Orion’s Door into ‘All Hallows Eve’ (Part 1)

You have to ask the question why Halloween has become another “celebration” on the ‘party’ calendar. When I was a kid it was simply a “penny for the guy” – also known as ‘legalized begging’ in the UK. Kids back then would sit with an effigy of a 1600’s English Catholic terrorist called Guy Fawkes (now turned into the face of defiance by the movie V for Vendetta), asking for a penny to put our ‘guy’ to a fiery end on Bonfire Night, but at least our little voodoo ‘guys’ looked harmless. Mind you, ‘trick or treat’ is now practically legitimate begging too in many towns across the UK. This blog is in two parts, as I want to cover in some depth the symbolism and imagery associated with the constellation of Orion.

Old ‘V for Vendetta’ don’t look so happy here?

I personally used to like the idea of ‘mischievous night’, where did that go? Of course the burning of Guy Fawkes along with the ‘Burning Man’ festivals in the USA are links to the ancient Pagan (Wicker) and too often satanic ceremonies that have literally involved burning people alive over the Centuries. Fire was a ‘tool’ of the Christian Inquisition the world over, and so ‘burning alive’ a victim was considered an offering to ‘other worldly’ entities whether Pagan, the Church or the real ‘unseen’ forces behind these beliefs.

burning man
The Wicker traditions of the ‘burning man’

But Halloween has become a ‘pantomime’ in the UK and USA, a bit like the political show. Its place in the calendar is up there with ‘Disney land proportions of sway over the populace’. From the Pagan traditions, to the now ‘trick or treat’, ‘sleazy zombie’ meets ‘Chucky’ for a ‘piss up’, Halloween in its modern form has moved on; but its reason for existing en mass has more to do with seriously ‘dark’ connections to Satanism as we enter the ‘darker days’ of Autumn. Dressing up as zombies, witches, devils, (innocently), energetically mirror forces that ‘want horror’ in all its forms. Whether effigies of a bloke nailed to a cross or a lit pumpkin(once skull), both energetically come from the same focus on ‘death’. Many artists that belonged to the ‘Brotherhood’ or ‘inner circles across Europe’ from the Renaissance onwards knew the true meaning behind the ‘cult of the dead’. The imagery associated with the skull and the more ‘cannibalistic rituals’ of the ‘elite priests of ancient times’ can be seen as an archetype in numerous art, too many to go into in this particular blog.


Skull and bones


I am not saying that some harmless fun, a laugh or dressing up with your mates alludes to the above, of course not. Our unique vibe (energy) is often more powerful than the collective hive-mind. It’s what lurks in the shadows, ‘behind the scenes’ that likes ‘our ‘energetic attention’, especially at points on the calendar/time wheel.

Gaga and skull heads
Looks like Mickey Mouse is getting in on the Halloween action too?

Lady Gaga (above right) seems to be permanently celebrating Halloween? But its not Halloween is it? Its the Portal point into the ‘underworld’, the ‘shadow world’ of aspects of Orion and Saturn worship through the cult of the dead. Halloween is a major point on ‘Hecate’s ‘Wheel of Time’ and Hecate or Kali (the Dark Goddess) focuses our attention at this ‘dark time’. She is also known as Arianrhod, Catherine and Persephone in other versions of these beliefs and myths. The winter festival of Lenaea (the ‘wild hunts’) in ancient Greece was also a akin to the celebration of ‘dark forces’ that would run amok from their point of entry into our world at Samhain (Halloween) through to Saturnalia (below). The Hunter will become a significant symbol, as it is Orion who leads the hunt From the ‘Death Eaters’ in the ‘Harry Potter‘ movies to Madonna using the ‘Horned El/Molech god’ (more on that in part 2) at the super bowl several years ago. All are ‘symbols’ of the darker worlds that form portals connecting us to the ‘shadow’ worlds hidden in the Orion Constellation.

wild hunt

The Death of a ‘god’, the death of a year, the death ‘in nature’ all producing the darker days and in general, leads to ‘dark mass’ from ‘All Hallows Eve’ through to Saturnalia. With the Elite and those that have a vested interest in keeping the masses focused on a lower vibration, of course, Halloween has become a focus for Satanists. Just as Saturnalia (Christmas) is another reinforced energy theft, from ‘endless shopping’ to the religious iconography’, for those that participate. All this imagery serves as a ‘channel’ for forces that feed off our mental energy and our collective ‘focus’ at these points of the year.

Life, Death & Orion

In Biblical traditions, John the Baptist was said to be born six months before Jesus Christ, both astrologically marking opposites ends of the Milky Way. Like the Ancient Celtic counterparts, the Oak and ‘Holly Kings’, ‘John and Jesus’ are said to be ‘solar deities’ whose coronations coincide with the solstices. Son of Atum, (Man) Adam, Osiris (the Green Man) are all connected to Orion and ‘the lord of time’ who governs the Soltices and equinoxes.



Note also the swastikas on the Halloween costume (below left) they are symbols of the opposing forces born of Orion’s projection on Earth. Just as the Swastika formation is a representation of the swirling galactic forces of Orion. The photo here shows the original version of the solar forces. On the Indian coin below stands Orion with a swastika between his feet and the ‘OM symbol’ has also been connected to the solar trinity focused on Orion (bottom image from Italy).


Swastika is Orion

Whether pagan or Christian, these twin male (Jesus/John) force reigns over the solstices in a perpetual cycle of life, death and rebirth. John of course loses his head symbolically (the pumpkin) and as with the leader of the ‘Sun and Fire’ clans of the Hopi, Pahana, also has his head removed on their ancient tablets. The Hopi chief deity Masauwu (see below) carries a head and a sack of seeds (stars) and Masauwu is often wearing a pumpkin like mask or head. Note the Sun wheel in the petroglyph below and the flute player. These two symbols relate to ‘life’ and are opposing Masauwa as a symbol of ‘death’. Both petroglyphs are symbolic of the time of death (from All Hallow’s Eve through to Saturnalia, when the Sun ‘symbolically dies’ and Masauwu (Orion) can be seen in the skies. Petroglyphs like these were ‘calendar markers’ for the Hopi in the Bronze Age period. The Egyptians, Mayans, etc, instead fixed their ‘Orion connection’ to the pyramids.

Masuawa and Kokopelli
The Hopi gods of ‘life and death’ scraped into stone. © courtesy of Dan Budnik

The feast of ‘All Hallows Eve’, on its current date in the Western calendar, may be traced to Pope Gregory III’s (731–741) founding of an oratory in St Peter’s for the relics “of the holy apostles and of ‘all saints’, martyrs and confessors”, those that were often ‘burned’ at the stake. In 835, All Hallows’ Day was officially switched to 1 November, the same date as the Pagan date of Samhain, at the behest of Pope Gregory IV. Of course, Samhain also Anglicized as Sawin, Sowin, in the ancient world marked the end of the ‘harvest season’ and the beginning of winter or the ‘darker half’ of the year. In some places, torches lit from the bonfire were carried sunwise around homes and fields to protect people at this ‘time’ of year and many indigenous peoples used ‘sacred fire’ as a marker of the beginning of the new Sun as Winter approached. It is suggested that the fires were a kind of imitative or sympathetic magic – they mimicked the Sun, the stars, helping the ‘powers of growth’ and holding back the decay and darkness of the coming winter. Bonfires were also said to keep ‘away the devil’. On a physical level this is true, but on the ‘unseen’ levels, there are forces that ‘love fire’. The salamander symbol is one example of this reversal of fire and its usefulness to those unseen forces.

A horned devil dances in the centre of the fire in India.

The ‘dark’ half is exactly what we are looking at with Halloween and the days leading up to it. It is why its symbols relate to the ‘cult of the dead’ and it’s opposite ‘the god of Life’ (from the light half to the dark half of the year). The imagery associated with the skull (including the Halloween pumpkin-head) is another symbol for the ‘death cults’ that are still using archetypal imagery in many festivals, ‘music’, symbols and in movies to this day. Christmas, or Saturnalia was the final doorway through to the ‘new sun’ (New Year) and in some of the Scandinavian lores and legends, ‘Krampus‘  (the horned keeper) accompanies Father Christmas. He’s the symbolic repesrentation of the ‘devilish’ horned clan I look at in part two.

