The Hidden Path

The Hidden Path

Acrylic on panel

8 x 10 in / 20 x 25.5 cm

2017

Dance Card

Dance Card

Mixed media on canvas board

8 x 12 in / 20 x 30.5 cm

2016

Charybdis

Charybdis

Acrylic on canvas

34 x 22 in / 86 x 56 cm

2016

Fata Morgana

Fata Morgana


Acrylic on canvas

17 x 17 in / 43 x 43 cm

2016

She Awaits

She Awaits

Acrylic, collage on Canvas
18 x 24 in / 46 cm x 61 cm
2015

Genius Locii

Genius Locii

Acrylic on Canvas

16 x 20 in / 40 x 50 cm

2014

The Human Brain. Avebury Henge. These ancient sites are inhabited by Genius Locii: Protective Spirits. Prominent stones, barrows, lobes were later named after the Christian devil to discredit the significance of the spiritual locus. For genius is amoral, a force of nature and so impossible to reconcile to dogma. Still, after thousands of years, the Genius Locii refuse to obey.


My thoughts meander through this landscape, making connections at odd crossroads, as our brains often do. I wonder where exactly is this Genius of the human brain located. Does it sit in the Devil’s Chair, or languish in the Devil’s Den? Perhaps it is seared into our consciousness by the Devil’s Brandirons, or flies freely as sparks from his infernal anvil.

I fancy that flying ever outward and inward simultaneously like planets on their predestined revolutionary paths, the Genius Locii seek out their final place of rest in the henges and brains that reside in as yet unborn universes. 

I have no answers, but so many questions. For how can the brain ever know itself?

H(EAR)

H(EAR)

Acrylic on canvas

16 x 20 in / 50 x 40 cm

2014


I. Two Messengers
The hummingbird, that flying jewel, the messenger who flies on wings of infinity. 
Greek god Hermes, known as Mercury to the Romans, the messenger whose namesakes are a silvery liquid, and the planet that rules communications. 
Quicksilver hummingbird perches outside my window singing me his message: the Music of the Spheres. 

II. Musica Humana
When I am perfectly still, in silence, I hear my breath, pulse, the rush of blood through my head. A quiet so thick and deep that the line between my soul and body resonates, creating its own unique music.

III. Musica Universalis
Holding a seashell (Fibonacci’s Golden Spiral manifested) to my ear, do I hear the ocean or an echo of my body? 
1, 1, 2, 3, 5, 8, 13, 21, 34, 55, 89, 144… 
A mathematical relationship expressing tones and harmonies in numbers, angles, shapes and sounds.
Pythagoras thought the Sun, Moon and planets each resonate with their own unique song as they orbit. He proposed that the quality of life on Earth reflects the tenor of celestial sounds, physically imperceptible to the human ear. 

IV. Shakespeare
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems and spoils,
The motions of his spirit are dull as night
And his affections dark as Erebus:
Let no such man be trusted. Mark the music.

Medusa

Medusa

Acrylic on canvas board

8 x 10 in / 20 x 25 cm

2014

In ancient Greek mythology, Medusa was one of three sisters known as the Gorgons. Their parents were Cthonic gods (pre-Olympian) thus were elemental gods. Medusa (Protector) and her sisters had writhing snakes for hair, wings upon their brows and a fearsome gaze that turned people to stone. As the only mortal of the Gorgons, she was tricked and slain by the Hero Perseus. 

Medusa has often been identified with women's rage; a common symbol in feminist writings. I think we should also look to her Cthonic lineage; that boundless and inextinguishable power of nature and the unconscious world that exists in each of us. Rage indeed, but also the deep reserves of power that allows us to survive in the most inconceivable circumstances. To love with every fibre of our being. To fiercely protect our loved ones to the death.

The Medusa I have painted is of that Cthonic world. Her face is essentially a mask, yet her eyes are far-seeing: one to the endless depths within, the other to the infinity of the Universe without.

 

Temperance

Temperance

Acrylic on canvas

18 x 20 in / 46 x 51 cm

2013

Two ravens, Thesis and Antithesis, perch on an Alchemical egg, its incubation tempering Synthesis. The shell is covered in hairline cracks as this unified third outgrows its vessel. The ravens have urged open a large crack, revealing molten gold within, still in the process of change. With their beaks, they pull at this new growth of transformation transforming.

Seemingly irreconcilable opposites may not be irreconcilable. Any oppositions, fire and water, man and woman, thesis and anti-thesis can be made into a unified third. It is only a lack of will and a disbelief in the possibility that keeps opposites, opposite. Only we keep our universe in twain, holding life and death, material and spiritual worlds separate. In each of us the two could merge. All it takes, is the right proportions, the right vessel and enough faith that the two can be unified.

Alchemical One: Raven

Alchemical One: Raven

Acrylic & graphite powder on canvas

26 x 30 in / 66 x 76 cm

2012

Based loosely on the Alchemical concept of "Caput Mortem", putrefication that comes after death, with the traditional image of a Raven perched on a skull. The heavily jewelled crown in this piece shows that whether King or pauper, we all end up as food for worms, so that new life may carry on. The sky is a representation of an extraordinary hue seen at dusk, and the seaside may be seen as a place of endings and beginnings.

