Angel Prints

ANGEL KISS

This is modelled on a statue in the Louvre in France, which I first sketched, then painted in Pastel. This is an image of sacred sexuality which I feel is the most exquisite thing on earth. I dearly love this image, and judging by the response it has received reflected in its sales as a greeting card, so do other people.

ANGEL OF LOVE

This image is in pastel, which lends itself so beautifully to softly graduated coloring, and the appearance of light. Several people who have been lucky enough to see angels, have told me this is exactly what they look like. Perhaps I have witnessed such a being, if only in my mind's eye, which I'm sure is an experience common to many. This image has been enormously popular, and seems to have bought joy and healing to many.

ANGEL TRUST

Oil on card, painted in 2003, based on the my daughter and a friend. This is my personal favorite, as it embodies everything I hold most dear, love, trust, physical contact, and peace.

ANGEL WHISPERS

Oil on canvas, painted in Seattle USA in 1988. It is modelled on my daughter who at that time was four. This is a very popular image as it is readily accessable to a wide range of people, and most individuals who have had contact with children are aware, how close to the heavenly realm they are. It has been used on the cover of an audio CD for angel meditations.

CELESTIAL ANGEL

This image is based on H.J.Ford, who next to Paul De La Roche, is my favorite artist on earth. H.J.Ford illustrated the Fairy books edited by the Victorian folklorist, Andrew Lang. I bought out a whole range of cards on his work, called Magic & Romance. These can be seen at www.ancientwisdom.biz . I feel that Ford is a neglected artist who deserves to be lauded among the best, and I have hoped that by bringing his images back into the public eye, he will receive the recognition he deserve.

FACE OF AN ANGEL

This is a very large painting in oil on canvas, painted in Glastonbury in 1992. There were many, many faces painted one over the other, taking several months in painting. It was featured on a TV programme while still in progress, and to everyone's shock, the current face was an exact portrait of the producer who I hadn't met till that day. Since then, many more faces have overlaid each other, and I feel this represents the soul's development through non linear time to perfection. There is a mesmerizing softness to the left eye, and an raptors acuity to the right everything tells a story.

LIGHT IN THE DARK

This painting measures 5ft high, the canvas being constructed on the ratio of the golden mean. It was painted in oils 1988, under a redwood tree on the west coast of America. As the sunlight filtered through the branches, throwing their silhouette onto the canvas, I painted the pattern the light reflected and this became integral to the direction the picture took. The wings of the angel are wide and powerful, and were painted with vigorous single strokes of the brush without embellishment. They somehow give me the impression of a musical chord.

FAIRY PRINTS

BIRTH OF A FAIRY

This image is based directly on a line drawing by the Edwardian illustrator, H.J.Ford. I have converted this drawing through photoshop, to a living image in blues. This has been used as a CD cover. It was through the drawings of H.J.Ford, that I became an artist.The fairy stories gathered from around the world by Andrew Lang, and the beautiful illustrations, became the foundation of my life, and continues to influence me to this day

BLUE FAIRY

A dear Scottish friend who is one of those lucky people who often sees fairies, described to me a fairy who was often with her. I asked if the fairy could be asked if I could paint her from my friend's description. After three days I got the answer, and when the picture was completed, the fairy pronounced herself very satisfied, and especially liked the headdress I had given her as she said she had net seen anything like that. It is in watercolour, measuring around 12" by 18" and was painted by the sea in Dorset.

DARTMOOR FAIRY

This picture was constructed in photoshop which is my new creative passion. Many suppose that unless a picture has been created in actual materiels, it is of less worth. True it cannot be bought and sold as an object, but this is not the true worth of an image. It is the artist's eye and mind that has worth. This picture of a fairy is sitting on the back of one of the wild dartmoor ponies. Unfortunately it was not possible to see the fairy if the entire horse was to be seen, so I cropped down close to see her fascinating little face. This image is also available as a poetry card. If interested, please click on the image in the Poetry section to see what it says.