Where Halloween meets Christmas (Saturn)!

The Tibetans and the Hopi are said to be the same ‘first peoples’ and both cultures have ceremonies that imitate the two horned deities.


The ‘two horns’ and the colour symbolism of ‘red and blue’ are also connected to the ‘death cults’, trickster gods (Mercury and the snakes) and all these archetypes fit like ‘cogs in a unseen clock’ working the ‘cycles’ of duality in our minds.

The horns of Mercury and the serpent. The old red and blue BT logo spoke volumes in relation to its connection to the Orion symbolism.

The constellation of Orion also rises in the Northern Hemisphere in the autumn, so to usher in the darker days of year. Orion as we shall see, is a star system that is highly relevant to this ‘opening of time’ as we pass through into period called Saturnalia – Winter and Yule. It all starts with ‘All Hallows Eve’.

Orion the hunter

As the Gnostic Gospel of Philip supposedly say,

“Truth did not come into the world naked, but it came in types and images. The world will not receive truth in any other way. There is a rebirth and an image of rebirth. It is certainly necessary to be born again through the image.”

The subconscious adornment of images and symbols are what ‘constructs’ the Matrix of reality – they train our perception to create. The more I have delved into this phenomena, the more I have come to realise that the ‘perception deception’ does not end with Saturn and its minions (Moons). The eye, the Pyramids and the Orion constellation all come together in my painting below, tilted, The Creator Gods of the Fourth Dimension. When I painted it in the early 90’s I had no idea about all of the subjects I am highlighting here.


In part two I will delve a little deeper into these symbolic connections. Click here

Sophia, Orion & the ‘Lion of God’

Ariel Lion
Ariel – The Lion of God

I have now completed the last painting from a series of lion images that have brought me full circle in terms of my work. It’s 21 years ago that I started out on my path as a visual artist/Illustrator, on a so-called ‘spiritual journey’ that introduced me to some of the most interesting people. Many connections have ‘come and gone’, just as my art has changed over the decades. From the early metaphysical years in London, to the ‘stagnant years of Cornwall’, it’s been a crazy ride with many highs and lows. Believe it or not, there seems to be less support now for my art than there was 6 years ago, despite the ‘rising interest’ in certain authors work that I have created imagery for.

The image in this blog (above) came out of a dream I’d had earlier this year. It made me ‘reflect’ on sketchbook images too that related to similar themes. Eventually this led to research (as always) into the ‘visual nature’ of the forces that ‘shape our reality’. I gave a small lecture at the Rudolf Steiner House in London (March 2016), where I looked at some of these ideas and the thoughts I’d had in relation to the ‘invisible force’ that manipulates our ‘world perception’ – our world view’. The canvas above is a simplistic combination of symbols that capture the essence of these forces. In this blog I’ll try to explain how and why these symbols relate to each other.

Sophia and the Dreaming

The painting (above) is purely symbolic and considers the Gnostic teachings of the Pleroma, or what the thousands of years old Nag Hammadi texts called the abode of the Æons – the place of eternal ideas or archetypes. Click here for more on the Gnostics and the Nag Hammadi library. From my art and research, the Pleroma is the ‘living plasma’ (the electric universe) that constitutes the mass of our living Universe. The word also means ‘fullness’ or ‘plenty’ and relates to what the Native Americans called the ‘field of plenty’ – the place where all that we need to live comes from. The cornucopia is another symbol for the ‘field of plenty’ and can be found on Banks and Stately homes of those that control the ‘field of energy’. In simple terms, the Pleroma is ‘living electromagnetic consciousness’. Everything is alive and can take multiple forms. As the physicist Wallace Thornhill writes in Electric Universe, “We can detect magnetic fields in space which, according to Maxwell’s equations, means electricity must be flowing in space to produce them. It is impossible to have a magnetic field without moving electrons. Electrons only move in response to charge imbalance. Once an electron is moving, we have an electric current.”


The Gnostic texts say that the Aeons that dwelt in and beyond the Pleroma were separated from this celestial region by Horus (or Boundary) and beyond its veil lies what they called the ‘Kenoma’ or the ‘void’ – the kingdom of this world reality. Humanity was said to have been created out of the meeting of these forces, to be godlike (Aeon-like) with a powerful tool at our disposal – the divine Imagination.


An Aeon called Sophia (wisdom in Greek) aided by Thelete (intent in Greek) dreamed her existence into the realms of the Kenoma and in doing so, created what the Aboriginal cultures call the ‘Dreamtime’ (a creation epic that predates all Biblical creation narratives by tens of thousands of years). You will notice some correlations between the three worlds of Gnostic myth (Pleroma, Human/Sophia and demiurge and the Dreamtime mythology (below). All three worlds collide within the human world.


As the Goddess Sophia dreamed, its said that she fell further into the void and awoke within a ‘nightmare’ as her impact on the outer veil led to the ‘emergence’ of ‘in-organic’ elementals named Archons (Jinn). The Gnostic texts say that the Archons circled and swooned around the chaotic fields that were formed by ‘Sophia’s fall’ into the Kenoma ( her coma).

Sophia dreaming

According to this myth the world we inhabit is created through ‘thought’, (the region of ‘matter made manifest) and material things’. It was the land of shadow and darkness, a place where ‘perception and deception’ would coexist to form our realty. According to the Gnostic texts, Sophia eventually took physical form as Gaia (The Original Earth) and her daughter was called Zoe (the Imagination). While the Demiurge and the Archons built their replica Earth Matrix, (using other electromagnetic bodies known as Planets and Suns), an illusionary construct (flat or otherwise), was made to perfectly ‘mimic’ the original earth reality. The Gnostics say that humanity is caught up between two realities, the ‘original Earth’ and the one created out of what the Gnostic texts call HAL forged by its ‘Creator’ – the Demiurge (or God of Genesis fame). On Earth the Archons are the ‘genies in a bottle’, phantoms that can take many forms through fire and water, so to be let loose or to be commanded. Just as one was summoned at the “Gate of the Gods” at Hayu Marca, Peru by those that travelled with David Icke back in 2012 (see below). I witnessed first hand the appearnce of the Jinn (genie) that ‘possessed’ that ancient place.

A Jinn (Archon) appears to a group (connected to David Icke) while performing ‘energy work’ on the ancient location of the ‘Gate of the Gods’ in Peru 2012. Rainbow Serpent connections anyone?

Once loose, they can and do influence the illusionary world for those that ‘communicate with them’. See all ‘magicians’ from Dr John Dee to Crowley, from the Temples of Egypt to the Satanic elite.

According to the texts the illusionary world (our Galaxy) had its Creator or king. The creator of this world was called the Demiurge, a deity that was eventually called God by the priesthoods of the Near and Middle East religions; and according to the Gnostic texts, ‘he’ is the angry, ‘demented’, impostor God that envys the human divine imagination and humanities connection to the Goddess Sophia. ‘He’ is the beast often depicted as a ‘rampant lion’ whose minions became the ‘in-organic’ Archons that were supposedly ‘birthed from the chaos caused by Sophia’s ‘fall through the Pleroma’ (the source of all-that-exists).

As John Lash writes in his book, Not in His Image;

“And Sophia desired to cause the thing that had no innate spirit of its own to be formed into a likeness and rule over primal matter and over all the forces she had precipitated. So there appeared for the first time a ruler out of chaos, lion-like in appearance, androgynous, having an exaggerated sense of power within him, and ignorant of whence he came to be.” (The Apocryphon of John)

Lord of Illusion - Mithra
From the Gates of the City of Jerusalem to the Bank of England, the ‘Lord of Time’, the Demiurge in the form of the rampant lion. Often Part-lion, part-serpent, the Demiurge controls the ‘flow of energy’ in our human world – ‘money’ and ‘time’.
Bank of England
The ‘cornucopia’, or the field of plenty is controlled, guarded and locked away by the rampant ‘archontic’ Demiurge.

