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You have the eye-but do you use it?
- Chapter 24 - |
This is a letter that was sent to the Editor of the Daily Express shortly before the 1997 General Election.
file:///ASTRAL TRAVELLING Page 1 of 2
40 YEARS OF SOULSCAPE PORTRAITS
A book called THE BOTANY BAY OF THE MILKY WAY will be published later this year. It is an autobiography of a clairvoyant's experience in this lifetime, and of previous life times, of being able to "TUNE" into individual Soulscapes. i.e. John Majors soulscape at the time he became Prime Minister, showed a keen interest in goldfish. "Kindness to animals was yesterday added to John Major's list of attributes with the revelation that he saved a pet goldfish from sunstroke with emergency medical treatment." PATRICIA WYNN DAVIES Political Correspondent Thursday 14 September 1995 During the 10-minute aside, "the Prime Minister gave us a very engaging description about his goldfish. It had sunstroke over the holidays and had to be taken out and given some sun cream," "Upon his return Major continued working at the bank and, after determining that he "wanted to be inside the goldfish bowl rather than outside, longingly looking in," he began to take an active role in politics, at first at the local level. He served as a member of the Lambeth Borough Council from 1968 to 1971 Please note I could 'SEE' his interest in goldfish on his SOULSCAPE before it was made public! A Soulscape diagnoses the 'health' of the soul over thousands of years and incarnations. _______________
Depressed and suicidal people particularly benefit from a journey in their inner landscape. The following are extracts from "THE BOTANY BAY OF THE These diagnostic astral journeys have not been drug or alcohol induced, nor are they looking down the telescope of idealism - but have germinated in the garden to which we all have unlimited access. From these gardens I can guarantee you will be able, with care, to find "THE NARROW WAY" to your spiritual ‘home’ providing you are ready for the experience. “The clearer the mind, the more is received” –from foreword of book. I will give you an example of how a fourteen year old, who was starting to take MILKY WAY." Do you believe in reincarnation? Is it your first life or your last? (See chapter 10) First or last, politics is part of this life, so read on. Some may ask, should I not first obtain permission to look at a souls cape? I have a simple answer; do you ask permission to make a judgement of a person you have known for a long time or only a few minutes? You observe...then you say, words like, "I don't like because...or I like because". I only observe, then diagnose. I do not land on their soulscape.... unless they are too ill to be helped in consciousness (see chapter 4). I certainly do not make judgements. I will give you an example of how a fourteen year old, who was starting to take small amounts of a drug was introduced into his heaven or inner garden/landscape. The parent, a GP, was very concerned about where the over use of drugs might lead their child. I look clairvoyantly at people’s soulscape/portrait and then I explain a breathing technique. Very soon they are in their garden. Though this person was only fourteens years old in this life, he was, in fact, an "old soul". I decided to use one of the so-called gospel miracles to "remind" this soul of its old knowledge. I suggested that he visualise his sea as being flat... this was done... Next, he was to walk upon it! This is exactly what occurred when the Christ stilled the tempest. As I have just shown the Christ within us all can still the tempest...so, too, must the Church give back power to the people and really teach what St. Luke 17:20:21 said, "The kingdom of heaven is within". Drugs or no drugs? People that take small amounts of drugs, ie the amount they consider is "right" for them, will say they are perfectly safe and no harm can come from them. Having never taken any, I have no desire to do so, for the simple reason I can clairvoyantly enter these vibrations, spheres, worlds, call them what you like, whenever I wish to. It is difficult for me to say what is safe or not safe. I can only tell you what happens to the soulscape of a person who makes an addiction of any drug.... it gradually becomes darker and darker. What started as a beautiful ethereal landscape (this always reflects its self in the outer personality), becomes first like a garden at dusk, and finally -darkness. A young man who was on the news recently, had been taking Ecstasy tablets for some time and was losing his memory. I tuned through to him clairvoyantly... his soulscape was starting to go into dusk. I can only say that scientists splitting the atom, considered it safe! "Let them