At its basic level of meaning the word alchemy relates to physical matter and is commonly understood to be the scientific process of converting base metals into gold. This notion is based on the human egos of greed and sloth whereby one is able to generate vast fortunes with minimal effort. History tells us that many men have spent entire lifetimes selfishly seeking the philosophers stone for personal gain. This behaviour translates into contemporary society as competition for the easiest and most well-paid jobs, which creates our own personal hell based on lack and fear.
This third dimensional notion of alchemy is in contrast to the higher, spiritual meaning which aids personal growth work and soul development. By learning to transmute fear into love and transform ego into soul, we can achieve self-mastery and experience heaven on Earth in the fifth dimension.
The Archontic matrix control system, as identified by the pre-Christian Gnostics who sought knowledge through research, holds at its core the manipulation of the human ego as the ultimate means of control. In contemporary society, ego manifests in behaviours symbolised by the seven deadly sins: lust, gluttony, sloth, wrath, envy, and pride. Humanity is programmed by society to act in ego which perpetuates our enslavement in hell, preventing us from asceding to a higher form of experience.
- Advertising plays on lust to subjugate the feminine whereby a woman is simply a vessel for male pleasure, which diminishes the power of the divine feminine.
- The food industry plays on emotional insecurity to promote gluttony, whereby inner lack is filled with junk food to provide a short-term dopamine hit.
- The education system takes away our enquiring mind by spoonfeeding us facts without any effort on our part to find the truth for ourselves, creating an attitude of sloth whereby someone else will solve our problems.
- Newspapers and news programmes pitch groups against eachother to create an environment of wrath or anger, which prevents unity and ultimately freedom from the system.
- The media plays on our prepensity to envy by encouraging us to 'keep up the the Joneses'. If our friends boast about their expensive new purchases this motivates us to competatively consume more resources and stockpile wealth at the expense of others.
- Pride prevents us from working in service to others and closes off the benevolence the universe can offer those who live in true humility.
Gnosticism teaches us that ascension can only occur once the ego is eliminated. We can use self-observation to monitor ourselves for egoic behaviour with the aim of holding it in awareness as opposed to automatically acting on it through prgrammed behaviour. Once we have awareness of how the ego is playing out in our lives we can work towards the elimination of each of the seven sins through transmutation. We can identify egoic behaviour and relpace it with the seven virtues: prudence, justice, temperance, courage (or fortitude) faith, hope, and charity.
Lust = Chastity (purity, abstinence)
Gluttony = Temperance (humanity)
Greed = Charity (sacrifice, generosity, benevolence)
Sloth = Diligence (persistence)
Wrath = Patience (forgiveness)
Envy = Kindness (compassion)
Pride = Humility (bravery, modesty)
It is possible for a human holding love in their hearts to exist in a different dimension from a neighbour living in fear. Both live on the same street, but one experiences abundance in all ares of their life and the other expeirences seemingly constant misfortune. The woman in heart-centred service to others is given rewards from the universe that fulfil all her needs; nourishing friendships, an income from work that she enjoys, and a happy home.
In contrast, the man nextdoor who consumes the media and lives in fear, lives selfishly and recieves instant karma. This gives him the challenging experiences that may appear on the surface to be misfortune, but are purposefully sent by the universe to assist with his soul development. He may experience redundancy from the job he hates, loss of the partner he doesn't love, disease due to his addictions to sugar and alcohol, or loss of his home due to lack of gratitude. Through these trials he will learn about love, service to others, forgiveness, and humility but it might take thousands of lifetimes to reach completion.
For anyone living on Earth in bodily form to say that they are not living in ego, to a greater or lesser extent, is in a state of self-deception and denial. Once we have overcome ego we automatically leave our Earthly physical body and rise up in our light body to ascension. Therefore, it is impossible for someone who isn't living in ego to exist on this Earth. We are all living in ego and we are ultimately here with the purpose of transending it.
Our chakras are energy centres of spiritual consciousness within our energy bodies. They are ‘wheels’ which should spin if they are open and activated to enable the kundalini energy to rise up the spinal column.
Chakra healing is a method of energy healing that has traditionally worked with the seven main chakras – root (base), sacral, solar plexus, heart, throat, third eye (brow) and crown.
It is essential that these seven major chakras are healed first, thus allowing the kundalini to rise and enable the additional chakras to be activated.
As the energy increases on earth, building towards ascension, we are becoming more spiritually aware so now we can start working with the five additional chakras – earth star, navel, causal, soul star and stellar gateway.
Here are the twelve chakras in the new system:
- Earth Star ChakraLocation: 12 inches below the feet. Colour: Black, Gold. Crystals: Nuummite, White Howlite
- Root ChakraLocation: Base of spine. Colour: Red. Crystal: Bloodstone, Agate, Haematite
- Sacral ChakraLocation: Lower abdomen. Colour: Orange, Pink. Crystals: Citrine, Carnelian
- Navel ChakraLocation: Just above the sacral chakra. Colour – Orange. Crystals: Fire Agate, Citrine, Sunstone
- Solar Plexus ChakraLocation: Solar plexus. Colour: Yellow. Crystals: Yellow Citrine, Calcite, Malachite
- Heart ChakraLocation: Heart. Colour: Green. Crystals: Rose Quartz, Watermelon Tourmaline, Aventurine
- Throat ChakraLocation: Throat. Colour: Blue. Crystals: Lapis Lazuli, Turquoise, Sodalite
- Third Eye ChakraLocation: Brow. Colour: Indigo. Crystals: Fluorite, Azurite, Amethyst
- Crown ChakraLocation: Top of the head. Colour: Violet, Gold, White. Crystals: Herkimer Diamond, Clear Quartz, Amethyst
- Causal ChakraLocation: 3-4 inches above the Crown at the back of the head. Colour: White, Irredescent. Crystals: Blue Kyanite
- Soul Star ChakraLocation: 6 inches above the Crown. Colour: White, Magenta. Crystal: Selenite, Ascension Stones
- Stellar Gateway ChakraLocation: 12 inches above the Crown. Colour: Gold. Crystal: Calcite
When we lived in tribes, without shoes and beds, we were in constant contact with the earth’s resonance. In these modern times we need 20 mins standing barefoot on the Earth every day and/or sleeping with a grounding sheet.
As well as the physiological benefits demonstrated in The Earthing Movie being fully grounded also facilitates our ability to manifest more easily. When we connect up and receive guidance and wisdom being grounded makes us a more effective channel so that we can bring it down and utilise it on earth in our daily lives. Otherwise, if we are not connected, our quality of inner knowing is compromised and we are not able to fully manifest.
Earthing has an immediate physiological effect on the Autonomic Nervous System (ANS), switching the body to a more parasympathetic state. Some people feel an immediate benefit when grounded and even physical symptoms such as inflammation and pain can show improvement within minutes. However, it is important to recognise that longer term exposure to Earthing is required in order to achieve the deepest improvements in sleep, inflammation and overall health.
The Earthing Movie is a fantastic documentary on Earthing.
The energies coming down over the coming months will continue to stir things up to boiling point for everyone on planet Earth. This means that in 3D reality we are going to expect the media and the government to further provoke us into angry reactions to their increasingly draconian demands. From the perspective of the dark side this serves the purpose of lowering the collective vibrational frequency to prevent mass wake-ups and ascension to 5D.
The best thing to do is disengage from all of the media; radio, TV, and newspapers, to avoid their increasingly desperate attempts at provocation. Remember that the dark side are playing a role which will ultimately wake up the sleepers, so we have to allow it to play-out.
On a day-to-day level the energies will play-out as aggression and negativity from people we come up against at work, socially, or when out shopping. The energies are causing people to release their own negativity which can come out as attacks and outbursts. This energy will be stronger in towns, shopping areas and places of high density living so it is essential to smudge regularly and shower or bathe in Epsom Salts every night to clear your energy field.
Many light workers will also find their personal and work lives thrown into turmoil, adding additional stress to the collective load. This turmoil is necessary to change our lives for the better, but the process will be tough as we release people and responsibilities that no longer serve us.
The aim of archontic control system is to bring as many light workers down as possible. This is why we must remain heart-centred at all times and respond to situations and people calmly. We should not give-in to any provocation. Daily meditation, focussing on the breath, and 20mins daily contact with the Earth will help us to remain centred and grounded in these challenging times.
5D living will require us to live from heart-centredness and not ego. This means observing the turmoil around us and remaining in love and peace. Any reaction such as anger is a sign that the ego is in control. We cannot ascend in this state so self-observation is essential.
Introduction to Tantra
In patriarchal societies seeking to repress feminine energy, the expression of sexuality and sensuality by women has been punished by intimidation, oppression, and persecution creating a fear of physical touch. Tantra teaches us that the the sexiest potential we have isn’t based on physicality, either through looks or sexual techniques, but by fostering connection and intimacy through touch.