My intuitive side, along with my ‘visual research’ in recent months, is showing me that the ‘fall of Sophia’ in the Gnostic texts, hints towards the Nebula of Orion and how it was part of that ‘falling process’. The blue prints for duality and the seperation splashed through Orion and into the minds of humanity. Our unique connection to the Orion Nebula and how it links into the fall of Sophia, along with the coming of the Aeon Christos, (to aid her in her creation process), is often found in ancient sources. The Aeons Sophia and Christos are the original blueprint for the Gods and Goddesses all over the ancient world. Today, the movie industry, not least certain directors and producers (many of which are Zionists) also encode their narratives with versions of the Sophia and Christos mythology. Why? Because it is the original ‘blue print’, a powerful connection to the infinite source, beyond the Kenoma and also represents the coming awakening of Ariel (the Lion of God), in their zionist minds. The Jewish Wachowski’s Matrix movie has it all in ‘three’ parts. Zion is saved and Sophia and Christos are ‘sacrifced’ for this worthy cause.

Sophia Symbolism in the movies
The Trinity Character in the Matrix triology and the Quorra character in Tron Legacy, especially is in keeping with the Sophia myth. The male figure (especially Neo) is meant to be symbolic of the Aeon Christos.

Son of Man – Orion (cross of changes)

Our connection to the Orion constellation is monumental and can be seen in the mapping of native ‘first peoples’ towns and Mesa’s, to the aligment of pyramids across the Earth. From Nazca to Giza, Orion is aligned with much of the ancient religious centres! More so, I would go further and say that the ‘invisible forces’ that ‘illuminates’ our form, a bioogical body that may have been ‘star seeded’ ‘via’ Orion, hence the focus on its ‘Kingship’ (Kin=blood) in many ancient ‘alien-like’ civilisations. See the Hopi and the Egyptian dynasties for starters. The Hopi god Masau’u is Osiris of ancient Egypt and these ‘Son of Man’ deities are symbols of Orion, implanted in the minds of priests and shamans in different locations. The Pineal gland, ‘Odin’s eye’, through to the symbolism of Golgotha (the place of the skull), connects to this template. Along with memory and thought (the two thieves) flanking the ‘Son of Man’, all allude to the life and death forces connected to the constelation of Orion. In Tiahuanaca, Bolivia (a place I visited in 2012), the palaces with underground pyramids, along with surface pyramids are dedicated to the South American version of ‘the Son of Man’ – ‘Lord Viracocha’, (another Osiris). The H-symbol of Orion’s belt, the number 8 (a symbol of Saturn), the spider (with eight legs), the swastika symbol, the Ankh-cross-symbol and ‘T-statues’, all relate to Orion and humanities connection to the forces that worked through this location of the Pleroma. Some researchers also talk of Venus coming out of the Orion Nebula?

Son of Man symbols - Orion
Blue prints for all belief in ‘life and death’… From Orion to the Old Sun Helios before its ‘fall’ into ‘Saturn, or Satan’.
Flag of Orion
The EU flag is a simplistic version of the cross of constellation of Orion, the twelve points around the Son of Man (Atum) as he opposes the Papal Bull of ‘Europa’. The 12 main Gods of Egypt and of course the 12 diciples are symbolised here. Sophia in this respect is the Goddess (woman crowned and clothed in Sun), and note what she is meant to give birth to, according to the Book of Revelation?. The flag on the right is the ‘original’ symbol of for the OC (Ocitan/Cathar languedoc roussillon region), from 11th Century France. The Cathar were crushed by the Holy Roman church and It is another symbol of the star and cross of Orion. The symbolism is much deeper than most would care to realise.
Adam & Eve
Atum and his lion goddess consort Sekmet at the time of the Old Sun ‘becoming Saturn’ – The Fall

Dany Wilten an American analyst, alchemist, symbolist, & hermeticist  has produced some outstanding work on the correlations of Orion and the knowledge of the human anatomy and hemispheres of the brain found encoded in the works of artists like Michael Angelo, long before any telescopes had been used to study nebula’s. See the amazing work (below) of Danny Wilten.

dany wilten

The Demiurge is a chimera-like vibration

In the Nag Hammadi, the Gnostics describe Yaldabaoth as Ariael, another variation of the angel Ariel (or Ariael), which means “Lion of God” or “Hearth of God”. The Apocryphon of John, a work heavily quoted by John Lash in his excellent book ‘Not in his Image’, describes the Demiurge as a ‘dragon-like lion’ (a beast). The beast is the Chimera, a ‘virus’ made manifest that infested our world to replicate itself through the human mind. It is the ‘beast within’, a ‘persona’ (a mask) of the Demiurge, the ‘phantom self’ (see David Icke’s book of the same name), for those that are unkowingly possessed by the chimera, if they allow it to be the overriding force.

The Virus

The beast personified
Much Upper Renaissance art depicts the ‘beast personified’. In my art I use similar concepts of ‘personified energy’, yet my lions represent the Pleroma not the Demiurge. The ‘father of the Church’, Saint Jerome, is always depicted in red with the lion (the beast) and in the image on the far right the beast looks especially surprised to be talking to old Cronos himself… Like Daniel in the den of lions, the saints are amongst their kin symbolically speaking.

Again the Gnostic texts allude to the demiurge and the veil between the spirit and material world;

A Veil exists between the world above [in the galactic core], and the realms that are below [exterior, in the galactic limbs]; and shadow came into being beneath the veil. Some of the shadow [dark mass] became [atomic] matter, and was projected apart [partially formed into elementary arrays, the dema]. And what Sophia created [by her impact] became a product in the matter [the dema], [a neonate form] like an aborted fetus. And [once formed] it assumed a plastic shape molded out of shadow, and became an arrogant beast resembling a lion. It was androgynous, because it was from [neutral, inorganic] matter that it derived.

Hypostasis of the Archons (II, 4:93.30 ff)

Note the word androgynous, which is connected to the obessesion with ‘no gender’.

The Hypostasis of the Archons explains that they (the archons) created seven powers for themselves, and these powers created ‘six angels’. One of the angels is called Sabaoth (the Lord of Hosts) who was said to have “a dragon’s face”. Sabaoth became the Ring Lord, Sauron or Saturn.


John Lash equates Saboeth with our Sun, but the Apocryphon of John says: “the sixth one is Cain, whom the generations of men call the ‘fallen Sun’.” This fallen Sun is both Helios and Saturn, Prometheus (the young) and Kronos (the old). See the Rockefeller Plaza in New York, it shows both Prometheus and ‘Ancient of Days’ (Saturn) in one location. Saturn with its artificial rings and therefore distorted sound (vibration) is let loose and bypassed by connecting our hearts and minds to the original infinite source (the Aeons) beyond the Kenoma. The Lord of Hosts, ‘Saturn with its rings’ is holding the Illusion in place. I feel that Orion held sway over the original ‘ring less’ Saturn (the old Sun of Orion) and this idea is symbolised in my painting Ariel – The Lion of God. A harmonised man and woman, connected through their heart will naturally by pass the ‘rings of constriction’ imposed via Saboeth and the Moon (Sin). I illustrate this idea in more detail in my graphic novel Moon Slayer.

Moon Slayer thumb

Spiritual Blindness

On the left of my painting I show the creation of man and woman (Adam and Eve) as a fusion of the Pleroma of Orion and contained by the creator god Atum, who is also Adam (Osiris). Adam coupled with an aspect of Sophia (Isis/Eve), they form a trapezium (a trinity) along with the solar/stellar consciousness called Rigel, the brightest star in the constellation Orion, (not to be confused with Regulus in Leo). Rigel is the ‘seventh’ brightest star in the night sky and relates to the seventh Chakra (the crown). In the constellation of Orion, Rigel was also known as (Altair) and probably goes back to the ancient Babylonians and Sumerians, who called Aquilae (Altair) the eagle star; A topic I am currently looking at and writing about in much more detail for my Third Book of KokoroThe Eagles of Atlantis.

