I am a visionary artist working in the category of Apocalyptic Surrealism. The works reveal things not only to my viewers but also to me. My art has taken me on a forty-year journey of self awareness and spiritual growth.
I’ve been painting since 1963, when I taught myself to use oils. Today much of my work is done in acrylics, sometimes over-glazed with oils. I rediscovered the glazing techniques of the old masters while working on my first crucifixion painting in 1976. Today my artwork consists of painting, sculpture, photography, and video, but my paintings have received the most recognition and interest.
My art is influenced by the study of Biblical Scripture, metaphysics, quantum physics, science and history, as well as personal experience and revelation. These areas of reference merge in the psyche and materialize as visionary artworks. My first major painting, Blood Offering: Yesu Christ the Sacrificial Lamb, was the direct result of a vision in 1976.
Some of my paintings come directly in visions but others are developing visions, or living visions, that is, they start with an initial vision and proceed to grow with many hours of intermittent prayer and meditation. If a painting were to be rushed it would lack critical features. It is necessary that they develop slowly to incorporate all of the multi-levels and intricacies that make the work what it is. Without this interaction of the Holy Spirit these paintings could not exist.
The intent of my current artwork is to create within the viewer the same excitement that I feel toward investigation and discovery of the wondrous things within our reach, both natural and supernatural.
DIVINE SYSTEM OF SPONTANEOUS REGENERATION
This pattern is the symbolic image of God transmuted into the tree/plan of life, and is the blueprint of man.
It is my representation of our own pattern of energy points (positive or negative) connected by lines of energy from God that actually recharge us even as we sleep.
Nine is the number of divine manifestation and there are nine primary spheres in the tree. The energy lines between these nine spheres manifest two tiers of double X’s; two side-by-side X’s are standing on top of two more. Additionally, the diamond formed in the middle is broken up into four small diamonds by the energy lines. The four X’s and four diamonds represent the four elements, earth, fire, water, air, while the fifth X and the fifth diamond represent the fifth element, ether.
The four elements represent the physical world we live in. The fifth element is the quintessence, the ether. It represents the spiritual realm of light and energy. The fifth element symbol is centered at the middle of the tree, on the sphere named Tiferet, which represents a portal between the heavenly and earthly domains. Tiferet means adornment, beauty, and glory. It is the sixth sphere and corresponds to the Hebrew letter waw (or, vav) which is another portal symbol linking heaven and earth.
The world we now see was first created of pure energy, including Adam and Eve. According to the Bible, after Adam and Eve disobeyed God and realized what they had done, they were frightened, and the Bible says, “Adam and his wife hid themselves from the presence of Yahweh God amongst the trees of the garden” (Genesis 3:8). In the Hebrew text, we immediately see that it does not say “trees.” It is singular “tree.” They hid “in the middle of the tree of the garden.” When we examine the tree of life plan, the Tiferet is directly “in the middle of the tree.” The man and woman went into the Tiferet.
The beams of light from the entire tree all converge into the Tiferet possibly making it the brightest spot, a natural place for beings of light, as Adam and Eve were at this time, to attempt to hide. They unwittingly did exactly what God had planned for them. By going into the portal they were moved by God from the ethereal kingdom of spirit, light and energy into the physical realm of darkness and matter, where they were coated with skin. By cutting themselves off from God and the light, slowing their frequencies and becoming physical beings.
Bokryers: Goat Riders in the Sky
Bokryers is Afrikaans for “Goat Riders.” In South Africa the Freemasons are called Bokryers due to their ritual “goat riding”. There is video evidence of this practice and some Freemasons have written about it, but others have denied the practice. It involves a blindfolded Freemason initiate sitting on a wheeled device made to look like a goat. He is then pushed around the temple lodge by a hooded man resembling the grim reaper. Masons have been accused of raising the devil and even some of the “Masonic Brothers” refer to the goat riding ritual as “raising the devil.”
“Bokryers” is an illustration of the Scriptural passage of the blind leading the blind, utilizing parodies of Ghost Riders in the Sky as well as the Four Horsemen of the Apocalypse and reimagining the “grim reaper/demon” characters as four deadly venomous snakes. The demon/snake in the trench that had pushed the white goat is the Puff Addar. The one pushing the Red Goat is the Cape Cobra; Black is the Black Mamba; Green is the Boomslang (Tree Snake).
The trailing cloud/smoke forms the 666 with the wheels of his tumbling goat trike.
Below are notes on the Goat Riders inscriptions:
Red goat rider
On sash: ”Asleep Forever.”
On apron: ”Weep for yourself & your children. The four go ats men of the Apocalypse.”
White goat rider
On sash: ”Miser ably blind – Rev. 3:17-18.”
Miserably is separated into two words, ”miser” and ably, with the word Miser implying that he is one of the money lenders/money changers.
On red fez cap: The G is pealed off of Grand Master, leaving Rand Master, also identifying him as one of the money lenders/money changers. The Rand is the South African currency.
Tattooed Sash on leg: ”BLB (blind leading blind) Mtt. 15:14; Lk. 6:39; Is. 9:14-17.”
Under his blindfold, barely visible, are the tips of three symbolic sixes tattooed into his forehead.
Courtesy of Galerie Toxic, 2, rue de l’Eau, L-1449 Luxembourg, Telephone: (+352) 26 20 21 43, Cell: (+352) 621 26 47 80. Email: firstname.lastname@example.org
Bread of Heaven
Bread of Heaven was painted in 2014 at National University of Samoa on the Island of Upolu, during his two month Artist in Residency. It is a breadfruit tree in a heavenly setting.
The Breadfruit Tree is an essential resource to the Samoan people. The tree, which can grow to 85 feet, is one of the highest yielding food plants, and its parts can be used to create boat calking, paper, insect repellant, and materials for building land structures as well as outrigger canoes.
Breadfruit is a very important food staple in the Samoan Islands. The banner draped over the tree limbs is imprinted with a Samoan translation of the scripture verse from Matthew 4:4, and Luke 4:4. “Man does not live by bread alone but by every word that proceeds from the mouth of God.” Further, on the limb within the DNA helix, there is a reference to John 6:32-65, in which Yesu (in Samoan, “Iesu”) tells us that he is the bread of heaven.
The circles of light descending from the upper left hand corner of the piece are spheres of energy that represent the light of God. They are forming a DNA helix around the tree branch that references Yesu Christ as the Bread of Heaven. This is meant to symbolically suggest that the heavenly eternal DNA of the Creator came to visit us in this physical realm with the promise of the same eternal Life.
In small detail, lightning bolts which represent God imparting life force into the breadfruit can be seen. This symbolizes the electrical impulses that energize all life. Additional stellar bodies include the Milky Way, the Southern Cross, the Diamond Cross, The False Cross and the Australian Triangle, as well as the constellation Orion. The sky is embellished with two heavenly nebulae. The lower nebula, in the form of an X, indicates the Mark of God (In Ezekiel 9:1-11, Yahweh had his faithful marked with a Taw in their foreheads. The ancient Hebrew letter Taw was in the shape of an X).
If you are interested in this piece please contact Cavin-Morris Gallery, 210 11th Ave, rm 201, New York, NY 10001, Telephone (212) 226-3768.
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