FAIRYCHILD

This is a famous painting now, and has circulated and been used in many different places. It was my first painting properly speaking and was painted in 1979. It is about 3ft by 4ft 9in. The medium is oil on canvas, though people are surprised that oils can have such a fine appearance. It is of my son, and it is unfortunate that the details in the wings cannot be seen on the computer, as there are many stories of a marvelous nature, to be viewed there.

I painted this picture in Ibeza when living in a Spanish farmhouse. I like to paint outside so the elements can play a part, moonlight and rain, wind and sunshine and so had the painting propped up against a wall in the courtyard. Out of the corner of my eye, I saw an intense lime green glow emanating from the image, and turned slowly to look. To my complete shock there was someone looking at me from 'the canvas' that was not who I'd painted. To doubly intensify the experience, the being who was looking at me was just as shocked and horrified as myself, and I can truthfully say, the world stood still. I think the canvas must have become a portal, but I wonder what was there in that other place, that being looked through to see me?

SNOW FAIRY

Oil on canvas, measuring about 2ft by 3. Again this is modelled on my daughter, whose consciousness is as sharp and clear as a mountain stream. This was painted in 1992 from a photo I had taken four years earlier. My daughter has always had a special affinity for snow, and in the year she was born there was much snow, and I would carry her for miles in the hushed woods, her eyes dancing with crystal lights, just like in this painting

STAR FAIRY

This is one of my new photoshop images, using composite photo's and overlaid hand work. This is my daughter when 14, during the time we spent in the West Indies. The fairy is seated in a rock lily, and again reflects the fay quality of my daughters face that so inspires me to create fairy pictures with her as my model.

POETRY CARDS

Details of the visual images can be found in the relevant sections. The poems have been written between 1980 to 2005, and like all poems, relate to someone, a moment and a feeling, which the words convey. I feel poetry is about emotion, and emotion is so fluid and colorful, it cannot be adequately expressed factually. This is the value of poetry, and songs, (which are only poems set to music). The best poems themselves are like music, lyrical and rhythmic, using sounds that even without meaning, influence the mood of the listener.

I feel to say anything more about an individual poem than it says itself, is to spoil it, like the describing the preparation and component parts of a delicious desert, will spoil the result.

VISIONARY

HERNE

Lord of the woods, beloved of Pan, emblem of masculine prowess and fertility. The twisting of the leaves and the hidden forms thus made, belong to the realm of magic, It was painted in Somerset in 1988 around the time of the Harmonic Convergence and on the first day of spring. It was the day I saw a yellow butterfly, the first of the year, and had found a new love.

LADY OF THE LAKE

Painted in Glastonbuty in 1990, in pastel. The sun and moon were in the sign of Pisces, and this image is the embodiment of that energy, which is why her hair is blue, and flows like water over her shoulders. The painting carries a strong though subtle energy, that can influence a whole room. The light on her forhead again is the effect of sunlight on water and denotes a state of inward and outward connection that could be called enlightened. It is seldom one sees images of holiness or sanctity in women, except in the formula or mother or religious fervor: in fact I have seen no other.

MERMAID

This is a small oil painting and took ten years before I was ready to paint it. Then one day, in a flash I got up, painted the picture in the same day and it was done! I feel that each painting is the completion of something which in some way is a totality, and seals something in me forever, or sets something forever free. I have had so many dreams of being underwater without having to come up for air, and a love of fish similar to that marvellous man who rowed across the Atlantic. His rations ran out long before he reached his destination, and although tuna sometimes landed in his boat when leaping, he threw them back in, surviving on porridge alone. He said, "Why would I want to eat my friends"? I've made many sand sculptures of mermaids, lying sinuous and seductive on the beach, waiting for the tide to come. Dreams always become real, though not always in this dimension.

ROSICROS

The name is a derivative of the Rosy Cross or Rosicrucians. The image is two paintings combined.