Ariel Lion

In the centre is a calm, almost meditating Lion (Ariel), which means “lion of God” in Hebrew (Shakespeare used it as the name of a ‘spirit’ in his play ‘The Tempest’). Ariel is also another word for the ‘city of Jerusalem’, not IS-RA-EL, but the ancient location. A place I firmly believe to be in the heart of all human beings. The ‘presence of Ariel’, with the Lord Archon at its third eye, is bringing forth the separation of man and woman. It is also a symbolic rendition of the two sides of the brain (left and right hemispheres). Here Ariel is portrayed as a force that has the ‘opportunity’ to change human destiny and is ‘sleeping’ for the moment (dreaming), showing our world to be created through pure imagination. In my image the ‘Lion of God’ is caught up in his own pride, on one level, but is also ‘contemplating the existence of something greater than him’. Jerusalem is not yet awake! It will be. But the the Lord of Hosts at Ariel’s third eye is manifesting the ‘prison like worlds’ (the egg shell) that encases humanity in ‘emotional thoughts’. The Moon was ‘taken’ and used for soley for this purpose by the Archons. The Moon is the egg (eye) in the sky’ that harmonizes the ‘auric egg’ and the ‘prison of the mind’ that surrounds the physical human form. William Blake’s Book and image of the Four Zoas shows this concept of the ‘energetic egg’ perfectly (see below). Replace the word ‘Satan’ with ‘Saturn’ and it makes more sense. Orion ( or Adam), with Saturn and the ‘four points of the cross’ (the intersecting circles) all construct humanities ‘reality’ (through Imagination, thoughts, emotions and the physical form).


In my image stands a single tree (symbolic of the Seraphim and watchers of old). The path to the Watcher stretches across the ‘Lion of God’ while his shoulders represent Mt. Zion and Mt. Moriah. Both mounds offer the structure for the Zionist blueprint for the world (New World Order), unless humanity stirs from its slumber. Watch what happens very closely in Jerusalem? My creative intuitive side seems to ‘know’ that we are going to see much focus on Jerusalem in the next few years. The Lion of God is not what it seems and as I have shown in my illustrated stories, the lion consciousness is the truth vibration (an invisible fire) that rises out of the heart of humanity. It forces us to ‘see all-that-there-is-to see’ at this time. The spiritual fire is ever present in my art – it is there for those that can ‘see’. While making this image I was reminded of the quote from Isaiah 29 – The Cause and Cure of Spiritual Blindness

  1. The coming distress upon Jerusalem. 1. (1-4) The Lord humbles a proud Jerusalem.

“Woe to Ariel, to Ariel, the city where David dwelt! Add year to year; let feasts come around. Yet I will distress Ariel; there shall be heaviness and sorrow, and it shall be to Me as Ariel. I will encamp against you all around, I will lay siege against you with a mound, and I will raise siege works against you. You shall be brought down, you shall speak out of the ground; your speech shall be low, out of the dust; your voice shall be like a medium’s, out of the ground; and your speech shall whisper out of the dust.

In Romans 13:11 written to the Christians:

And do this, knowing the time that now it is high time to awake out of sleep; for now our salvation is nearer than when we first believed. Christians need to be awake, especially knowing the time!

I would say all people need to awake and speak out, no matter what you believe.

As I said at the beginning of this blog, the painting is the ‘beginning and the end of an era’ for me in terms of making this kind of art. I’am going back to school ‘metaphorically’ to see what other ways and methods I can come up with. I may go very quiet, hermit-like, maybe write another smal book based on this blog? But I would like my work to be ‘out there more’, especially physically (exhibitions, etc). If anyone would like to organise an exhibition, or talk, get in touch. Let’s raise the vibrations together.

Enjoy the summer.


Durga AwakesL

Journeys in the Dreamtime – Vision of a Wanderer

“A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened”
Albert Camus


Image making, or any creative act, can be the vehicle by which we observe the multi-dimensional aspects of ourselves unfold in this reality. It is also true that a painting can speak a thousand words and from this perspective all art is an ancient form of communication, one that bypasses the intellect and speaks through symbols and archetypes of the hidden nature of life. The tool by which we turn our ‘sparks of inspiration’ into something tangible is the imagination. It was Blake who wrote: “The imagination liveth forever” and through the images, stories, sculptures and temples of the ancient world, many memories also live on forever in this matrix of worlds. As artists or creators in the world it is our natural state to tune into this field of plenty, to open the portals in space and time. My art has been described as both shamanic and healing by many who have seen originals hanging on a wall in a gallery. I was told by several American Indians over the years that I am using the spirit of the ‘first people’ through my work. I have felt this connection when I have travelled or ‘journeyed’ into other dimensions through making art. Once you venture into the realms of the archetypes you see many correlations as a ‘creator’ of images.

Petroglyph National Monument in 2010

The ‘wandering fool’ or ‘priest’ is an ancient one that can be found amongst the petroglyphs and rock art showing the movements of ancient peoples (see above), through to the medieval minstrel, hermit or fool in the Tarot. It is an archetype that is found within us all. It is the ‘journey maker’ who gives us the first step to enlightenment, one who travels through worlds of his or her own making. He is also a trickster as such who sits on the periphery of society, urging us to question reality. He is also a fool and a shaman who knows how to access his child within, our imagination and our willingness to explore the possibilities beyond this reality. The Heyoka clown medicine men of the Lakota Sioux (below left) also embodied the same quality. Heyoka clowns were also great teachers of humour, imagination and how we can fool ourselves into believing that the journey, our quest for knowledge, as ended. The sacred clown as an archetype is heavily connected to the teachings of ‘opposites’ and duality and something tells me that the Orion constellation is hugely connected to this knowledge. The Koshari Clown Betelguese is the ninth-brightest star in the night sky and second-brightest in the constellation of Orion. The connections are obvious once you see the connections. From the Masonic ‘black and white’ squares. to the clowns ‘black and white’ costumes, all lead to an archetype that offers a pivotal anchor for duality. The clown, the fool, the wanderer and the hermit are considering the roles of good and evil (even acting them out), and it seems that Orion offers us great insight into the illusions of separation that ‘use duality’ in all its forms. Something I will write about in more detail in other blogs.

Clowns of OrionHeyoka clown

I painted the picture below after an intense hike over 70 miles through the Cathar country of Southern France in 1995. The wanderer in my image below is also a ‘priest of Orion’ who has discovered the need to ‘move on’ and leave dogma behind. He is Osiris, or Lightning man and the dog is his companion, his connection with his ancestors from the stars (Sirius). The staff or wand he carries is the power that keeps him searching as he passes through one reality and into the next. The fire in the sky is the illumination taking place within his soul as the Earth vibrates to a higher frequency. The sun and the mountain represent a portal to the source, his initiation as he ascends the world vortex or the mystic spiral. The white castle is the place (this world) that he passes through, has he remembers the keys to unlock the vaults of time. You will obviously read this image in a different way. To some it will be a ‘saviour figure’ that moves through a world of turbulence and disorder. Some will see only a man and his dog at the foot of a mountain. To others it will be the wisdom of old age, the hermit or the magician leaving the cave for another journey. It really does not matter what we see in an image, it’s the effect it has on our soul. He also has a wife, who I will talk about in another article.

Cathar castle

I’ve started painting these type of archetypes again in recent weeks and it feels as though the journey over the past 20 years is now reaching an ‘end cycle’, only to be once again starting over. I am also looking closely at Gnostic Creation Myths and how these relate to the above archetypes within the images I am making. After giving a lecture recently to the Research into Lost Ancient Knowledge Organisation (RILKO) in London, I realised that my power point would make a book and this is something I am interested in pursing over the year.

New work in progress – early days and a long way to go yet

For us to be able to make that ‘leap in consciousness’ or ‘merge dimensions’, we have to know and feel the power of oneness and the stillness it instills within our being. This state is often felt when we meditate, make love, create, walk in nature and so forth. It is that timeless phase which takes us out of manufactured time imposed by the mechanical clock. The original calendar and clock we have inherited do not so much measure time, instead, they were designed to keep people locked within a time frame, a quarantine of the mind, body and soul. This quarantine is much more advanced now than it ever was. Our individual states of timelessness open us up to other dimensions, and while in these states we can feel and access information that would not easily filter into our (masculine) rational left side of the brain. Being in this timeless state is when we start to ‘see with our ancient eyes’. While contemplating the above archetypes and spending time in meditation I found myself journeying into the past/future scenes that show a version of the wanderer who often appears in my art and illustrations. I’ve added the scenes below. Who he is, I’ll leave that up to your imagination?