By tapping into our natural abilities to experience ecstasy we can discover a powerful sexuality that is beyond either what the body looks like or sexual performance. We can explore sensuality using touch as enjoyment within itself, in terms of giving and receiving. It is the opposite of physical sex which is performed for the goal of orgasm.
Tantra is about being in the moment of the enjoyment of sensual pleasure, accessing the capability of phenomenal connection that brings true contentment and happiness. We have the capacity to go beyond physical sex to an experience that involves the mind, emotions, feelings, passion, and presence.
Learning how to experience our true potential through real intimacy creates deeper connections and more satisfying relationships.
The Mysteries of Isis
The ancient Egyptians didn’t believe that sex was a sin. In Egyptian times the phallus of the Pharaoh created union between heaven and earth though making love with his Queen. Patriarchy has twisted this meaning so that in Victorian times the word ithyphallic meant ‘grossly indecent’.
Isis was an Egyptian goddess who was worshipped for thousands of years by the Greeks and Romans until Christianity banned her worship in the sixth century.
Isis loved the god Osiris who was killed by Set, his jealous brother, who scattered the dismembered pieces of Osiris’ body throughout Egypt. Isis searched for each body part peice by piece but was unable to locate the penis which had been eaten by fish in the Nile. In order to resurect Osiris she had to make love to him so she created a golden phallus which is a symbol of the ancient sexual wisdom known as the Mysteries of Isis.
Initiation grants the sacred privilege of seeing the Realm of the Gods and receiving divine vision which is beyond the illusion of Time.
Mary Magdelene had been a High Priestess initiated into the Isis Mysteries in a previous incarnation in Ancient Egypt.
When asked at what moment the Kingdom would come, Jesus replied: ‘When the two shall become one, outside like the inside, the male with the female, neither male nor female.’
This is very different from the way Catholicism and Christianity regard sex, which was decided by Augustine. Hebelieved his erection was his physical body’s betrayal of the spirit, so he deemed sex to be shameful, evil, and the work of the devil.
The church doesn’t recognise that sex is the universal life force because it can give direct access to God which would eliminate the control of the church over humanity. Instead humanity has feared and repressed sexuality, particularly that of women.
During this time of the Winter Solstice I have enjoyed researching its rich history and origins in Shamanism. But I have been saddened to discover how the Patriarchal energy, that has pervaded the World for thousands of years, has distorted our ancient traditions into a celebration of superficial excess whilst also negating the role of the feminine.
This negative energy concocted the religions and customs of the West by taking elements that had previously been known in Shamanic culture as belonging to the feminine, and flipping them into the Patriarchal masculine inversion. Here I am making a distinction between the toxic Patriarchal Masculine of ego as the opposite of the true Divine Masculine of pure love which, when partnered with its Divine Feminine counterpart, both internally and in a physical relationship, creates a powerful tortodial field capable of smashing the Archontic control matrix.
This shift from the Divine Feminine to the toxic masculine has also had the effect of causing an important celebration of the seasonal calendar to turn into an opportunity for the retail industry to make greater profits. The concept of Father Christmas has become a recent symbol of our consumerist society which requires us to buy more stuff for each other as a national custom. This is a subversion of the original notion held by the ancient indigenous shamanic cultures of Siberia, Norther Norway, Finland, and the Arctic Circle.
The patriarchal energy further distorts the truth of the Winter Solstice by negating its feminine origins, using the male as the central figure: that of Father Christmas delivering gifts on a sleigh pulled by his male reindeer Rudolph. Thousands of years ago it was the female reindeer who drew the sleigh of the Sun Goddess at the time of the Winter Solstice. She was the ancient Deer Mother who flew through the darkest night with the life-giving light of the sun in her horns.
Across the British Isles, Scandinavia, Russia, and Siberia she was a revered spiritual figure associated with fertility, motherhood, regeneration, and the central theme of the winter solstice: the rebirth of the sun. It was the Deer Mother who took flight from the dark of the old year to return the light and new life.
She is the only one able to take on this role because it is only the doe who retains her antlers at this time of year; the male reindeer shed their antlers. And because of this is the female who leads the herd in winter. Therefore, in indigenous shamanic cultures it would be impossible for Rudolph to take on this role. The symbology of a male reindeer with antlers during the winter can only exist as a distortion in the false illusion of our contemporary world.
Since the early Neolithic period, the female reindeer as leader of the winter herd was honoured by the Northern people as the ‘life-giving mother’. As a symbol of her importance her antlers were placed in shrines and on altars, used in ceremonial burials, and worn as shamanic headdresses. The antlers were often depicted as the tree of life, holding birds together with the sun, moon, and stars.
Her image was celebrated in carved stone, woven ceremonial cloth, painted drums, jewellery, and tattoos and reindeer, with their antlers intact, were depicted leaping or flying through the air.
The Sun Goddess is known in Nordic countries as Beaivi and she is associated with motherhood, fertility of plants, and the reindeer. She was often depicted with her daughter in an enclosure of reindeer antlers performing a ceremony for the return of green to the land.
Other Winter Goddesses from Northern legend also flew through the skies with flying animals. The Lithuanian and Latvian goddess of the Sun, Saule, travelled the heavens in a sleigh pulled by horned reindeer throwing amber pebbles into chimneys as symbols of the regenerating sun.
It is often said that the Pagan origins of Christmas can be observed through Santa’s red and white outfit, which has its origins in the red and white amanita mushrooms ingested by shamen in order to travel to other dimensions.
But it was the female medicine healers, not the male shamen, who wore ceremonial red and white costumes trimmed with fur together with horned headdresses or red felt hats. So Santa’s outfit is another Patriarchal distortion of the feminine which takes elements from an ancient ceremonial healing tradition and turns them into superficial symbols of consumerism.
Let us remember our Celtic origins by celebrating this important date on our seasonal calendar.
As we move into the fifth Dimension (and possibly higher for some) we will naturally become less dependent on gurus, teachers, computer models, and written sources for direction. We will still use them for information gathering, but ultimately we will be discerning the truth for ourselves.
We know that both the White Hats and the Cabal have used ‘Project Looking Glass’ to see into the future so that they can intercede on events to control their own outcome. However, we also know that no matter how many times they run it, they can only reliably see a maximum of six months ahead. The Mayans used their best psychics and saw thousands of years into the future; predicting the end of the age at 2012 and the beginning of the twenty-year ascension window, which we are now half-way through. Those psychics were much more powerful than a computer and so are we!
We all have a third eye, which once fully opened will enable us to connect to our higher selves for direct downloads of information that is right for us at the right time. See a previous post on detoxing the pineal gland which is essential to remove all the sabotage the system has imposed on us through fluoride toothpaste and clacium carbonate supplements.
When we are fully healed, having let go of ego, patriarchal energy, and all of the emotional wounding from our past, we can become a very clear channel. This gives us the ability to bring down pure information, that is not distorted, to assist us with our mission here on Earth.
If we have developed our intuition we will get very strong feelings of ‘inner knowing’ (see a previous post on gifts and clair senses). It is essential to trust this and act on it or the ability will be taken away – it is like a muscle that needs to be exercised in order to become stronger.
This could also be our ‘gut feeling’ which many of us have been trained to ignore. Gut feeling for me is a pain or twinge in my stomach when a situation or person doesn’t ‘feel right’. It is our emergency warning system to get out of a potentially threatening situation before it turns bad.
Alcohol, street drugs, and pharmaceuticals are designed and marketed by the cabal to cut us off from our intuition so that we become reliant on the media and politicians for direction.
Once we have stepped out of the matrix we can develop our own personal guidance system by using our hearts to discern truth:
- Drop into your heart by thinking about something or someone you really love: your pet or child for example.
- Feel what this feeling of true love really feels like physically.
- Ask yourself a question which you know the answer to: ‘Do I like cheese?’.
- Feel the true answer come through your heart. What does this feel like physically?
- If you do like cheese feel how your heart feels when it says yes. Does it expand and feel warmer?
- Now try a phrase that you know is untruthful: saying ‘I do not like x’.
- How does an incorrect statement feel in your heart? Is it jarring, painful, contracting, empty?
- We can then practice heart centred discernment to navigate through information from videos, talks, and books to find our own truth.
This is the time to stop immediately accepting the often forceful beliefs of the egoic bullies who can be found in all groups. Rather than allowing ourselves to get triggered by a new piece of information that has been insensitively delivered we can thank them for sharing their opinion and tell them we will consider what they have said. We can put what they say on our ‘for further research shelf’. This means that we don’t dismiss what they say outright but keep it for future consideration.
Usually if I hear the same recommendation three times I know that I need to look at it in more detail. For example, three different people each suggesting I read the same book. I will then read the book and feel what aspects of it resonate for me. I know that I don’t have to accept all the ideas in the book, only those that I intuitively feel are truthful for me.
