belong to a specific Kemetic community, and to be honest don't belong to any communities at all: this has been a lifelong thing. So in some ways, I guess my own isolation has brought this about.

If you read this post, make a comment. Or if that's not on, tweet it, Facebook it share it via the url and do me a favour. In the nearly 10 years that the blog has run, this is the first time I have ever made such a request.  At least 44 people follow this blog, so technically there should be at least 44 interactions if everyone honors my request.

And thank you if you do!

Hierophany

Hierophany
70cm x 100cm
Acrylic on wood panel
September 2019

Completed in September 2019, this painting has a very special place in my souls and will likely not leave my collection. It is currently getting a divine (and expensive) frame.

It is the 3rd work to feature the gate (which is an actual gate in a cemetery here in Melbourne) and the first to feature the Netjeru Abyt (mantis headed) and Sepa (centipede headed).