Viewing the world
Viewing the world
In the cave
In the cave

Connecting with the vast array of archetypes within us, (which are also visible in nature), and the knowledge they hold, is symbolic of a constant journey into spirit – a remembrance of what we are doing here and who we really are! When we become too wrapped up with the five senses it becomes harder to ‘feel’ the images that come out of nature, and therefore we can miss out on the mysterious forms of communication between different dimensions. Sometimes we have to be silent to move beyond words. When I have journeyed and walked in nature for several weeks at a time, this too encourages a stillness that is beyond words. The humming of insects in a dense forest, sunlight filtering through columns of pine, returning trees to their true reverence, just as stained glass light filters into cathedrals. Faces in the trees, sculptures on ancient rock all give the same effect to the senses. Nature is a living library that can open our eyes to the realms of spirit reminding us of our soul’s connection with the Creator. The following is from an extract of contemplations I wrote while walking the ancient Cathar routes in Southern France. It conveys the movement of the soul and how nature can help us contemplate and see through our ancient eyes. It is called The Journey:

“Not thinking of arrival, I undertake a journey that takes me to my heart, pulls me on my way. Like a long trek in the wilderness, to somewhere new, excitement are my first feelings. Early days are easy with much to discover. The road is here and now, stretching out before me. My mood is up, some roads take me down. The sun sheds its light, days and nights feel uncomfortable. Heavy loads some of us choose to carry.

Slowly, I am immersed in nature, forest gorge, mountain hillside. Every detail catches my eye. Ants on rocky winding paths, become silent friends. Wind in the trees rustle leaves, whispering of what is to come. Light on a mountain stream and deep clear lakes, quench my thirst, cleansing my soul. Giving time for true reflection.

After a while the journey becomes familiar, my load easier, destination nearer. The elements clarify the day. Peace with nature means peace with myself. Animals remind me of people, faces in the clouds and everything looks similar. Next observation of the self occurred. In the silence my body speaks to me. Feeling pain, tears, sweat cleanses and boundaries are broken. I recognise a priceless vehicle I own. Contemplation with myself. In the middle of a vast plain with nobody for thirty miles, I wonder, what excess possessions can do for me right now, in the moment? Then the moment spurs me on, like a power in the mind, creating an awareness that I am that journey, moving and evolving – infinite in all its possibilities.

Neil Hague

Journeys in the dreamtime

Studio Time is ‘Timelessness’

neil blue


I love my studio time, I relish in it and truly absorb myself in the creative process. Its a journey that goes ‘nowhere physically’, well apart from the odd visit to the café around the corner. It starts within and appears without.
All journeys and personal quests, through any creative act, are about uncovering the original self. Peter London in his book No More Second-hand Art, Awakening the Artist Within, expresses this point in relation to drawing and painting. He writes:

“To create art drawn from within is to access our internal power of our own and also to uncover an all but forgotten original primal self.”

To create from within is like drawing upon a source of wisdom that no one else could possibly have, it is our uniqueness and ours alone. We have to be the only ones who can explore this territory and then return to tell the tale. The more we exercise our uniqueness through creative imagination, the more openings and alternative doorways we encounter along our journey. In other words when we allow our hearts to open and our minds to roam freely, the less likely it will be for us to pitch our tent and close our mind to other possibilities. Once we start to ‘create’ from a wider perspective then we begin to realise what every traveller on the road to self-discovery has realised, that life is really a journey towards a deeper understanding of who and what we are. If anyone was to do this type of journey today they would be doing what every visionary or shaman has done for thousands of years, alternatively, are we not those ancient visionaries anyway?

Art takes ‘time’. But time ceases to exist when we are making art
sophia and zoe1
Final Canvas for Sophia and Zoe (Wisdom and Imagination), the precusrer to the Phantom Self Illustration

The idea of a web provides us with the fundamental link between all life; this link in its simplest form is energy. Each part of the web of life has its own energy that vibrates at its own particular frequency. The energy encompassed by an entity, be it a tree, a stone or a human being, is an extension of the web of spirit and the extent to which we can affect and be affected by spirit, depends on how receptive our personal webs are. To become more aware of our weblike connections with spirit, we have to become more aware of energy on an instinctive level. We quite naturally use our instincts to sense various atmospheres, be they a room after an argument or more subtle atmospheres that come from being in nature. Through our personal connection to the web of life we are sensing energy that can be extended to feel higher vibrational parts of creation.
There is a difference between being alone and being lonely. If we cannot be alone then how can we allow ourselves to journey past the doors of ordinary thinking and seeing? I’ve taken it to new levels at times. Balance is important. I believe we have to be alone in many ways though, so as to discover what resides at the centre of our personal webs. Remember it takes only ‘one spider’ to weave ‘one web’, just like we are born as an individual and then pass away as that individual soul. This does not mean that in order to create we have to live in solitude, on the contrary, nothing on Earth lives in solitude. We, like all life on this planet, need companionship, communion and dialogue.  We need a continuous assembly of sunshine, interaction, landscape, with a ‘cornucopia of things to see’, touch, smell, taste and hear. Mmm, the slow cooker smells good… All of nature, which we feel through the so called five liberal arts, our senses, plus ‘how we imagine’, ‘remember and dream’ – all provide the thread for our personal webs. The most important is the Imagination, from where all ideas are born.


My Studio time connects me to that ‘web-like’ spirit and allows me to feel myself into that ‘timeless zone’, one that centres us if we allow it to. Day dreaming (when I get the chance) also comes naturally in the ‘studio time’. Many friends and admirers of my art have graced their own studios, living spaces and homes over the years, and by doing so thay have taken that energy into their own energy field. I am always in awe and truly grateful to those that choose to have a little piece of my studio time and creative imagination in their homes. Our hearts connect through art!



Visions From Beyond The Matrix

“I rest not from the great task…
To open the immortal eyes of man inwards…”
William Blake


IN TODAY’s society we are encouraged to believe that art must imitate material appearances. Yet for the shaman artist, painting dreams and visions was a way of opening the portals within the imagination. Our intuition, apparitions and the experiences which are not always of this ‘ordinary reality’, were considered by the ancients to carry substance that could be made visible through art. My work over the past twelve years has taken me into areas that few artists today want to venture into. My interest in the metaphysical aspect of art and the need for conceptual illustration to become the protagonist of the ‘new age of image making’, is what drives my work.

The role of the visionary throughout history has been to unveil the hidden realms of the imagination. To appreciate alternative ways of ‘seeing’ we need to stop speaking of reality as if it were necessarily ordinary. We need to de-automate consciousness in order to cleanse our perceptions, especially in terms of how we see art and life. In my books Through Ancient Eyes and Journeys in the Dreamtime I go into greater depth regarding the multidimensional aspect of reality and the esoteric symbolism that speaks of the different dimensions that constitute ‘reality’. From my own experience of making paintings, a natural ability to ‘see through’ the appearance of everyday reality occurs, when we re-focus the mind’s eye and become aware of our ‘multi-dimensional’ persona. Much of my art and narrative illustration is about ‘seeing’ and depicting forms that unlock the imagination through symbols, archetypes and concepts that go beyond the mundane. They represent an alternative vision of the world, one that finds parity with philosophies expounded through indigenous myths, quantum physics and pockets of the so-called New Age today. I feel at home painting scientific concepts, just as much as I do illustrating themes found in Science Fiction. Reality and fiction are often entwined in my artwork and can carry concepts that relate to alchemy, the occult and ancient civilisations.

Accessing the worlds occupied by microbes, invertebrates and other natural phenomenon, as captured by visionaries since ancient times, comes from an ability to ‘see through’ the façade of this virtual-three-dimensional-world we call reality. I call this type of seeing, accessing our ‘ancient eyes’, or seeing the next layer of the illusion. Much of my art has been focused on the esoteric concepts behind the nature of reality. Seeing in this way has been symbolic of putting my head above the mundane surface reality and noticing that there are many worlds teaming with life forms, shapes and characteristics, which seem alien to consensus reality. Much of the work in this exhibition is dedicated to expanding the mind beyond the immediate five senses – the matrix world. The mission behind visionary art, for me, is to unlock the imagination, ignite our soul’s purpose and move us into worlds that are unique to whom we are as individual co-creators, operating in an infinite universe. More so, the illustrations encapsulate my personal vision for a changing world.