have DOMINION over the fish of the sea, and over the fowl of the air, and over every creeping thing that creepeth upon the earth". This is another of the basic laws that the Church has taught wrong. The result, factory farming and seas that will soon be empty of fish. As they sit back and have sat back for the past 2,000 years in temples of wealth and splendour, while the wealth and splendour of our planet's natural treasures are plundered. Plundered not necessarily by greedy souls but by souls who were misled by the Church so that their coffers could be filled with the gold of mammon, by simple folk giving their tithe. A tithe which has been milked out of simple manipulatively conscious, yet intelligent beings. I shall come back to another quote concerning the meaning of DOMINION. For a moment I would like to digress for a look at the soulscapes of the contenders for the highest office in the U.K. and the occupancy of No. 10 Downing Street. John Major’s soulscape, when he took up residence at No.10 five years ago, was and still is, massive tanks of goldfish. This has, I believe, been reflected in the calm way he handles politics. That is if one compares his with Margaret Thatcher’s soulscape, which is a vast concrete dam holding massive amounts of water: water = energy. Lord Tebbit has a similar one. Tony Blair.... surprisingly doesn't give me any sense of having been educated as a Barrister at all. His soulscape shows him ready to run into a chicken coup* or a v-shaped rabbit run covered with wire netting! If any serious problems arise...shades of Br’er Rabbit may manifest themselves? Paddy Ashdown ... this one is a smaller version of Tebbit, but non-the-less very strong, and showing courage. I personally do not like the soulscapes of either of the second in command... that is, in respect to guiding the country. *“For those of you who neither remember nor care, the role of The Chicken was to highlight the fact that [Opposition leader] Tony Blair had refused to debate, head-to-head, with [Conservative leader] John Major. Tory strategists had assumed that the prime minister would whip his opponent in a televised encounter and Labour spin doctors must have shared this analysis. They saw no advantage in putting Blair head-to-head with Major, hence The Chicken.” From Simon Clark’s Web ‘Taking Liberties.’
CHICKEN by Gary Ling “my most memorable experience as press officer for the Scottish Tory party was the visit to Edinburgh of the Tory Chicken.”- Simon Clark Drugs and drug taking are not new; they have been used in tribal ceremonies for thousands of years. These drugs however, were natural (ie leaves, roots etc.) and consequently contained dozens of trace elements which synthesized with the bodies metabolism. During these times the whole tribe would go on the trip, particularly when LSD was used. It is little wonder people grow cannabis in their roof space, as apart from saving money, they do at least get a pure weed. I hope there is a positive outcome to this practice, like encouraging them to grow or campaign for an Organic Ministry of Agriculture. Why have drugs taken such a hold with our youth? I have no desire to read the abstract views of psychiatrists, the defensive views of the Church, or the machinations of politicians. My voice might be like someone calling out in the babble of Babel but, none the less I will do my best to explain what I can "see". When Huxley said to O'Leary words to the effect that only artists and poets should be allowed to use LSD, it was like saying to a child, you mustn’t eat ice cream, its bad for you! Nearly fifty years later the inference is heard daily...they are bad for you. There is an artist and poet in every one, we are not just a lump of physical matter to be studied under a microscope - and then put into formaldehyde and labelled! Too long have people eaten of the tree of knowledge and then used the knowledge to gain power over the masses. Sir Winston Churchill said "An Educated Nation is Difficult to Lead". As a result our youth are saying, "we have seen God through drugs, all you showed our parents and grandparents was work and war". I will repeat again and again, I am not advocating drug taking; God can be seen and felt without them. * Returning finally to DOMINION again...to gain dominion over "the beasts of the Earth" I think you will agree is to be interpreted as the aggressive nature of ourselves. There is however a trap we can fall into, and many have fallen. Take for example a very zealous Christian who accepts the dominion to mean inner beasts, and then goes on to suppress them. This would be like storing nitro-glycerine in the pocket of a road worker with a pneumatic drill. Child abuse being ONE of the infamous harvests from these religious explosions!