SUNRISE

This picture had a message printed on the reverse of the original card, which said: 'Like a phoenix from the ashes.. freedom, self-acceptance, joy.... All true spiritual gifts.' His wings are those of a dragonfly, which in the native American culture, represents illusion and breaking through illusion. The colour yellow is commonly held to represent joy, and the soft turquoise of the water mixes with the yellow of sunlight, creating the fertile green of growing things, which is why his feet and legs are green. Sunlight on water has always been a favorite theme of mine, as sunlight is for me the warmth and light of gold, and water is cool clear silver. I associate sunlight with spirit, and water with soul.

ABSTRACT.

There is too much in these pictures for me to write about, sorry. You will just have to fathom what you will from looking at them. If there is one you really must know about, email me and I'll respond

MAGIC

OWLWOMAN

The origin of this picture is somewhat funny. I was attending a 'Business Awareness' day, a motivational get-a-job incentive organized by the government, and as anyone who has attended one of these will know, the boredom and sense of oppressiveness is intense. I found myself doodling an image which was that not surprisingly, that of a dancing woman, with dynamic looking tendrils coming from her back, (a bit like spiderman's foe in the film, but not so nasty). At home, the sketch fluttered to the carpet when I opened my bag, and landed on top of a picture of a swooping owl . That became the basis of the painting which is actually painted onto a circular canvas at least a yard across. It has come to mean more and more to me over the years, and is now 15 years old. This has been one of my most popular cards, and on the back was written. 'Silhouetted against the full moon, the Owl woman represents the wild and magical side of woman'

STONEHENGE

I have based this painting on a drawing I saw, showing the stones cast in this spiral mode. It struck me as wonderful as the concept of a circle is very confining and implies a sense of exclusion. I felt the spiral form more magical as it permits entrance and exit, which is the chief aim of magic.

TIME LORD

This is one of the most mysterious paintings I have ever done. It is in pastels and I know nothing about it. For me this entity is benign and I have no doubt, existant. The interdimensional zones have yet to be explored, though some brave souls have ventured far. In these places there is no recourse to insurance, or counselling and what you meet there is yourself and all that is within. Daunting for anyone, but sooner or later......

INSPIRATIONAL

DIVINITY

This was painted in 1987 in Galstonbury. It is an oil painting which is similar to paintings I have always done when a child, a face half lit. Blue skinned people have also been a recurrent theme for me and it seems, linked with a specific flower that I was once clearly guided to in a lucid dream. It seems to that blue skin is a root memory of several cultures. The flaming hair was for poetic counterpoint, but flaming hair also denotes intense mental activity. The spear, I found out later, is the 'Spear of Destiny' which has been as much sought after as the Arc of the Covenant but more secretly. The geometric lines of the spear and shoulders is the form of the Star of the Initiate, or Star of Daivd, and represents perfectly integrated male and female force.

INSPIRATION

I painted this in India at the time when the Indian teacher Osho, died. It was created while he lived and finished when he left. It has a presence of beauty and tranquility, especially when put in a place of meditation. The background of violet and blue, serve to open the crown chakra, and this image is transformative.

EGYPTIAN

PASHT

Painted in 1989 in oils on wood. Size 3ft x 5ft. The very imposing presence of this image owes itself to the spirit of Pasht, which first embodied me, then transferred to this painting. Pasht was a cat headed woman, a small statue of which was placed in the birthing chambers when a child was to be born, in ancient Egypt. She was kept there during the first stages of growth, for she embodied a protective presence for the newborn. It was understood that she did not interfere in the play and freedom of the young, but was ferocious in their defence should there be any threat.

The word Pasht, is also the root of the word passion. This is the element of fire (force), in the medium of water,(emotion). This is her nature. During the time I was painting this picture, a friend of mine asked me to be her birthing partner as she had been abandoned by her husband. The day before her son arrived, I painted the kitten in the arms of the figure, and saw twice that night, in my shadow cast by the candle light, her exact image.

RA

Painted in 1980 in London, oil on canvas. This is the first time I had used red in a painting as I had always stayed with more delicate colors. While the painting was in progress I noticed every time I passed it, it gave off a tangible heat that was as strongly sensed as if it were an electric fire.