I will then not recommend the book to others unless there is something in it that I know is specifically pertinent for that person. If we tell everyone to look at everything we read we put people into overwhelm.
We can also not automatically expect everyone to resonate with our truth. As we heal ourselves we will automatically drop those relationships with people with whom we nolonger resonate and move into soul mate relationships and soul groupings where we are all resonating at the same vibration, sharing the same truths.
Above all we need to share our truth in a gentle way that doesn’t seek to control others or try to ‘be right’. This is another ego trap. We need to find balance between recognising and trusting our own intutition and being open to acknowledging the truth of others; even when seems to be at odds with our own guidance.
If we allow ourselves to go into ego we will make the assumption that we are better than others and seek to elevate our own status in the group whilest pushing others down. This trap occurs when the ego subconciously feels threatened by the possiblity that another group member has greater power than us. It is a sign that we need to do more work on self-worth. All such triggers are signposts to the inner work.
I am not wrong, you are not right.
I am not right, you are not wrong.
For further information about opening the pineal gland see https://awakeneduk.wordpress.com/2021/01/27/how-to-decalcify-your-pineal-gland/.
For information about developing Clair Senses: https://awakeneduk.wordpress.com/2020/02/08/𝕊𝕥𝕖𝕡𝕤-𝕥𝕠-𝕔𝕠𝕞𝕞𝕦𝕟𝕚𝕔𝕒/
This year my family and I will be celebrating the Winter Solstice on the 21st of December (Northern Hemisphere), instead of Christmas. We will eat our favourite seasonal foods before lighting the fire pit and drumming to welcome the return of the light.
Our Celtic ancestors were used to living in harmony with Mother Earth; celebrating the cycles of the year. They recognised the Winter Solstice, or Yule, as being a powerful transition marking the shortest day and longest night of the year.
For them it was a celebration of the end of the darkness and a return to the light. At this time the goddess rests in her Dark Mother aspect preparing to give birth to the Sun God and the New Year through her night-sky womb. The rebirth of the Sun was welcomed with giant bonfires and drumming throughout the night.
We can light a Yule candle to welcome the return of the Sun and go inwards to feel what we want for the new phase by sowing the seeds of our dreams that will take root in the spring.
The Yule Log
Traditionally a log found in the woods was decorated with some sprigs of evergreen tied with a red ribbon and put in the fireplace. You can write your wishes for the new year on slips of paper and tuck them under the ribbon. Burn the log saving a piece for the next years celebration to acknowledge the completion of the cycle.
Take a small log with a flat base and drill holes for the candles and place on the dining table.
A large red or white candle set among seasonal greenery. You can anoint the candle with seasonal oils or herbs, focussing you intentions for the new year. Light the candle at dusk and allow it to burn until the following morning. Write your wishes on paper, light them with the candle flame, and place them in a burning bowl to release your prayers to the spirit realm.
Light a Fire
You can light a fire outdoors to enjoy the dance of the Fire Sprits. Drum to assist with the birthing of the Sun.
In order to navigate these hugely challenging times it is essential to remain centred and grounded. Guided meditations can be useful for achieving specific outcomes but having a daily practice of sitting and being will ultimately strengthen your ability to take control of your mind.
Mind control is something the Cabal have used against us through newspapers, television, film, radio etc. They have programmed our minds to think in a way that suits them and their agenda. In order to become sovereign and exit from the matrix we need to take control of our own minds.
We can aim to be like a tree with long roots that go deep into the earth, creating stability and being a source of nourishment so that when the winds and storms come we will be held straight and true in our own truth and power.
After I disengaged from my corporate life almost 20 years ago I followed my heart and went to art school as a mature student. Suddenly I met people of all ages and from all walks of life opening my mind to the possibilities beyond work and money. A friend introduced me to Buddhism and I read around the subject with great interest.
I found the work of Jack Kornfield, whom I later discovered my Buddhist friend knew, and followed the directions of how to meditate on his CD. I have followed his method with great results.
He has a website now: https://jackkornfield.com/meditations/
Here is a link to the audio recording: https://www.soundstrue.com/products/meditation-for-beginners#a_aid=5dcd8762906ed&a_bid=9d28d424
Sit in a comfortable position with a straight back and neck. Use a cushion for your lower back if you need extra support but don’t slouch. Choose the way of sitting that is best for you whilst remembering that we need to maintain a position of dignity and active control.
The aim isn’t to fall asleep or pass into a daydream but to sit in awareness of our bodies and our surroundings.
Block out a regular time in your calendar and set a reminder. Remember that on days when you are ‘too busy’ you need to do extra meditation. When I started meditating fifteen years ago I didn’t practice daily because I always found I had other things to do. This really held me back until I developed the discipline of sitting down everyday.
After I developed a regular habit of meditation I started getting results that assisted me in dealing with my life. For example I stopped being pulled into a downward spiral of negative thought patterns because I was in control of my mind. My ego had lost the ability to drag me down into despair and inertia.
I also developed acceptance. Acceptance about health issues and work problems enabled me to get out of knee-jerk stress responses and to be open to ways I could make changes. It was empowering not to be taken down by adverse events. Then my perception about challenges changed: they became learning experiences to give me wisdom.
In situations where I might have once been triggered into an automatic emotional reaction I was able to maintain my grounding and keep my centre. I could then respond or disengage whilst maintaining my power and dignity.
This is a step-by-step summary of my own meditation practice which is based on the teachings of Jack Kornfield. There are other methods available and you can use your own discernment as to what feels right for you. I’m not saying that my way is the only way, I’m simply offering you some basics so that you can feel confident starting your own practice without getting overwhelmed by all of the different methods.
Sit upright in a comfortable position.
Close your eyes.
Breathe normally, focussing on the breath. Feel and hear it coming in and out.
Your mind will start to wander, this will never change. The aim is not an empty mind but a mind that can be controlled.
Over time, what does change is your ability to stop the wandering earlier in the process. This is meditation.
When a thought comes into your mind label it: eg anger, worry, planning, then visualise it as a cloud floating away.
Let the thought go. Do not judge the thought and do not allow it to frustrate you; simply accept that it came and let it go.
Focus back on the breath.
Another thought will come, the more tired you are the greater the temptation to go off with that thought.
Bring it back to the breath.
Meditation is the development of mind discipline. The stronger our ability to control our mind, the greater peace we will experience in daily life.
Another thought comes, but this time you feel it is important.
Have a notepad next to you to write down important thoughts – we are opening up a channel to greater wisdom so at times we will bring down something useful. By writing it down we can let go of it but the action of writing might disrupt our flow – do what feels right for you.
Focus back on the breath.
A car horn blasts on the road outside and shocks you. Breathe and forgive the person for acting in ego.
Focus back on the breath.
Breathe in and out. In and out. Feel the rhythm.
You feel a twinge in your neck as the muscles relax. How does it feel?
Focus on the feeling without judgement. Allow it to be. Accept the pain. Focus on the pain. Let it go.
Focus back on the breath.
Breathe in and out.
A feeling of sadness comes up. Feel into it. Where is it coming from in your body. Allow the tears to flow. Release.
Focus back on the breath.
Keep going until you feel ‘the drop’.
The only expectation we should bring to the practice is that our minds will wander. We should not be coming with expectations of enlightenment or being better than others. This is our ego coming in. Let go of outcomes, accept that thoughts will come, and remember that the process is simply about letting them go.
You can set a timer for your mediation. However, you really need to keep going until you feel ‘the drop’. This is when the mind relaxes and you enter a meditative state. When I started a daily meditative practice nine years ago I allowed myself an hour to achieve this. As I have progressed sometimes I only need twenty minutes. It depends how busy I am and how stressful my life situation is. The more stress I have the more time I need to mediate.
Sometimes, if I haven’t slept well or I’ve had a busy morning, I get so tired by lunchtime that my head drops forward during the meditation. I will then submit to my need to sleep and go for a nap.
Ultimately this is about tuning into your body and how it feels without judgement. Simply accept and submit, trusting that this is what you need to maintain your health.
Today I watched a video titled ‘Why Does the World Feel Out of Balance?’ by Glorian, a spiritual organisation that publishes books about Gnostic teachings. This video is a summary of one of the laws in The Emerald Tablets of Thoth The Atlantean, who is otherwise known as Hermes Trismegistus.
Back in Egyptian times Thoth was known as Hermes and he taught the Egyptian people about The Seven Great Hermetic Principles, one of which is The Principle of Rhythm which describes how the pendulum swing operates in our daily lives.
Everything flows, out and in; Everything has its tides; All things rise and fall; The pendulum swing manifests in everything; The measure of the swing to the right is the measure of the swing to the left; Rhythm compensates.
This is like being on a fair ground ride when we get addicted to the adrenaline rush of fear and pleasure at the same time. If we live our lives like this on a daily basis eventually we will burn out and loose the ability to think objectively and be unable to solve life’s problems effectively.