Placing the Stone

In my vision the power of ‘true human creativity’ and the ‘truth vibrations’ are symbolised as a great celestial tree that stands firmly connected to the Earth. In truth, it is also a symbol of the Earth with its branches or arms reaching into the in- finite Universe. The ‘sacred tree’ offers both shelter and protection to all life, it is a ‘harbinger’ of ‘otherworlds’. The tree is also symbolic of the ‘brain’ and the multiple inner worlds of human perception. The ‘trunk’ (in my image) is the spinal column, that sits below the ‘earth-brain’ (the tree) converging at the seat of our ‘true sight’. The two halves of the brain are a symbol of both the Earth ‘maze’ and ‘labyrinth’ as shown on my cover painting for the book by David Icke: Remember Who You Are. The left side of the brain is the maze of logical confusion, a projection (a holographic matrix) that is anchored by the Moon. It ‘coverts’ our ‘third eye’ and is symbolic of the world we live in – a world of ‘Moonopoly’. The Labyrinth is a similar construct that offers a way into the underworld or the inner- worlds of the mind. The right side of the brain is the part of the tree that connects us to ‘infinite worlds of possibility’. It is the place of ‘intuition’ and ‘imagination’ fired by the Sun and the ‘solar plasma’ energies that create the Universe. The placing of the crystal stone, that carries the ‘truth vibration’, begins the process of ‘remembering’ and ‘seeing’ the world for what it truly is! In my vision, the ‘knowing’ and ‘feeling’ of our truth, brings about the ‘end’ of the false reality (the matrix projection), which is merely a vibrationary prison that is imposed on the ‘many’ by the ‘few’. We are all ‘earth stars’ with jail break in our hearts – freedom calls!



Call of the Lions: Remember Who You Are

I was reflecting on a wonderful educational project from January 2012, when I was contacted by a school in Alberta Canada (Allendale School) with a view to supporting art curricular project work, where the students would focus on my paintings of Lions. Over many weeks a ‘huge body of art’ would come from Grade 8 classes. Having watched the students’ work progress over a period of weeks (from afar) I was in awe of the ‘vitality and energy’ captured by the school kids at Allendale. Such amazing art work – all of it! In this blog I merely wanted to share some of the amazing imagery that came out of the project set by a superb art teacher called Wendy Salter.

A whole series of paintings (in the gallery above) ensued inspired by the Lion paintings i made and of course the book by David Icke – Human Race Get off Your Knees – The Lion Sleeps No More. Of course fueled by the imagination of the young artists some inspiring work unfolded. The Christ Lion and Earth Lion Consciousness images (below) became the starting point for the Art 8 Group at Allendale School and with guidance from Ms Salter, whose brilliant idea this was, along with the ‘enthusiasm’ of all those students that took part – the whole project was ‘truly inspirational and motivational’ to see. Of course I wasn’t able to visit the school physically, but thanks to Ms Wendy Salter I was able to see the imagery unfold via photographs above. I have a few of the post card size pieces of art that the teacher sent me and always keep these in my creative space. Beautiful work!

Christ Lion Christ Lion2

Neil Hague

Unlocking the Imagination – Through Ancient Eyes

“The imagination is that which is the least human in man. It wrenches him away from himself and plunges him into ecstacy; It puts him into secret communion with the powers of nature. Who speaks to me, with my own voice? From himself comes a marvellous stranger called Art.”

Mikel Dufrenne

THE VISIONARY capacity of artists is so famous that it is often considered by western standards to be a bit bizarre – even mad. This is understandable given the lack of vision in a society that has become obsessed with mediocre imagery, and the mainstream media. In many ways the society we have inherited today is based on over logical and rational political-scientific-religious structures of the mind. These mind-sets are purely masculine on the surface and allow little room for the balanced female/male to bring out the artist within us all. When we stifle the artist within we also leave little room for the visionary to appear and offer new direction in life. In my opinion a civilisation that is based totally on the dominance of masculine power structures, with an obsession for suppressive technologies, relates to the immense destruction of our environment. All torture, war, famine and imposition are an expression of the destructive macho mindset, which is found in all sexes. The heart, on the other hand, is the creative, nurturing and artistic aspect of humanity. It is a place that can move us beyond ‘thinking’, duality and the material-world. The heart and mind have been separated in our modern world, so much so that people ‘think’ too much and feel (through the heart) even less. The head has dominated the heart for too long and any civilisation based on mechanical, programmed lifestyles needs the creative spirit within to open the heart. Visionary art can help us to find that balance and open our heart to the mysteries of the Universe.

The Brian Bypass © Neil Hague
The Brain Bypass © Neil Hague

True Vision Does Not Separate Life into Categories

Science and art have also been separated through the dominance of over logical power structures, especially since the time of the Renaissance. It was at this time that the spiritual became further separated from science and dogma replaced the philosophy and teachings of the ancients. However, despite the separation of science and spirituality, the visionary can be seen at work through artists and scientists from the Renaissance period onwards. Before this period in history the visionary was a shaman or a pohagunt who would communicate with ‘unseen levels’ of creation. Today, we are beginning to remember that both science (esoterics) and spirituality (not religious doctrine) stem from the same knowledge. The discovery of dark luminous matter, which according to physicists constitutes 95% of the mass of our universe, is the home of the creative non-physical aspects of our Universe. The other 5% are what we see as ‘physical mass’. Turn off the lights and we see nothing, but what we sense, imagine and intuit with our finer senses dwell in that darkness too. The higher percentage is the ‘invisible’ universe and the source of our emotions, feelings, higher senses, much of which comes through our art and creativity. The imagination is the catalyst for these ‘invisible’ worlds and it is the power of the imagination that can aid us in seeing our own unique connection to the many dimensions that interpenetrate our reality. Subjects found in Science Fiction are also revealing the ancient and modern connections underpinned by ‘real science’. As I have been saying in my lectures over the past few years, ‘Science Fiction’ is a cover story, to prevent people from realising the truth regarding the eternal nature of reality and how humanity is part of an infinite stream of consciousness that cannot die. The truth is stranger than science fiction and our consciousness, in the form of archetypes, extraterrestrials and non-physical realities, exists above and beyond the physical world we dare to call ‘reality’.

Dark Matter © Neil Hague
Dark Matter © Neil Hague

Transformation as a Source of Imagery

Through the eyes of native people past and present, everything on the planet was ‘alive’, something modern science has only recently come to realise through the ‘Gaia hypothesis’, spurred on by modern ecological physics. Native cultures were impelled by their primeval imagination. Spirits of animals and archetypal gods were made tangible, using art as a form of ceremonial initiation. To the shamans of Palaeolithic cave art, their artwork was believed to be active or illuminating their present reality. In some ways much shamanistic art could have being created as a form of celebration, depicting a successful hunt, before it actually began. If so, then the images became agents of transformation, or the power to change reality through the imagination of the artist. Today this process is recognised in art therapy as ‘Image Dialogue’, or what Carl Jung described as ‘Active Imagination’. To the native artist all images contained sequential ‘fantasies’ that want to become conscious, and by deliberately concentrating on those particular images through meditation or trance, all art in the shamanic sense became a tool for transforming realities. In other words the artist in this sense expresses and learns things by turning into them. This idea was summed up perfectly by W. B Yeats, when he said: “Who can tell the dancer from the dance?”

From a much wider perspective art is so important to the process of transformation, from visualising a world of limitation and seeing it change into a world of abundance, through exercising our creativity. Every art form in the native sense came through the notion of bringing abundance into everyday reality. Therefore all native art was intended to communicate and manifest many truths, which were hidden to the five senses; and to focus and direct ‘supernatural’ powers that would facilitate that abundance. These powers are still part of our life energy, a force that is never static or regressive in its natural state. I would say the artist, as an instrument of the natural forces in nature is very capable of nurturing this expansion of energy to forge new channels of expression and experience. In fact you could say it is the primary purpose of the human imagination to expand the life energy that encircles us. Therefore, our imagination is our innate gift, which can be called upon to help visualise a very different physical existence. By imagining and realising our visions in any creative form, we are creating realities that will eventually manifest themselves in our world. As Mahatma Gandhi once said: “We have to become the changes in our world”. Our vision, through our creativity is important to this process.