Originally my son who was three, had scrawled across the newly prepared canvas, the lines he drew, somehow resembling the Sphinx, so I set out to paint it. Not being able to get the body looking right, I placed a pyramid in front, and left it at that. Imagine my surprise eight years later when I came across some escoteric writing which said:

Now learn the mystery of the wisdom of Egypt. When the Sphinx and the Pyramid are united, thou hast the formula of the magic of nature. These are the keys to the wisdom of all time and its beginning! Who knoweth it? In their keeping are the sacred mysteries, and the knowledge of Magic and all the Gods.

THOTH

Thoth is the Lunar god of knowledge, science, music and the written record. He is said to have incarnated in many subsequent forms, by which I understand that his spirit has entered the energy field of those drawn to this area of Truth. I do myself love these things and hunt knowledge with unswerving intent which I call,' backing the winning horse'. The rationale is, that truth is not a matter of opinion, education or conviction, but is the core essence of something. To know the core essence, means to enter it fully, to become it. Within the framework of personalised ego, one is not able to enter into anything as fear keeps one clinging onto past forms, trapped. From the this bondage, one cannot move freely in thought, or be fully present, as one is clinging to past notions, projecting them forward as if real. We convince ourselves and each other of the veracity of these notions, but in truth every moment has a core and if we are elsewhere, we miss the point.

If you view this picture in the light of a bright moon, you will see a presence there that is otherwise invisible. On the occasion this happened to me, the beauty which I saw, made me weep.

I left this painting with a friend of mine while I spent a year in America, and there were visible tear tracks on the face when I returned. This being has the most overwhelming compassion, and evokes a sense of the deepest gratitude.

TANTRA

ECSTASY

Painted in oils in 2000. A bit personal this picture! The element of feminine sexuality is still seldom talked of, and seems to represent huge fear, which cloaks its light. It is a gift: pure emotional energy, magic and entirely nourishing, accessed through touch. It has no motive of personal gain, other than to give of itself. For me there is nothing on earth to compare, and all thing of beauty and creativity spring directly from this source.

MAGDALA

I was asked, during a psychology seminar, to 'paint a picture of the next level up in the relationship between men and women'. This was the result.

It is the only painting which has taken no effort and there was no resistance to overcome. The name Magdala refers to the Gnostic title of a female adept in ancient times. The fact that the man is holding her arms open, is to show off her heart and permit its unhindered outward flow. The fact that he is behind her is to show that he is backing and protecting her, while exposing her and opening her as a gift to the world. This is a reversal of the more typical position where the masculine element places itself in the forefront with a self motivated agenda. The light streaming from her womb signifies where the incarnate presence of divinity resides in femininity. Her face portrays both agony and ecstasy, and the composition of the figures is reminiscent of crucifixion, signifying the transition of the old form into the new.

The medium is Tempura on wood, and the painting measures 12" x 18", and was painted in the year 2000.

EARTH WIND FIRE WATER

PILLAR OF FIRE

This is an oil painting which is about 5ft by 3ft 6in. painted in 1998. It was the first painting where I had used orange and saffron, and it preceded an 'orange phase' which lasted two years. When I origionally started painting in 1978, (The Fairy Child), my palette was blue, mauves and green. It took 4 years before I used red at all, and another 16, to get to orange.

The Pillar of Fire' is named from a book called 'Arachne', when the girl heroine becomes enveloped with creative fire, becoming immortal, which excited the rage and jealousy of the Gods.

THE MERMAID

The Mermaid was painted in Devon in summer 1999. The medium is oil paints on canvas. I'd been waiting a long while to paint a mermaid and one day got up, saw the image and paonted it, completed it in a few hours, and there it was.

I'd often made life-size reclining mermaids in sand sculptures on the seashore, trusting that when the sea came to reclaim the sand mermaid, she would become real. I've had many dreams of being underwater and not having to come up for air. This could be embryonic memory or maybe in multi dimensioned reality, memory of being a mermaid.

ABOUT MYSELF

If there is something of specific interest to you to know, please e-mail me.