The Principle of Rhythm
The Principle of Rhythm says that there is ebb and flow in everything. The Universal Pendulum is in continual motion to and fro just as the tides rise and fall, and birth moves to death. Hermes says that Rhythm is connected to Polarity and this swing between the two poles occurs on the physical, mental, and spiritual planes. Therefore every action has an opposite reaction because the Universal Pendulum is always in motion.
However, his teachings reveal that it is only on the lower planes of consciousness that humanity can be controlled by the pendulum swing. The Earth has been in the Third Dimension for thousands of years and we have been used to being at the mercy of the swing in our unconscious state of awareness.
The Cabal are very adept at esoteric teachings so they are aware of this principle and use it to control us. They use the media to create fear, pushing us to the extreme of this emotion in order that we loose our faculties of reason and right action putting us into fight or flight mode so that we make poor choices – such as taking the j@b.
Hermeticists, those who follow the teachings of Hermes, can avoid this swing from one extreme to the other through transmutation. This occurs when we move ourselves into a higher plane of consciousness from the unconscious behaviour of the Third and through the Lower Fourth Dimensions to the more conscious behaviour of the Upper Fourth and the Fifth Dimensions. This can also be described as the process of awakening from unconscious behaviour, which is programming to keep us unaware and asleep.
Transmutation occurs when we transform unconscious programmed behaviour into its opposite. The opposite of fear is love and calmness. So we can transmute a swing towards fear by going inside ourselves to find equilibrium. We can invoke this place of neutrality inside ourselves through meditation, mindfulness, and grounding into the earth. We can practise opening our hearts and feeling the love of the universe.
Our awareness of the pendulum can slow the swing down so that we are mindfully observing our emotions, feeling them but not allowing them to take us on a big pendulum ride up the to extreme only to be dramatically flung back into the opposite emotion at some future point.
The Law of Neutralisation
Thus, through willpower, we can escape the effects of the pendulum swing from one extreme emotion to the other by following the methods of the Mental Law of Neutralisation which raises the ego above the vibrations of the Unconscious Plane.
This law says that we can polarise ourselves at a desired pole by refusing to participate in the backward swing. This is denial of the power of the pendulum by refusing to allow moods or negative states to affect us, bringing the attainment of poise and mental stability.
By rising above the pendulum we can allow it to pass underneath and polarise ourselves at the positive pole of ‘I am’. Thus we refuse to be swung on the pendulum of mood.
By mastering our moods and neutralising the rhythm of the pendulum you can escape the law of cause and affect. Thus we become players and not pawns. We manifest our own reality rather than self inflicted suffering. We are no longer trapped on the plane of effects: for example by not reading the newspapers we allow the fear to circulate under us as we go into a meditation to raise our vibration and transcend in an upwards motion toward love and light. This in turn will affect our environment and the people we come into contact with.
Thoth / Hermes was the son of Enki, the Anunaki brother who made the primitive workers used as slaves to mine gold for the Anunaki. Hermes taught the slaves about ascension from the matrix through the foundation of the ancient mysteries.
Hermes was a God in ancient Greece who lived for 300 years and was later known as Thoth in Egypt. In Ancient Greece Hermes Trismegistus was the God of Wisdom. In Ancient Egypt, as Thoth, he was known as the ‘Scribe of the Gods’. He was a contemporary of Abraham from The Old Testament and gave Abraham some of his mystical knowledge. Today we can see that all esoteric teachings and religions have a basis in the teachings of Hermes.
However, much was kept secret because the enlightened knew that the barbarians would kill those who told the truth. This was the case with the killing of Jesus, the Romans suppressing the knowledge of the Gnostics by killing the teachers, the witch hunts carried out by the Catholics, and now the denial by the masses that certain medical interventions can hurt or kill us.
The Hermetic teachings were lost at the time of Constantine due to the suppression of the Gnostic teachings and the rise of the fake Roman religion of Christianity, which was forced on the population of the Roman Empire. The Library of Alexandria, which held many important scrolls, was burned and much of the knowledge was lost or taken to the vaults under the present day Vatican. Thus the teachings were known as being Occult, or hidden.
The teachings of Hermetic Philosophy were republished at the beginning of the 20th century in a book called The Kybalion. It was published in the understanding that humanity was ready to master the mental forces can apply the knowledge to their daily lives. It can be bought from bookshops or read online here: http://www.kybalion.org/TheKybalion.pdf
The Glorian video simplifies Thoths teaching of the pendulum swing and can be viewed here: https://www.youtube.com/watch?v=ZE3YJBV0U_s
The Emerald Tablets of Thoth: https://www.bookdepository.com/Divine-Pymander-Emerald-Tablets-Thoth-Hermes-Trismegistus-Marilynn-Hughes/9781519408679
I recommend visiting Gerald Clarks Channel on YouTube for his reading of the Emerald Tablets which can be viewed via this playlist: https://www.youtube.com/playlist?list=PLkpSrtJG4ZZ-hYb_aZqj1LF1WxQa9QlYl
In this video Alex Vitillo, a Shamanic Priestess from the UK, interviews Ngarene Stevens a Shaman and Sound Healer from New Zealand.
Ngarene talks about how she started as an energy healer developing an interest in sound healing before blending it with her Shamanic practice.
She discusses how her shamanic training has affected all aspects of her life as well as establishing healing ceremonies for the land.
Ngarene talks about her plan for 2022 to host a multi-disciplinary sound and vibration healing event to heal the land and lake near where she lives in New Zealand.
Connect with Ngarene here: https://www.facebook.com/frequencyis
Connect with Alex here: https://www.facebook.com/Mindfullyfulfillingyourdreams
I have been studying Shamanism for the past year via an apprenticeship with Scott Silverston having progressed through the three main modules: the Fundamentals of Shamanism, Shamanic Self Care, and finally Advanced Shamanic Practices.
This interview with Anne Kensho is a summary of his approach to contemporary Shamanic teaching.
He starts by talking about his own path through finance to Shamanism and other healing modalities before being guided by spirit to teach others. He says that although he was successful in his job as a Finance Director in Manhattan he wasn’t happy or fulfilled.
He says that this is a common problem with his clients who are also programmed by family and society into a life path that may not feel right. Scott says that we can sense that something isn’t right in the way we are living our lives because it will show as anger, frustration, sadness, fear, and profound dissatisfaction for no apparent reason. He calls such programmed behaviour ‘societal false agreements’ which can be cancelled and changed via Shamanic Consciousness.
Scott’s methodology is very different from most contemporary Shamanic teaching because he designates ten classes within the intermediate module to personal development. This ensures that each graduate understands how to clear their own channel and protect their energy giving them greater strength and the ability to avoid practitioner burn-out, which he says is common within the healing arts.
The Shamanic Spirit Medicine courses are also different in that they place an emphasis on the importance of spiritual grounding in order to overcome the filters that can distort our ability to take effective action when we receive spiritual guidance. He describes his approach to Shamanic teaching as Applied Shamanism which he says is the embodiment and grounding of the guidance from the spirit guides in the energetic realms.
He goes on to discuss Shamanic Consciousness which is the Australian indigenous tribal ‘Dreamtime’ a place of spiritual function and intuitive senses which all members of the tribe could access. This is something that Westerners are now cut-off from which causes blockages, sickness, and an inability to progress with life goals.
He goes on to discuss the role of the Medicine Wheel when applied to life experiences and projects and emphasises the importance of going into Winter to understand what the Harvest brought. Many people do not do any introspection when things go wrong with their relationships or projects which causes them to continue with the same cycle without learning from mistakes.
You can view the full interview here: https://www.youtube.com/watch?v=8nut08pPZH0
Having had two months of prolonged bleeding during menstruation I ended up in A&E at QA in Cosham for urine retention. I remained in hospital for a week on a catheter whilst having two blood transfusions and various investigations. A CT scan showed an 11cm x 11cm fibroid attached down one side to the muscle core of my uterus, which had been sitting on my bladder causing the urine retention. I was advised to have an emergency hysterectomy due to the risk of further bleeding. They were so busy I had to wait five agonising weeks while taking blood clotting medication to stop me from bleeding out. It was a very stressful time. My haemoglobin was still low before the operation so I had to have another blood transfusion the day before surgery for them to be able perform the operation. Fortunately my blood loss during the operation was minimal so another blood transfusion was not required but due to issues with my bowel I remained in hospital for another week.
Here are my post operative experiences which I treated naturally.
I spoke to a homeopath at Helios (a homeopathic remedies company who can be contacted on 01892 537254) and asked her which remedies she recommended for hysterectomy. She gave me a combination remedy for surgery to help bruising and inflammation which contains Arnica, Bellis Perennis, Calendula, Hypericum, and Staphysagria. All of these can be found as separate remedies in the Helios Basic Kit but I chose to buy the combination bottle so that I didn’t have to take my kit into hospital. I also took a remedy called Anaesthetic to clear the general anaesthetic out of my system (which isn’t in the Basic Kit).