Soulscapes/soulscaping can however remove the ‘nito-glycerine’ with the practicing daily of the ‘Song of The Sea Meditation.’ *Emailme: firstname.lastname@example.org Soulscape of The Uks Prime Minister David Cameron SEE www.truthinpictures.com for this pic. file:C:\work\webpages\RJ-PAGE\ASTRAL.html 09/03/97
Plymouth City Museum and Art Gallery. |
"RA opens up a private world through his paintings which is almost embarrassing to intrude on, showing extraordinary vision with a very personal sentiment.
RA creates a transparent, dreamlike quality, with his watercolour landscapes taking you through the outward facade of form into the innermost workings of nature.
Trees double for waterfalls, branches blend with cloud formations and plants with slabs of rock to create the essence of Nature's ever - changing moods. Strong lines and rich, radiant colours take away any feeling of haphazardness from these superbly composed pictures.
RA produces a Chinese feeling in "Express Wood" "Apple Tree Wood" and "Engineers Wood" with delicate water washes and fine lines which bring out the spiritual floating elements of his work.
"Apple Tree Wood" particularly evokes a lazy, idyllic atmosphere as the apple tree lingers on the ground with the ladder of childhood memory leaning at its side. Now in The Dartington Hall Trust collection.
In the "Rocking Horse Wood," magnificent thick green trees tower from the base showering into rich foliage where houses sit like buds in the bowers, exuding a warm presence from this private world.
RA Engineers Wood; Watercolour 110 × 80 cm Photo Allan Grainger
Five large acrylics were included in the exhibition, at the Plymouth City Museum and Art Gallery, which ran until February 26th. The same exceptional vision is evident in these works, in particular in "Shrimp Boy" where the domineering picture portrays a young boy coming out of the haze of spring with his net.
This exhibition was the contributor to my name appearing in 1990 in the Dictionary of British Art - Vol. VI 20th century Painters and Sculptors.
These "roots" were to continue even after I had become a student at the RA.Schools. My grandmother considered I was wasting away, after one term of city food, so she very generously paid my train fare every Friday, back to Leicestershire.
It was during these steam train journeys that many of my future "wood" paintings were conceived and later hatched in Rye and Devon. All Artists have to cultivate quick observation, some things do not hang about for you to say, ‘is it OK if I paint or draw you.’ Looking through the train windows over the four years developed my eye to work like a camera shutter, capturing one view after another. Plus being a steam train, sometimes part of the view was obscured by smoke, adding a magical dimension of poetry. Though the incubation took ten years to resurface, it appeared as watercolours like "Yellow House Waterfall Wood", now in the permanent collection of Plymouth City Museum and Art Gallery. Woods like Rocking Horse Wood, Viaduct Wood all contain views within other views. In the train a group of factory chimneys would still be registered on my retina as the express hurtled past a spinney, lake, and a heron flying over a river. In the most recent ‘woods’ – “Sun Rise Wood” an oil on canvas, 244 × 122 cm, and “Wild Flower Wood” 183 × 122 cm, the same structures appear to be more evident, and ‘abstract.’Yet this is not why I have painted it in what superficially looks like abstraction. It is to encapsulate the memory of the fields at Low Woods full to the brim with wild flowers and health promoting herbs. The edges of the blocks are the boundaries of the fields, with the early morning sun rising to slowly dry the dew and release the aromas of these magical plans, now long gone. We have been taken down a path of fear, by faceless bureaucrats, to make mountains of wheat that contain less and less ‘life.’ “That man shall not live by bread alone,” seems very appro here.
RA Wild Flower Wood; Oil on canvas 183 × 122 cm Photo Allan Grainger The following is a foreword from the catalogue for the exhibition.