Alchemical Two: Gold Atoms

Alchemical Two: Gold Atoms

Acrylic on Canvas

26 x 30 in /66 x 76 cm

2012

As the second and central panel of the Alchemical Triptych, this work shows a simplified and creative representation of the Alchemical process of death, decomposition, rebirth and the combining of opposites to create a higher state of being.
This painting is based on an image of two gold atoms colliding. In the Alchemical process, the desired result is essentially Gold. Surrounding it are Mercury, Salt, and Sulphur, symbolic elements which are, in Alchemical philosophy, the necessary components to achieve gold. Near the centre top is an Alchemical symbol for gold. The surrounding text is composed of measurements and attributes of the element AU/Gold. Interspersed are quotations relating to the state of "purity" in enlightenment. Philosophical alchemists consider the Alchemical process a metaphor for enlightenment and achieving inner knowledge of "the gold within".

The Encaged Heart

The Encaged Heart

Acrylic on canvas

18 x 20 in / 46 x 50 cm

2013

When I was a little girl, my mother had a canary named Mickey. The wire cage on it’s metal stand, the cag'es cover carefully placed over top every night, the little bird’s cheerful twittering and singing were constants in my childhood.

By the time I was 8, it was my job to put food and water in the little plastic cups that slid into the sidebars, and to change the paper and pour a little gravel on the cage’s floor. I regarded it as a serious responsibility, because there was always the danger of Mickey escaping, flying out the cage’s open door as I was reaching in, or out the bottom if I accidently lifted the cage while changing the paper. He did escape once or twice, flying throughout the living room, against the drapes, seeking the window and the open skies beyond. 

After a while I realized there had been many Mickeys over the years; one day we would wake up and there would be a silent, still little yellow bird laying on the floor of the cage. I began to feel that it was a great injustice to keep anything in a cage.

It was in my late teens, just as I was leaving home, that the dreams began. I dreamed that I had forgotten to feed Mickey, that a whole week had gone by before I remembered and that I would find him, dead, laying on the bottom of his cage. These dreams carried on for years, until I finally realized that the bird represented me, my soul, my very essence. My unconscious was telling me that I had to nurture my soul if I wanted to survive. This is how the image of the birdcage began to emerge in my creative works, beginning in about 1990.

In The Encaged Heart the canary cage is at the centre of the composition, It now serves as a perch for the raven, a free, autonomous being, not an enslaved creature. This empty birdcage is enclosed in yet another cage, a ribcage.

The physical heart is housed within the ribcage. Yet the heart is not just an organ of the body; it is also an energetic and philosophical dynamo connected to love, pain, fear, joy. It’s blood vessels reach out, searching, yearning. To let it escape from it’s cage, to fly free devil may care in love and compassion is perhaps our greatest risk and freedom. From these flights we grow, set roots, and learn that life and love is set with thorns as well as green garlands. Sometimes we still have to leave a trail of breadcrumbs to lure our heart, that tiny bird, back to the safety of it’s chosen cage.

Higgs Bosen I

Higgs Bosen I

Acrylic on canvas

17 x 17 in / 43 x 43 cm

2012

This painting is based on a theoretical image of the Higgs Bosen or Higgs particle, an elementary particle in the Standard Model of particle physics. The Higgs boson is predicted to exist for theoretical reasons, and may have been detected by experiments at the Large Hadron Collider. For me, these images and ensuing paintings demonstrate the intense beauty & infinite knowledge of the universe.

Breath

Breath

Acrylic on canvas

17 x 17 in / 43 x 43 cm

2012



I am a seeker of truths: Unversal truths, spiritual truths, my own truths. Just as I twitch aside one curtain of understanding, I find another behind, and another. I step through each curtain, believing that somewhere behind all these layers lays the source of all truths. In this painting, the manifestation of that source is in the form of a woman. She is made of water and fire and exhales steam, that first breath which is the beginning of all. Above her head is the eye that manifests her. And overarching all is the Egyptian Goddess Nut, forming a canopy of the heavens with her body, benignly supporting and observing all.

Perifery

Perifery

Acrylic on canvas

17 x 17 in / 43 x 43 cm

2012

I am walking through the early spring woods at dusk. Except for the sound of the blood in my veins and my footfall all is quiet. In my periferal vision - a sense of something there. I look; it is just a gnarled tree. I walk on with heightened awareness. There is that feeling again, that sense of something there - and a slight sound. I look, and see a horse and rider in silhouette against the dying light, standing motionless behind a tree. They wait.

Biography

Biography

Acrylic on canvas

17 x 17 in / 43 x 43 cm

2012

The Alchemists wrote of combining base elements in a complicated series of steps with the aim of producing gold. Although some certainly did try this, for many then, and still, Alchemy is a spiritual practice and this painstaking process is a metaphor for finding the "pure gold" of enlightenment that lays in potenia within us all. Within this Alchemical retort (or cauldron) simmers traditional Alchemical and mystical symbols: Mercury, Sulphur & Salt; the Sun & Moon; the dragon and the serpent's egg. From Qabbalistic philosophy, the hand, the eye, the sword, the anchor and the key. And of course, a skull to represent the death of one phase of existence. Eventually, all the superfluous, leaden and toxic elements boil away and we are left with an elixir of our own unique pure gold. Written around the top three edges of the canvas in gold, are the following words: "Vista Interioraterrae Rectifiando Invenies Occultum Lapidem... Visit the Interior Parts of the Earth: by Rectification thou shalt find the hidden stone."

Nest

Nest

Acrylic on canvas

17 x 17 in / 43 x 43 cm

2012