I started the remedies on day two in hospital according to the directions and I came off the painkillers after around eight days which I put down to having had the remedy and the binding. My swelling also went down during the second week which can also be due to the help of both the homeopathy and the binding.
The painkillers I was given in hospital were in tablet form: Tramadol, Codine, and Paracetamol and these made my stomach upset so I was given anti nausea medication. I started to eat again but I found the hospital food very heavy. After two days I ended up vomiting 4 litres of liquid over an 8 hour period – everything that I had eaten since the operation. This meant I had to be on a drip for a day.
I later discovered that during the operation the bowel is moved up and an out of the way and that this causes aggravation, which is normal. I wasn’t aware of this in advance and I believe that I should have been put on more simple foods to give my bowl chance to recover. Instead they put me on normal food and laxatives which didn’t work for me.
I eventually went home on day six where I gave myself bone broth and pureed fruit for a few days, followed by vegan yoghurt and banana. I then introduced Yorkshire puddings into which I poured the bone broth, and organic soups. I was craving carbs so I bought french fries which were thin and soft and also garlic french bread which was soft and easy to digest.
I stopped the laxatives when I returned home and instead took a table spoon of organic Flax Oil every morning. You can also take a table spoon of Psyllium Husks in water if extra help is required but I didn’t need this as I soon started having regular bowel movements.
After a week I went onto muesli for breakfast, soup for lunch, and a normal dinner such as chicken with rice. I haven’t had any further bowel issues.
I would recommend drinking bone broth to heal the gut and only eating simple foods such as soup and pureed fruit for the first week of recovery, particularly the first few days.
I tried belly binding after the birth of my second child by c-section which involved wearing a corset to keep the abdomen supported which in turn helped the incision to heal. I bought three step-in/pull-up corsets from John Lewis so that I could wash them and fortunately I kept them. A hysterectomy involves removal of the womb causing a gap to occur which can cause problems for the surrounding organs. Binding causes gentle compression that holds muscle and ligaments in place and which may help the organs to gently shift into a new position. I waited until my incision was healed and dry before wearing them. If found it helpful for lessening the pain of daily activities, the abdominal swelling reduced within a couple of days of wearing it. I intend to wear them for six to eight weeks which is the estimated recovery period for a hysterectomy.
I asked a Shaman friend of mine to perform a removal of negative energy and a soul retrieval for my by distance session while I was in the hospital. She successfully removed a small amount of ‘grey’ energy from the space that was left where my womb was removed and she also returned some soul parts which gave me more power and energy. I found this power useful when the staff were badgering me to leave hospital on day two. I told them in the afternoon that I was in pain and that I didn’t feel confident leaving. I refused to leave and by the evening I had started to vomit so I’m glad that I stood my ground as I would never have managed fourteen vomits which totalled four litres on my own at home.
I had already been seeing Josephine Luard at The Centre of Complementary Medicine in Petersfield for an ongoing neck problem so I understood the benefits of the treatment for the whole body. I saw her two weeks after the operation, and booked in for a week after that, and then fortnightly, and finally monthly. She was able to assist with adjusting the organs and the spinal fluid to support my recovery. She also helped to bring my emotions up to be dealt with and after the first session I had quite a big grieving process for the loss of my womb. I would recommend this treatment post operatively and after child birth.
I have received regular acupuncture for hormonal balancing over the last ten years, which I have found to be very effective. I went to The Centre of Complementary Medicine in Petersfield to see Tamara Kircher on the weeks when I wasn’t having cranial with Josephine. After one session my liver had cleared and my concentration dramatically improved. I also had a lot of release of emotion which had been blocked in my womb space and after two sessions the feelings of grief gradually subsided.
Shamanic Journey Work
One of the biggest problems I had after the surgery was the inability to meditate or do my Shamanic journey work. My connection to my higher self, spirit guides, and the Father had been cut. My teacher, Scott Silverston, described opiate painkillers as being like a dark hood over the head, blocking the crown chakra. I attempted meditation and repeated the visits to my spirit guides every day and eventually managed to get back into my routine after a week of very dedicated practice. I was shocked to hear from Scott that the disconnection I felt after my surgery is how most people feel on a daily basis.
It is standard procedure at Queen Alexandra Hospital in Portsmouth to remove the cervix during the hysterectomy. I requested to keep my cervix because I had read that it leads to shortening of the vagina which can cause sexual problems for some women. I’m glad that I did because after the procedure my consultant phone me to ask how I was getting on. I asked her what problems might occur and she said ‘sexual problems’ but that I wouldn’t be affected because ‘I kept my cervix’. It begs the question why they remove the cervix as standard if they know that it causes problems? My advice is to read up on this issue and to ask to keep it if you don’t want to take the risk of having your sex life affected.
I feel saddened to be having to write this post, which is about men being triggered by women talking about the feminine in Shamanic culture. This sadness stems from the realisation that patriarchal energy is still alive and strong even in the spiritual community – and I have seen it flowing through women too.
When I read this post from a Shamanic group on my FaceBook newsfeed I felt my heart open with a really powerful resonance.
I received the realisation of looking back at a long linage of women who were in service to others and I felt fortified by that strong female heritage behind me. It felt empowering to be part of that history.
At no point did I consider that making a statement about the feminine in relation to Shamanism would be considered to be controversial by anyone. Surely my male friends would want to celebrate the feminine energy if they knew of its power?
Apparently not. It seems that some men read this post and became upset. But instead of walking away from it with the realisation that they need to go and work on their own stuff, they stopped to take the time to project their issues onto me.
The first man said ‘why not a man?’. Well my initial response was that I didn’t say that a Shaman couldn’t be a man. Indeed much of the history of Shamanism is written by men and is about men. As a female Shaman I often feel excluded by the strong masculine energy within the practice which is similar to how I felt twenty years ago as an art student walking the halls of big museums looking at the world through the male gaze.
The past 5,000 years of patriarchy have successfully edited the feminine influence from every aspect of social history so that as a female scholar one struggles to find books about women artists or Shamen written by women and focussing on feminine perspectives. The further back in history we go the stronger the male narrative becomes with misogynistic tendencies completely normalised and accepted.
I was listening to a podcast by Gene Decode last night. He is a former military man who had a spiritual awakening and is now an intuitive in the truther movement discerning what is true intelligence about current events by using his psychic abilities. A caller into Gene’s Q&A show asked why there were missing elements from both the Platonic Solids (Spheres and Toroids) and the Greek Elements (Aether, Wood, and Metal). Gene responded that the missing elements are feminine and that feminine has been disregarded by the control system because of its power. Hence we had witch hunts where it was acceptable to falsely accuse a woman, subject her to sexual abuse, and then kill her in the most horrific way as a sacrifice to Satan.
He said that if society knew the true power women hold then all the repression would stop.
Later on another post popped up on my newsfeed which again observed the role of the feminine in Shamanic practice and related it to creative force women hold. It was attributed to an article in Tom Tom magazine but the author was not mentioned.
The most interesting and least well-known aspect of shamanism is the traditional role of women, both as shamans and drummers. British scholar Geoffrey Ashe wrote that shamans were originally women, and that the oldest form of the word ‘shaman’ is gendered female. Across Asia, female shamans have been observed since the dawn of modern anthropology, and even male shamans in some native cultures around the world have worn women’s clothes and striven for an androgynous persona in ritual to better connect with the spirit world. Some of the oldest known ritual burials were of female shamans or priestesses, in areas as far apart as Germany and Israel, dated from 8,000-12,000 years ago. How women came to embody this role so early in human history isn’t known, though their ability to produce life is most likely the answer. Ritual drums were often painted red to depict menstrual blood, had symbols of the vulva, and rituals centered around fertility and fecundity.
Feminine power therefore stems from the womb and the unique female ability to create new life which in turn feeds into the healing role of the Matriarch in tribal culture. It is an older woman’s life experience and deep understanding of the body and its natural cycles and magical rites of passage from maiden, mother, to crone that brings her to the role of healer. By coming to terms with the rhythms and changes in her own body she can assist others who are experiencing the same issues. She can guide the younger woman through menstruration, pregnancy, birth, mothering, and the menopause helping her to find the lessons and gifts they bring.
This notion of feminine bodily experience as the root of healing others is echoed in the words of Jane Hardwicke Collings founder of the School of Shamanic Womancraft in Australia:
The shaman was the community healer, seer and gatekeeper between the worlds, the spiritual ceremonialist and often the midwife. She worked with herbs, dreams, symbols, ceremony, ritual, oracles and journeying in trance states to other realms for the purpose of healing and mediation for others. Nature was her guide; she understood the interconnectedness of all things.