One remembers the names: Clearwater Wood, Engineers Wood, Coalmine Wood - names which haunt the mind like half-remembered memories. These are visionary poems with a strange and very personal lyricism. For RA the names are important. Like a lost key opening a forgotten door a name triggered the sequences of paintings that compose the main body of this exhibition. Scanning an Ordinance Survey map of Sussex and Kent he surprised, with that rush of excitement which precedes every important discovery, the seed of an idea. The idea was a landscape, and in the seed - like the acorn in the oak - were the furled waterfalls, the white waters, the long-boled trees, the buds and suns, compressed and interchangeable, out of which it would all grow. The conjuring name: Waterfall Wood. WATER - FALL - WOOD. Inside the word, beheld by the inward eye, the self-same “sounding cataract”, “the tall rocks” and “deep and gloomy wood” which had haunted Wordsworth as a boy. The co-incidence is interesting. Born in a part of Leicestershire called Charnwood Forest, RA was taken to Loughborough at the age of three. Here he grew up, but every summer returned for several idyllic weeks, to his grandfathers farm, the cool, deep-walled house, in which he had been born. Once a huge wilderness Charnwood preserves much of the natural appearance of a mediaeval hunting park with its fern and gorse, its ancient woods and outcrops of pre-Cambrian rocks. RA still remembers many still and secret places - a spring amongst trees, a white house on a hill - which he acknowledges, like Wordsworth, as the source of both his imagery and his art. Scenes of childhood, poised upon the border of town and country and made all the more precious because they were so different from noisy street life, had had a similar impact on D.H. Lawrence some forty years before. The influence and memories of another farm, The Haggs, and those who lived there runs through much of Lawrence’s early work. Not very far from Eastwood where he was born, there is a deserted quarry which is described in The White Peacock. The quarry dwelt in Lawrence’s memory as a place of mystery, “very old and deep”, filled with “oak trees and guelder roses and a tangle of briars”. Eastwood, a small mining village of shabby cottages was then a new and developing coalfield on the edge of beautiful countryside about fifteen miles from the farm where RA was born.
RA. Coalmine Wood; Watercolour 56×76 cm, Margaret Harwood Collection London. Photo Allan Grainger So there is a Coalmine Wood as well as a Spring Wood, an Engineers as well as a Yellow House Waterfall Wood; a feeling of industrial energy (bridges, pitgear) interwoven with the natural lyricism of an English landscape (rocks, water and trees). Besides, what childhood is complete without the fading smoke and smutty smells of a steam train?
Yet RAs paintings are not landscapes in the topographical tradition; no one could trace, as they have with Constable or Turner, a panorama of trees and hills and say that he painted them here. Nor, of course, are they anything so single minded and uncomplicated as a remembrance of things past. These are visionary poems. What one needs, fully to appreciate this quality in the paintings, is a quieting down of mind and spirit to an intense privacy. Coming thus to him, as one comes to Palmer, one begins to peer right through the forms of his imagery, to an interior sense of magic, of universal and desperate recognition of beauty: the transparency within the substance of things. This recognition, felt by many artists, is an acknowledgment that Art does not imitate the externals of Nature, but its operation, because there is at work in both, from within, the same divine creative principle. “The rules of the Imagination” observed Coleridge “are themselves the very powers of growth and production”. But the outward forms of Nature, for RA no less than for Coleridge, were never things in themselves; they were, as for Wordsworth, in his sublimest inspiration, “Characters in the Great Apocalypse”. Thus beneath the skin of the paintings - the furled and ravelled waters and the stratified clouds; waters and clouds and roots and branches rhyming in organic unison like the separate parts of a round - beneath this skin, is a kind of spiritual essence, a force of being only partly revealed in the forms themselves. “In looking at objects of Nature” wrote Coleridge, “I seem to be seeking, as it were asking for, a symbolic language for something within me that already and forever exists”. Two centuries earlier Thomas Traherne experienced much the same awareness of the immanence of things: “The corn was orient and immortal wheat, which never should be reaped, nor was ever sown. I thought it had stood from everlasting to everlasting.... Eternity was manifest in the Light of Day, and something