Art as a Psychic Tool

All art in its native sense is concerned with stirring our spirits, our soul and stimulating our extra-sensory perception. As always it is the art of storytelling, whether oral or pictorial, that is the real sign of creative vitality in any culture or society. Creating, or re-creating our own personal myths helps to eradicate negative feelings generated by dogma, which in the end can only cause disempowerment. All myths and legends inspire and fuel our imagination and, from a creative point of view, help us dig deeper toward understanding our unique relationship with the universe. Creativity, when viewed from an indigenous perspective, was not just a physical process, but a necessary ongoing spiritual journey. It was something that was practiced and woven into the very fabric of our native ancestors’ lives. Whether we consider the natives of Easter Island creating enormous effigies and stone heads in honour of their spiritual ancestors or the European aristocracy placing hippogriths and dragons on their clans ‘spiritual’ coat of arms, the use of art to reveal the mysteries of the Universe was paramount.

Today there is a lack of a spiritual principle in art, especially schools of fine art, which concern themselves mainly with intellectualising and rationalising creativity. There is more to creativity than the physical processes, or art for art’s sake. The most important aspect of being creative is not the product created but what it reveals to the one who has created it. What is unveiled through our art and creativity often relates directly to what we feel, how we think, see and how we move through the world on different levels. Humanity often gets caught up in a world of illusion, when it fails to see beyond the physical limitations and into other dimensions. Therefore art as a vehicle for our psychic abilities can provide us with the necessary insight for discovering the mystery of our being. In other words visionary art is a vehicle for expressing the true nature of our world.

The Cards Choose You © Neil Hague 2015
The Cards Choose You
© Neil Hague 2015

Soul Loss

Today’s artist will always find him/herself stifled against controlling forces that do not understand the need for the visionary at this time. Rest assured an unfulfilled society can only verge on the mechanical and apathetic outwardly, if internally we are unawakened to our creative calling. And this is one of the reasons why the mechanistic view of life is prevalent in our world today.

When we consider ancient civilisations and how we have evolved, one cannot help but notice how our ancestors married the physical with the ‘spiritual’. Temples, halls, even homes were adorned with original art, which constantly reflected back at society their needs and understandings of the creative spirit in life. William Blake echoed this point at the beginning of his poem ‘Jerusalem’, when he wrote:

   “Nations are destroyed, and flourish in proportion as their poetry, painting and music are destroyed or flourish. The primeval state of man was, wisdom, art and science.”(1)

I believe much modern art (especially the Sensationalsim Movement) reflects back at us, as a Western civilisation, the current state of our soul loss. If we go back to the 1930’s, for example, the Surrealists and the Dadaist art movements in Paris were responding to this soul loss through attempting to shock the public through their art. Surrealism was a natural response to the destruction and mechanisation of the human spirit through war and growing industrialisation. Much modern art today doesn’t go far enough, in my view, when it comes to reflecting both the spiritual and political truths of our time. Much urban art is mediocre therefore what we need desperately today is the return of the visionary so to open up new channels of revealing the mysteries. Art in all its forms, if we dig deep enough to the depths of our soul, is a device by which we can inform and cleanse our current civilisation. The use of ancient archetypes and symbols in art can ignite this process of lifting the veil so to bring back to humanity the true wonder of life. Visionary art is the little boy who dares to shout out that the emperor is naked, when the rest of the world has been conditioned to believe he is wearing ‘new clothes’.

Spirit of the Artist

Art in the native sense was much more than going to art school and making pictures. Art for our ancestors was about creating abundance, expressing individuality and manifesting beauty in the world around them. At the same time much of the ‘art’ of the ancient Amerindians for example, was more of a careful representation of iconography or symbols given to a person during a Vision Quest(2). The images they placed on shields, drums, homes and such, were perceived as alive and coming from the world of spirit. Therefore native art was more of an apparition that came from not what they were, but from their experiences in perpetual exchange with nature and the cosmos.

From Ancient Egypt to the Miracle Plays of Medieval Europe, people maintained a personal connection to the spirit of the artist, through their crafts, rituals, dances and festivals. Making raw art or imagery that stems from the inner most part of ourselves also helps us to ‘feel’ the sacred in life. You might say we have to get to know the creator within or what I describe as the ‘Spider Inside’ in my book Through Ancient Eyes. Doing this can help us realise what ecological science has discovered in recent years, that we are part of a pulsating amazing web of life, and therefore we hold a special place as co-creators in the world.


Journeys in the Dreamtime

In today’s society we are encouraged to believe that art must imitate material appearances. Yet to the artist of many primal peoples, dreaming and visionary art was a device that could open the portals within the imagination. Our intuition, apparitions and the experiences that are not always of this ‘ordinary reality’, were considered by the ancients to have substance that could be made visible through art. To the native (primal) mind, just because something is concealed it does not mean that it does not exist. To understand this way of seeing we need to stop speaking of reality as if it were necessarily ordinary. We need to de-automate consciousness in order to cleanse our perceptions, especially in terms of how we see art and life. Our reality is everything that we experience both in the dream and the awakened world. How do we know which is the real world anyway? Are we so sure of everything that exists within the realms of the imagination? As the Chinese Sage Chuang Tzu (369 -286 bc) once wrote:

   “I do not know whether I was then a man dreaming I was a butterfly, or whether I am now a butterfly dreaming I am a man.”(3)

In my book Journeys in the Dreamtime I go into greater depth regarding the multidimensional aspect of humanity and the esoteric symbolism that speaks of the different dimensions that have been constantly tapped into by visionary artists. From my own experience of making pictures, a natural ability to ‘see through’ the appearance of everyday reality, occurs, when I re-focus the mind’s eye. Much of my art is about seeing and depicting forms that unlock the imagination. In my world people can look like animals, clouds can take the shape of everyday objects and rocks can seem to carry personas. See the photograph of the sleeping rock person and tree person below.

Accessing the worlds occupied by microbes, plants (like the blue corn stem pictured above) and other natural phenomenon, as captured by visionaries since ancient times; comes form our own ability to see through the façade of this virtual three-dimensional reality. I call this type of seeing, accessing our ‘ancient eyes’, or seeing the next layer of the illusion we call the physical world. Seeing in this way is symbolic of putting your head above water and noticing that there is another world teaming with life, shapes, colour and sounds, while below the surface one image of the sea is presented to the immediate five senses. The mission behind visionary art, for me, is to unlock the imagination, ignite our soul and move us into worlds’ that are unique to whom we are as individual co-creators in an infinite universe.


1) Blake, William. Jerusalem, The Emanation of the Giant Albion. Plate 4

2) A Vision Quest is a rite of passage practiced by many indigenous peoples. It was done in the form of a

3) Songs Of The Earth. Running Press. 1995 p 62

Chambers of the Mind: Art, Imagination and the Inner Eye

“The ancients knew something which we seem to have forgotten.”
Albert Einstein

ROCK ART from the upper Palaeolithic period through to the Bronze Age, depict numerous symbols associated with the stars, the Sun, sexuality and the emanations of a vital magical power in nature. Other symbols speak of duality and the forces that have shaped our. It’s as if the artists that created the images on rocks, in caves and along the canyons of the ancient world were trying to explore, through their art, a newly found aspect of their own inner being. Alchemical illustrations produced by artists/alchemists from the Middle Ages also depict the same deities and archetypes as did the earlier temple art of Egypt, Greece and further a field. What seems obvious is that a priesthood of alchemists or shamans were recording and illustrating the sequence of events, mainly through symbols and allegory, which explain the connection between the ‘divine’ and the human senses. It is my view that drawing and art is a form of communication that was considered near to the higher consciousness, for our ancestors and this is why the shaman used symbols and imagery, so to communicate deeper and more profound levels of understanding.

According to the Swiss psychologist and psychiatrist Carl Jung, the collective unconscious contains Archetypes which are universal primordial images and ideas. At Jung’s time the archetypes were accepted mostly as cultural phenomenon or as something originating in the inherited structure of the brain. However, scientists since, have begun to look for a physical mediator between the brains of the people, still assuming that the archetypes, which control our minds, are originating and containing in the structure of the brain. The mass extinction’s of species were actually mass replacements of species with more advanced brain capacity, while having the capability to hold memories of previous evolutionary phases within the very cell structure of our bodies. From this perspective the brain can be compared to a computer and the mind to the software that facilitates the evolution of our Universe. Not only has the hardware (brain) been altered through evolution, but the software (the mind) too has been written or programmed to project set realities or paradigms. Humanity has within its genome structure the memories of past evolutionary phases and the ability to call on the time commonly described as the ‘fall’. In the Twelve-Century the artist, visionary and abbess Saint Hildergard of Bingen also said of the time before the ‘Fall’:

“Art is a half effaced recollection of a higher state from which we have fallen since the time of Eden”.