It is likely that early tribal cultures would have found the process of gestation and birth a magical alchemical act. The ability to make another human from sperm inside the magical space of the womb would have revered the feminine in society. Men perhaps would have marvelled at the ability of their beloved to bring an heir of a blood lineage. This reverence is likely what first created the matriarchal cultures that came before patriarchy.
But I experienced anything but reverence for the feminine from a male Shaman friend of mine. When I read his response my heart shuddered with disgust for what he had written: that I was wrong. It is interesting that he was projecting his anger at me because the words I posted were not mine, they were written by a male writer. Therefore should it not be the writer who is wrong?
As a former admin on a natural health group I know how those who are Archontically controlled can deplete our energy with pointless arguing. As such I have learned to let others hold their own opinions without wasting my time giving the alternative view. If people try to argue with me now I just scroll past and feel confident in my ability to not allow others to intrude into my personal space. I hold my frequency high and am unaffected by the anger of others.
I deleted the comment and deleted the person as a friend as it isn’t the first time I have felt this intense negative energy directed towards me from him. I wondered though, what evidence is there that I am wrong? Of course in his egoic state of anger at my audacity as a female to associate Shamanism with the feminine he did not cite any published works.
So I decided to do my own research into the notion of the feminine in Shamanism and I’ve been fascinated with the research I have found – expect more from me on this topic.
Having received two blood transfusions I was discharged from hospital to wait for my surgery date to be booked.
To prevent further bleeding I was prescribed three prescription drugs to take daily during this waiting time.
For the previous two and a half years I hadn’t had so much as one paracetamol. As a result I was feeling very tired, unable to concentrate, and feeling disconnected from my Shamanic practices.
This was compounded by having had seven days in hospital without meditation, grounding, or Qi Gung and being in a busy environment surrounded by electromagnetic radiation so I was very much depleted.
I contacted Scott, my teacher from Shamanic Spirit Medicine, for advice and he recommended contacting the Possessing Spirits of the drugs I was taking and extracting them from my body along with a soul retrieval to return any soul parts that I had lost during the hospital stay.
Having repeated this exercise a several times I suddenly got my energy back and felt well enough to go to a friend’s birthday dinner which I really enjoyed.
This experience has taught me that when prescription medication is require to save our lives, we can support ourselves with Shamanic techniques if we are negatively affected.
This is an example of how Spiritual Healing can work alongside allopathic medicine and surgery to assist healing in the physical body.
Due to high blood loss I was taken to hospital where a CT scan showed an 11 cm diameter fibroid in my uterus connected down one edge to the middle layer of the uterine wall which required urgent surgery.
My Shamanic teacher, Scott Silverston, conducted a distance healing on me to address the spiritual aspects of the illness. He and his spirit helpers entered my uterus and saw a cut in the back wall which couldn’t heal due to a sword stabbing in from behind. This was causing heavy bleeding.
The spirit guides showed Scott how my mother had been stabbing me in the back all of my life with her anger and judgment of me. I had a pattern which was set in childhood whereby my mother would use me to process her emotions for her which left me tired, drained, and lacking the energy to fulfil my potential.
The spirit helpers conversed with her and she told them she didn’t like that ‘I am no longer taking care of her emotional needs’ and that ‘I am prioritising my own needs over hers’.
The sword was removed by the spirit helpers holding onto it as I made the choice to walk away along my true path where my mother cannot follow. The guides discover that she is a soul thief who has gained power for herself by taking my soul parts which she is told to return so that I can regain my personal power. She has hundreds of them, hidden away in different places and initially refuses to return them!
I keep the sword as a reminder of martyrdom, the old experiences, and the wounds that I bear that drove me to seek a new path. I pick up the sword to cut away the obstacles that are holding me back from realising my true potential.
I now stand in a warrior position with the broadsword pointing up to the sky and I’m standing strong in my power: nothing will get in my way.
This experience has taught me that sustained emotional abuse by a narcissist can be a cause of illness in the physical body. Indeed through my research I discovered that abuse in childhood is listed on some websites as a cause for fibroids which then grow bigger with increased stress.
This is an example of the power of Shamanic healing on the spirit of a home.
Having bought a 100 year old house in a state of disrepair and neglect, which I had to live in, I decided to renovate the house room by room. Finally I get to the thirty-year old bathroom which has tiles dropping off the wall and a leak on the shower. I hire a competent plumber who has a week of bad luck: the ceiling falls down, the electrics are messed up, the extractor fan doesn’t have an external outlet and has made the insulation in the loft soggy, and when he tries to chip the tiles off the walls the plaster comes away in huge chunks.
So what to do? I decided to give the bathroom a Shamanic energy healing, focussing all my attention on removing the stuck energy which is preventing the renovations from moving along at a quicker pace. I then fill the room with light and ask my spirit guides to bring their assistance for the work to go more smoothly.
That evening I am alerted by cars swooshing through water on the road outside that there is water gushing up through the manhole cover on the boundary of my property. I phone the water company who come out and end up clearing the sewage drains all the way along my street. The stuck energy had pushed out of my house and into the sewer creating a blockage which was thankfully fixed.
Rose is very pleased with the sound of her bespoke Red Deer hide Shamanic drum handmade in Lancashire by Nicola Smalley at Anglezarke Hallows.
The Red Deer hide cape was handmade in Scotland by Anthony Right at Barrhead Leather.
Rose made her own headdress using English Pheasant feathers and ethically sourced Red Deer Antlers.
My friend, Michael Bartlett, a talented artist whom I met at Aspex Gallery in 2008, has very kindly painted this portrait of me based on a picture he took at my solo show in early 2020.
See more of his work at http://www.michaelbartlett.org.uk
Published in the June 2020 edition of Hampshire Life magazine: https://www.hampshire-life.co.uk/out-about/artist-profile-fran-richardson-1-6663128
I will be showing a selection of photorealistic charcoal drawings and monochromatic paintings of domestic interiors on
Saturday 1st February 2020
1100 to 1530
or by appointment Monday to Friday 0900 to Midday
Office 6, Lavant House, 39 Lavant Street PETERSFIELD GU32 3EL
- Lavant House is situated on the corner of Charles Street at the top of Lavant Street.
- Office 6 is above The General Wine Company.
- The entrance is next to Richard Mitham Associates estate agency.
- Go up the stairs and office 6 is straight ahead at the end of the corridor on the right.
Zen In The Art of Archery was recommended to me by the late Tony Carter when I was postgraduate student and he was both Principle and leader of the Fine Art MA at The City & Guilds of London Art School.
Last week I found a used copy which reminded me that I needed to read it – after thirteen years. During that time I have developed both my understanding of Buddhism and a strong daily meditation practice, which I believe puts me in a better position to understand the subtleties of the book.
Tony Carter’s understanding about the connection between Zen, archery, and artistic practice has become apparent to me on page 46 of the text. At this point the author, Eugen Herrigel, has convinced a Zen Master to teach him archery. He has spent a year learning the correct breathing technique for drawing the string of the bow. Having finally understood how to breathe and relax his body he is struggling to let the string of the bow go without jerking the bow, and thus missing the target.
‘You have described only too well’, replied the Master, ‘where the difficulty lies. Do you know why you cannot wait for the shot and why you get out of breath before it has come? The right shot at the right moment does not come because you do not let go of yourself. You do not wait for fulfilment, but brace yourself for failure. So long as that is so, you have no choice but to call forth some thing yourself that ought to happen independently of you, and so long as you call it forth your hand will not open in the right way – like the hand of a child: it does not burst open like the skin of a ripe fruit.’
I had to admit to the Master that this interpretation made me more confused than ever. ‘For ultimately’, I said, ‘I draw the bow and loose the shot in order to hit the target. The drawing is thus a means to an end, and I cannot lose sight of this connection. The child knows nothing of this, but for me the two things cannot be disconnected.’
‘The right art’, cried the Master, ‘is purposeless, aimless! The more obstinately you try to learn how to shoot the arrow for the sake of hitting the goal, the less you will succeed in the one and the further the other will recede. What stands in your way is that you have a much too wilful will. You think that what you do not do yourself does not happen.’
… ‘What must I do, then?’ I asked thoughtfully.
‘You must learn to wait properly.’
‘And how does one learn that?’
‘By letting go of yourself, leaving yourself and everything yours behind you so decisively that nothing more is left of you but a purposeless tension.’
How often do we too ‘brace ourselves for failure’ instead of ‘letting go’ in all aspects of our lives. In relation to artistic practice this notion of ‘letting go’ can be applied such that one is no longer trying to make a picture, or indeed produce a good one. By letting go of the outcome we can feel the brush or pencil and be at one with it in the moment, unhindered, so that the brush is moving without will power, it is automatic like the muscle memory used by sports professionals.
When I learned windsurfing I was told that by breaking down the manoeuvres and practising the movements required I would be training the muscles to remember how to perform the sequences on their own, without the need to think about it. So that when the wind came up and speed together with the correct movement was required the response would be automatic. By letting go of the need to control the equipment the body would feel and respond to the wind directly without requiring any input from the mind.