infinite behind everything appeared: which talked with my expectation and moved my desire”. In these extraordinary paintings, interleaved with memories of a childhood long ago, the artist provides another window onto the selfsame imaginative world. In 1971, the date of the first painting in this exhibition, RA, his wife (also an artist), and their two sons, moved from Rye to North Devon where they now inhabit an old Rectory (like the house in the paintings), surrounded by a thick fence of tall beech trees. This part of Devon is solitary, gaunt, haunted even, with something of the same silvery wintriness which characterizes the Gothic vaulting in the nave of Exeter Cathedral. One of Blake’s marginalia to Reynold’s discourses runs: “The difference between a bad Artist and a Good one is: the Bad Artist seems to Copy a great Deal. The Good one Really does copy a great Deal”. Imaginative painting, for RA, never involves distorting the facts. The landscape of his painting is the natural landscape through which he takes his dog for walks. To the contemporaneity of a natural landscape with childhood imagery and a sense of the spiritual within things, should be added a further element without which the paintings would be little more than a porridge of coloured mud - I refer, of course, to the precise and formal arrangement of lines, colours and so forth. Paul Nash, an artist with whom RA has certain affinities, often talked about “trying to discover the appropriate form” in what he wanted to say. Form is conditioned by content in all the arts so that to ignore the latter, and concentrate on RAs handling of paint, his colour, or the discipline of his design, would be to treat him as a decorator. That is why I have stressed, perhaps overstressed, the spiritual and transcendent elements in the work and said nothing about the radiant delicacy of his colour or the Chinese feeling for the application of water colour paint. As a young man RA dreamed of playing the violin and there is something of the musician in all his watercolour works. But music is as much imitation, as any of the other arts. Beethoven, for example, did not invent anything; he perceived something and tried to reproduce it. “Art”, said Paul Klee - in a sentence which RA likes to quote - “Art does not reproduce the visible, but makes visible”. So that all his characteristic colours, his characteristic forms and design have always been the obedient servants of that quest.
But are they, one asks looking at the more recent paintings, are they as characteristic as all that? The cold brightness of the colour is now golden and thick, the flat and almost Celtic skeining has transmogrified into thousands of horizontal lines. The metamorphosis of the chrysalis into a butterfly could not be more complete. Yet, as the analogy suggest, the essential spirit of RAs vision remains unchanged. This vision, as close as you can peer into the heart of nature, to genesis itself, has as its concern the everlasting transmutation of things. Things which ebb and flow, things which are always changing: growing, seeding, dying and growing again in an everlasting circle. Correspondences abound: the skeins of foliage are the strata in a slab of rock; the tiny sutures in a badger’s skull echo the crinkling edges of a cloud; the white bulb of a waterfall suffers a sea change into a hyacinth’s stock. “Trees show the bodily form of the wind, waves give vital energy to the moon,” says a Zen poem in the Zenrin Kushu. One of the most recent paintings, unrecognisable in outward form, yet true in essence, “makes visible” some flowers. Or is this a sunset? A painting of the life force? A painting of paint? Or all of these? Another shows a child, one of the boys, transparent as water, on a shining beach. Or have the waters, hot and magnificent, forged themselves into a sparkling ghost? And is this sparkling, flesh? air?, water or light? Nature and glory in Nature must be grasped by reaching for Nature’s qualities and selfhoods. The spirit of these latest paintings is not inside Nature but, as Gerald Manley Hopkins observed, “under the world’s splendour and wonder.” Talking of trees RA has said: “A tree has its own particular music, its own language, you can hear it, it leaves it behind. And if you cut the tree down it is still there.” Perhaps the same can now be said of water, sunlight, sunsets and shrimp boys? - John Lane. Dartington Hall .
WOULD MICHELANGELO HAVE BEEN BURNT AT THE STAKE IF THESE HIDDEN SECRETS BEEN SEEN BY THE VATICAN? See http://www.truthinpictures.com/ for text. |
His work has appeared in two editions of the Dictionary of British Art volume VI, the 20th Century Painters and Sculptors, by Frances Spalding and the Curator of the Modern Collections at the Tate Gallery, in The Dictionary of Artists in Britain since 1945, by David Buckman 1998. |