This statement along with much research into cave art, by historians and nuerobiologists hints at the possibility that the human consciousness, our prehistoric ancestors, went through immense neurological and biological changes around 40,000 years ago. You could say that our human ancestors brains were upgraded, (as if by magic), to facilitate what some scientists refer to as a ‘higher-order consciousness’. In mythology and oral traditions spanning the globe this ‘new found ability’ of a ‘new earth race’ was described as the ‘gods’ giving knowledge to the first humans. Legends associated with Prometheus and the ‘light bearers’ recorded in ancient myth are part of this story. However, the more one researches into the subjects of alien visitation symbolism and relevant mythological accounts, it seems that one strand of our original ancestors, the Neanderthals, disappeared abruptly, while their ‘replacement’ Homo sapiens seemed to flourish. It is the latter species that we in our modern physical form are said to have originated from. The course of this book would be insufficient to cover this particular strain of the subject in great detail and I am not a scientist (obviously). But I feel it is worth investigating further the so-called sudden fall of the Neanderthal in line with the discovery of Earth’s oldest art works.

Atlantis & the Artist Apes

It seems from an overwhelming amount of historical and modern day evidence that a highly evolved civilisation once existed on the planet. This civilisation has been referred to as Atlantis, Antilla, Aztlan, Shangri-la, and Hyperborea, to just mention a few. According to many ancient texts, this global colony was one of several continents now submerged under the sea in the area now called the Atlantic. Its is also said that its sister continent was another ancient landmass called Lumeria, located in a place now where the Pacific Ocean formed. Many battles between the gods recorded in ancient myth, are really stories that tell of the earth wars and the technological ‘star wars’ between these two continents. My own reading of the subject leads me to believe that what was called Atlantis was actually a state of mind and the manifestation of that level of evolution could be seen in a very different topology on the Earth. It may also be feasible to suggest that what has become a collective amnesia point in history called Atlantis (Lumeria), may well have been a place or state of mind that exists beyond the physical world. Therefore Atlantis the movie (part one) became Atlantis the fall and much art and myth, especially in the ancient world, seems to capture themes that relate to these two Earth ‘states’ of existance.

bigfoot  grot7

When Our Ancestors Became Aware of the Inner Eye!

As human we are naturally gifted with an ability to see, feel and imagine and it is often referred to as our charisma, magnetism or our aura. The origins of the human soul, or spirit and the imagination are all aspects of the source that creates all life. As creators in our own right, we have the ability to draw in and express this vital energy, especially when we are in a heightened state of awareness. You could say that it is this magic and power emanating from a person that makes them seem super-human and charismatic to others. In some cases this energy can be turned on and tuned into by forces that exist outside of this three dimensional reality, so that the individual concerned, seems ‘god-like’. Some of these thought forms (energies) can be of a lower frequency range; others are of a higher level of love and wisdom. What we align ourselves with through our thoughts and actions will attract the same states of mind to us. As always it is the intention behind the thought that creates reality. In this way angels can also be demons, depending on our state of mind and how open our hearts are. In more modern terms it could be said that what we eat, watch and think, we become.

It could be said that all life exists because of the creative impulse that ignites the ideas, which become solid forms in our world. Everything from a mountain to a teaspoon only exists, because of an energy that formulates particles of matter, which solidify or slow down to become physical objects. Whether it is the mind of the Earth (Gaia) shaping the landscape of her body to accommodate changes brought on by how we as a species relate to her; Or an idea in the mind of an individual, which then becomes a painting, book or film in the physical world. All physical forms exist because of the influence of unseen forces and how they aid us in delivering our personal magic to the world.

The eye, the cosmic and philosophical egg and the matrix are common subjects found in visionary art. They have also found there way into science fiction films, not least the film The Matrix, which I will consider in great depth in a later chapter. The Egyptians used eye symbolism to symbolise the fact that we see with the brain and not the eyes. In scholastic tradition there are three chambers of the brain, which work on a co-operative basis and this concept can also be found in the aboriginal stories relating to the dreamtime. These chambers are the imagination, knowledge and memory.

Alchemical studies also show the macrocosmic concepts in relation to the eye and the egg and how we perceive the world around us, using our imagination, knowledge and memory. The astronomer and mathematician John Dee (1527 -1608), who was close to the Tudor Blue Bloods, used the egg as a glyph for the ethereal heavens, simply because the orbit of planets within it forms an oval. For the 15th century doctor and philosopher, Paracelsus, “the Sky is a shell which separates the world of God’s heaven from one another, as does the shell of the egg”. “The yolk represents the lower sphere, the white the upper; the yolk: earth and water, the white: air and fire”.[1] The 17th Century alchemist and artist Robert Fludd also said of the eye and the chambers of the brain:

” … in relation to the five senses of man: earth: touch, water: taste, air: smell, ether: hearing, fire: seeing. This “sensitive world” is “imagined” in the first brain chamber, by the transforming power of the soul, into shadowy duplicate, and then transcended in the next chamber of capacity for judgement and knowledge: through the keenness of the spirit the soul penetrates to the divine “world of the intellect” [heart]. The last chamber is the centre of memory and movement.”[2]


Alchemists and visionaries throughout history connect images of the egg and the eye, and both relate to macrocosmic understanding of how we see the world. Large parts of William Blake’s poetry are concerned with a detailed engagement with Isaac Newton’s materialist view of the world. Isaac Newton as we have seen was a high ranking member of the Rosicrucian Order and connected to the creation of the ‘this-world-is-all-there-is science. For Blake the physical are was dull and dim “like a black pebble in a churning sea”, and the optic nerve, to which Newton pays homage, “builds stone bulwarks against a raging sea.”[3] Blake instead turned to the work of Jacob Böhme, a 15th Century philosopher and alchemist, to develop his own optics of the visionary. In fact every level of Blake’s poem Milton is based on an optical model within the form of a cosmic egg. The egg shell for Blake, as seen in the illustration of the Four Zoas, signifies mankind’s limited field of vision, “an immense/hardened shadow of all things upon our vegetated Earth, / enlarged into dimension and deformed into indefinite space.”[4] The egg represents what is often called the ‘freeze vibration’ and is also a symbol for the conditioned ‘enclaved’ aspect of the human soul. The four intersecting circles are inscribed with the names of the four Zoas, the apocalyptic creatures that represent the elemental forces of the Universe (for more on this see Through Ancient Eyes). The egg-shape for Blake also represented the world of Los, a mythical figure for the eternal imagination, which forms the illusory three-dimensional space defined by the two boundaries of opacity (Satan) and the material condensation (Adam). Stripping away the religious terminology, the eye (egg) obstructs man’s free vision of things as they really are.


The scientific journal, Scientific American Mind ran a special edition in 2004, which covered similar themes relating to seeing and the illusions, conjured up by the interaction of eye and brain. Science can show that the brain’s assumption that light shines from above the head is preserved even when we rotate our field of vision 180 degrees. Viewing shaded spheres like the ones here (illustration), at 0 degrees and 180 degrees, we find that a visual switch occurs as if the sun is stuck to our heads and shining upward from the floor. Signals from our body’s centre of balance the vestibular system -guided by the positions of little stones in our ears called otoliths, travel to our visual centres to correct our picture of the world (so that the world continues to look upright) but do not correct the location of the sun.[5] Interestingly rock art, made by shamans dating back to a window between 13,000 and 5,000 BC also depict the sun as though it is ‘stuck’ to the head of the figure in their imagery. Imagery of this kind, along with the huge amount of prehistoric art depicting wave forms, may well suggest that our artist ancestors were fascinated by the illusion of light opposing dark and the invisible forces that structure how we ‘see’ the world – or don’t see?


[1] Paragranum 1530.
[2] R Fludd, Ustriusque cosmic, Vol II, Oppenheim, 1619.
[3] Blake, Milton 1804.
[4] Blake, William, The Gates of Paradise, 1793.
[5] The Scientific American Volume 14, Number 1 2004, p. 100.