For the author, the thought of letting go of the string is becoming a block to letting go well. Letting go well would prevent the jerk of the bow and therefore the target would be hit directly. Therefore by not thinking about the goal we would be better able to achieve our goal.
The Master’s comment that ‘you think that what you do not do yourself does not happen’ relates to our ability to let go and to be able to trust. Setting our intention and then letting go of it is essential for manifestation. We need to be able to put our trust in the right outcome happening without straining for it with will power.
I believe that Tony Carter was talking about going with the painting and allowing it to happen without force. Being in the moment, being in the painting, working automatically.
12 September 2017 – 21 January 2018
The exhibition of Rachel Whiteread’s work currently on at Tate Britain is a real treat because it is the biggest survey of her work ever shown, spanning 30 years of output. This abundance really brings attention to the extensive range of materials she has mastered in her practice during that time.
It features large-scale sculptural works in industrial materials such as plaster, resin, rubber, concrete, and metal alongside smaller works on paper, which are rarely shown publicly and usually only seen in books. Whiteread’s intimate drawings hold a fascination for me because of the variety of mark making techniques she employs; a mixture of varnish, pencil, ink, correction fluid, watercolour, and collage on a range of supports from graph to cartridge paper. She describes her use of correction fluid as being about building up layers, almost like ‘casting a drawing’. By laser-cutting into plywood her drawings have evolved into 3d forms.
Whiteread has said that drawing for her is a core activity that she uses as a visual diary to explore her thoughts and ideas on a daily basis. I feel inspired now to do this myself as a daily practice to let go and see what can come up from my subconscious.
What is particularly interesting for me about this exhibition is the way it brings together her obsession with the domestic, starting with four early sculptures from her first solo show in 1988; a dressing table, a clothes cupboard, the underside of a bed, and a hot-water bottle – which was the starting point for the series of ‘torsos’.
Whiteread became known for her unusual casting technique when she became the first women to win the Turner Prize with ‘House’ in 1993. Traditional casting methods always seek to replicate objects as they are seen, but this ambitious work was a concrete cast of the entire interior of a terraced house in London’s East End.
I have always admired her way of making negative space a solid form because of the way it toys with Freud’s theory of the uncanny by rendering the everyday into something strange, and threatening. As well as exploring the negative space around domestic objects such as tables, beds, bookcases, boxes, and architectural features including stairs, floors, windows, doors, and sheds she has also cast the invisible space inside objects like bottles and mattresses.
These works challenge our perception, creating a conceptual flip that causes us to question our sense of reality.
London Art Fair 2013
Business Design Centre, 52 Upper Street, London N1 0QH
15 January to 20 January 2013
Stand 18 – Long & Ryle Gallery
Long & Ryle will be showing two new drawings which take film as point of departure:
House by the River, references Fritz Lang’s gothic noir film of the same name in which ominously billowing curtains move out of the shadows to strangle a murderer.
The Conversation, considers themes of obsessive secrecy, privacy, and the ambiguous nature of a conversation overheard in a hotel room taken from Francis Ford Coppola’s film of the same title.
Other Long & Ryle artists being shown on the stand include John Monks, Katharine Morling, Simon Casson, Geoff Routh, Helen Napper, Su Blackwell, and Ramiro Fernandez Saus.
The 25th edition of London Art Fair brings together over 100 leading galleries from across the UK and overseas. Museum-quality Modern British art is presented alongside contemporary work from today’s leading artists, covering the period from the early 20th century to the present day.
Tues 15 January (Invited guests / Preview & Six Day Ticket Holders) 6:30pm – 9:00pm
Wed 16 January 11:00am – 9:00pm
Thurs 17 January 11:00am – 9:00pm
Fri 18 January 11:00am – 7:00pm
Sat 19 January 10:00am – 7:00pm
Sun 20 January 10:00am – 5:00pm
A feature on my work written by Martha Alexander was published in the September 2012 edition of Artists & Illustrators magazine.
Dark Places by Martha Alexander
Artist Fran Richardson is always on the look out for new and unusual ideas, so her award-winning drawings are inspired by everything from saints and architects to ‘uncanny’ psychology.
Looking at her large-scale charcoal drawings of domestic interiors, your assumption might be that Fran Richardson is a stickler for disciplined realism and absolute accuracy. And though that’s true to a certain extent, what you might not appreciate is that while they are flawless in their execution, they actually portray imagined spaces. “I take ideas from different places,” she says. “I am interested in the way that perspective is disrupted. Quite often the composition will not follow the laws of perspective and it brings up the idea of looking strange or unreal. It’s all deliberately done with the intention of people looking at it and thinking, ‘that’s not quite right’.”
Viewers often comment on the photorealistic finish to the drawings and it is an observation that Fran welcomes. “The idea it that it looks real but when you look closer it looks wrong,” she explains. “It can be very subtle.”
Fran’s approach is borne out of an interest in the idea of psychological or dream spaces – in other words, imagined settings comprised of the jumbled up elements of a variety of domestic interiors. Her interest in the concept came about as part of the research for her BA in painting from the City & Guilds of London Art School. The artist has always had an interest in psychology and it was only then that she began reading about dream theory. “I found out about the link between the house and the mind,” she says, explaining how the psychologist Jung had dreamt of a house with multiple levels – cellar to attic – and how he related these levels to the subconscious. “Then I went on to read Freud who wrote about the ‘uncanny’ – when the familiar suddenly becomes strange or threatening – so those two lines of enquiry became a starting point for all the drawings in my BA show.”
Fran’s reading has naturally slowed down a great deal since she graduated from her subsequent masters course in 2006. However, given that her work is so anchored in psychological concepts, research is an integral part of her practice –even if some of it does sound slightly surreal to the point of bizarre. “A year ago I had my first solo show at Long & Ryle and the basis for that was [prominent 16th –century Spanish mystic] St Teresa of Avila, who described the spirit as like a crystal. She related the crystal to being a castle with many rooms.”
Nevertheless, such unusual and multifaceted starting points help to keep Fran’s work fresh. “Every so often something crops up – I read about it and it directs my drawing into different areas, but I don’t deliberately go out to read lots of theory.”
Her training at City & Guilds of London Art School wasn’t all purely theoretical however: “The schools is unusual in that it has a lot of focus on drawing as a basis of research and the tutors really support drawing.”
Life drawing classes were offered to students on two evenings of each week and observational drawing was likewise encouraged in the painting department. Unusually, despite studying both a BA and MA in painting, Fran’s affinity for draughtsmanship was such that her final degree show consisted entirely of drawings. That body of work has since formed the basis of the work she is producing now: “My masters and beyond was all about developing the work.”
Fran’s large-scale drawings are underpinned by collage: she collects old books and magazines, the pictures from which will often end up forming part of her completed works. “I tend to keep my inspiration in files so if I come across a book or magazine feature that might be useful, I file it away for reference so I can come back to it later,” she says. “My studio is full of works in progress, notes to myself or just white walls.”
Visiting old building to sketch is an important part of her process. Where possible she tries to get permission to take photographs, too. Fran especially likes Sir John Soane’s Museum in London. Situated in the legendary Bank of England architect’s former home at Lincoln’s Inn Fields, the museum now houses his collections of art and antiquities. “It’s a depository of history and a brilliant starting point,” says Fran. “Not only the objects in the building but the way [Sir John Soane] changed and altered buildings to manipulate light sources. He would have a really dark corridor and put a skylight in to bring a shaft of light down to focus on the different areas. He was playing with chiaroscuro and that’s something that’s still filtering through my work now.”
That use of tonal contrast in her drawings might be inspired by classical architecture, but it is very much down to her, given that the rooms she depicts are ultimately imaginary: “As the drawing develops, I’ll move the light source around and make it very dark, black and velvety.”
Fran was recently shortlisted for the Jerwood Drawing Prize and her pleasure at the acknowledgement goes beyond simply the prestigious nature of the prize itself. “It was really nice to be selected by Rachel Whiteread because I looked at her work a lot when I was working towards my BA dissertation and wrote about the uncanny. Her sculpture came into it – the way she subverts the domestic. I really admire her drawing, too.”
In just five years since graduating, Fran has also been awarded the drawing prize at the National Open Art Competition and a visitors’ choice award at Brighton Festival. Buoyed by her success, she now feels it’s important that artists who focus on drawing are given the recognition they deserve in open art competitions. “To be exhibited alongside painting and sculpture is a huge development if you look at the history of drawing. It was always considered to be secondary to painting and sculpture and it was seen as just something that came before them. It’s good that drawing is starting to be considered as work in its own right.”
The 15th National Open Art Exhibition
10 – 29 December 2011
Open 10am – 9pm daily
Chichester Festival Theatre, Oaklands Park, Chichester PO19 6AP
‘Il Gattopardo’ has been selected by Gavin Turk (artist), Catherine Lampert (former director of the Whitechapel Gallery, London), Lisa Wright (2009 winner), Rosie Emerson (artist) and Francis Hodgson (Financial Times) for the 2011 exhibition.
All work is for sale, admission is FREE.
Panel Led Discussion
19.00 15 December
Piers Ottey (artist), Prof Ed Chaney (expert on the Grand Tour), David Lee (Jackdaw), Steve McDade (Head of Fine Art at the University of Chichester, and Mandy Shepherd (artist) will all discuss their views on contemporary art and the exhibition.
Tim Sandys- Renton and Piers Ottey talk you round the exhibition.
18.00 12 December
12.00 14 December
12.00 19 December
12.00 21 December
“Drawing Room” is one of the 73 pictures selected from 3500 entries for the Jerwood Drawing Prize 2011. The selectors were Iwona Blazwick, Director, Whitechapel Gallery; Tim Marlow, writer, broadcaster and Director of Exhibitions, White Cube; and Rachel Whiteread, artist.
The Jerwood Prize exhibition will be at Jerwood Space, London from 14 September – 30 October 2011.
The exhibition will then tour nationally including BayArts, Cardiff and the Burton Art Gallery & Museum, Bridport.
The following artists were accepted for the 2011 Jerwood Drawing Prize exhibition:
Ka Wah Liu
Bethan Lloyd Worthington
Exhibition: 10 March – 8 April 2011
Gallery opening times: tues. – fri. 10 – 5.30 + sat. 11 – 2:30
Nearest tube: Pimlico
This exhibition of finely rendered charcoal drawings takes the celebrated 1579 book by the mystic St Teresa of Avila as a point of departure to propose a visual contemplation on perception, memory, and the symbolic nature of interior space.
During a meditation Teresa had a vision in which the soul was ‘a castle made of a single diamond … in which there are many rooms, just as in Heaven there are many mansions.’ This body of work explores the opulent splendour of the various rooms through which the soul in its quest for perfection must pass before reaching the innermost chamber, the place of complete transfiguration. We are invited as voyeurs to enter a private world of intimate spaces imbued with hidden meaning and complex emotions.
Building on previous series of interiors, Richardson continues to explore the representation of psychological space by blending architecture and furniture from different sources through a process of appropriation, selection, collage, and re-presentation. The fragmented imagery is transformed by design elements such as cropping, reversing, and redrafting. Perspectival irregularities are exploited to subtly disrupt the final composition, suggesting a sense of unease that questions our perception of reality and the enigma of appearances.
The drawing process facilitates the manipulation of tone by employing a meticulous technique that carefully distributes deposits of charcoal onto the surface. Value is achieved by controlling the extent to which the texture of the ground shows through the spread of black: in this sense we are presented with the materiality of the surface as much as the image. For Richardson drawing is a primary activity and a stand-alone medium; these works are not the evidence of a preliminary stage that serves painting as a conceptual aid, they are finished works in their own right. Charcoal was selected because it is receptive to minor adjustment permitting subtle gradations in tonal value and sharp contrast between the pure white of the paper to the dense, velvety blackness of the shadows, conveying a sense of ethereal, atmospheric mystery that references early film noir.
By combining the imaginative transformation of appropriated imagery with a realist language that evokes the naturalistic qualities of light, space, and atmosphere, Richardson works in the Dutch tradition of painting imaginary architectural portraits. All works on paper are professionally framed to archival standard in hardwood box frames glazed with Water White ultra clear glass, which is anti- glare, anti-reflective, and UV protective.
Richardson was recently awarded The Arts Club Charitable Trust drawing prize at the National Open Art Competition, the Brian Sinfield Fine Arts Award at Pastels Today and the Visitors’ Choice Award at the Brighton Festival Selectors’ Choice exhibition. Drawings were also selected for the Manifest International Drawing Annual 4 and Drawing Room II, a survey of contemporary drawing at the Royal West of England Academy. Fran Richardson is represented by Long & Ryle, London and is a visiting lecturer at the City & Guilds of London Art School, London.
Please contact Emma Wingfield or Sarah Long for further information.
LONG&RYLE 4 JOHN ISLIP STREET LONDON, SW1P 4PX
Monday 23rd – Monday 30th November
Pallant House Gallery, 9 North Pallant, Chichester PO19 1TJ
‘Untitled – Bed 7’ has been awarded The Arts Club Prize for The Finest Drawing in the Show and will be exhibited at Pallant House Gallery with the other 17 prize winners.
Saturday 7th November – 21st November Open 10am – 9pm daily
The Minerva, Chichester Festival Theatre, Oaklands Park Chichester, PO19 6AP
‘Untitled Bed 7’ has been selected by Gavin Turk (artist), Catherine Lampert (former director of the Whitechapel Gallery, London), and James Stewart (Zimmer Stewart Gallery, Arundel). All work is for sale, admission is FREE.
Having opened its doors to critical acclaim with their inaugural exhibition, Myth and History in September 2009, The Bristol Gallery is now pleased to present New Contemporaries I. The Bristol Gallery’s latest exhibition features the best and the brightest emerging contemporary artists, brought together for the first time at our premises on Bristol’s prestigious Harbourside development. The show explores new parameters and directions, bringing a diverse range of talent and experience to new audiences in the region. The exhibition acts as site for unusual and exciting discoveries, promoting and creating access to vibrant contemporary visual art with a lively assembly of artists working in a range of media including photographs, textiles, abstracts, video, installation and sculpture.
We are proud to present works by Arno, Jan Lewin-Cadogan, Rakhee, Nicola Dale, Cordelia Spalding, Katharine Barker, Paul Wright, Fran Richardson, Alison Black, Susan Bowman, Peter Walker, Michelle Lord and Helen Grundy at affordable prices ranging from £150.00 – £15,000.00.
The exhibition runs from Saturday 7th November 2009 – Thursday 7th January 2010.
New Contemporaries I aims to show new and exciting art that engages the viewer in both looking at and thinking about the art on display; with this in mind The Bristol Gallery has carefully selected artworks to provide broad scope and multiple possibilities for visual interpretation and impact for audiences and collectors throughout the region.
Curated by Andrew Price and Holly Lopez.
Gallery Opening Hours:
Monday – Friday: 9am – 6pm
Saturday and Sunday: 10am – 5pm
Late night opening: Thursday until 8pm
The Bristol Gallery
Building 8, Unit 2
Bristol BS1 5TY
Tel: 0117 930 0005
I am showing work with Long & Ryle at Art London 8-12 October 2009 at the Royal Hospital, Chelsea, London. http://www.artlondon.net
Fran has been awarded the Visitors Choice Prize by visitors to the ‘House: Art and Domestic Space’ show on recently at The Regency Town House. Throughout the Brighton Festival visitors were able to vote for their favourite artist taking part in the Selectors’ Choice exhibition.
The Selectors’ Choice exhibition showcases work of artists exhibiting in the Open Houses. The exhibition, chosen by curators from Brighton Museum, Pallant House Gallery Chichester and The Regency Town House, mixes accomplished, dynamic and engaging work in a stunning gallery space. ‘Untitled – Chair 3’ and ‘Untitled – Bed 5’ have been selected by Nicola Coleby (Exhibitions, Brighton Museum and Art Gallery), Simon Martin (Assistant Curator, Pallant House Gallery, Chichester), and Woodrow Kernohan (Director, Permanent Gallery).
The domestic context of The Regency Town House forms the perfect setting for an open exhibition based on the theme of ‘House’. Over 80 artists submitted work, and the work chosen provides an imaginative discourse on the theme. ‘House’ is explored through its association with domesticity, shelter, enclosure, space, materials, family, memory and many other meanings. The work ranges from complex to deceptively simple, from evident association with the theme to more subtle exploration that rewards engagement. Assemblages, moving image work, paintings and prints are combined in a thought provoking exhibition in the resonant setting of this Regency period townhouse in the midst of restoration.
‘Untitled – Bed 8’ has been awarded the Brian Sinfield Fine Arts Award. The drawing was selected from an exhibition of the best of contemporary pastel painting and drawing in the UK on show at the Mall Galleries, The Mall, London. On show was a variety of work in pastels, oil pastels and charcoal, reflecting the diverse nature of the medium, and included work by the late Mark Leach and invited artist John Emmanuel.
Fran is pleased to announce that her charcoal drawing ‘Untitled – Bed 7’ has been selected for The Manifest International Drawing Annual 4.
Featuring 100 contemporary drawings selected from over 1100 submissions by artists from across the globe the book will go on sale in September 2009 from Amazon or at www.manifestgallery.org.
The Manifest Drawing Centre, based in Cincinnati, Ohio, publishes the International Drawing Annual to promote, feature, and explore drawing as a rich and culturally significant art form in the United States and beyond.