Consciousness

Will: The Power of Integration

INSPIRATION

Believe it or not, I wasn’t planning this. My initial chakra focused image, “The Flowering of Truth” was intended to be a single image. When I completed the work in February, I had no intention of creating another work on the chakras – nor the impetus to create a series. But it would seem that Spirit had other plans.

A large percentage of my inspirational and creative processes are dependent upon intuition and channeling. Most of my inspirations are brought forth through life-experiences and/or insights intuited/channeled/gleaned from my meditation practice. In a very real sense, one could view my creative practice as a spiritual development journal. In hindsight, I see that the process of strengthening my 5th chakra was in preparation for my departure from my day job in order to pursue my vocation full-time. I needed to connect with the expression of my voice and speak forth my truth in authenticity. “Will: The Power of Integration” is about the need for me to marshal my energies and resources towards the achievement of my goals so that I will have the strength to persevere despite all obstacles. It wasn’t until this image’s completion that I realized that this was the start of a series.

The third chakra is found in the vicinity of the navel and solar plexus. Its primary element is fire – thus it is associated with the pancreas and adrenals. It’s color – yellow is the core of the preceding two chakras (red and orange respectively) as the core of any fire is bright yellow-white with the reds and oranges radiating from that burning center. The 3rd chakra is the integrator of the 2 preceding it (1 = earth/matter, 2 = water/creation). Hence the power of the 3rd chakra is based in integration. It’s mantra, “I can” is reflective of human “Will”. Not society’s traditional notion of “will to power, conquer, push through…” but a dynamic force that transforms and shapes through integration. From this perspective, “will” is the integration of our desire and focus for the purposes of transformation and manifestation. Thus transformation and manifestation are based upon one’s power to combine and integrate the various aspects of one’s being in order to direct them towards a purpose. This is the power of “Will”.

Will: The Power of Integration

Will: The Power of Integration. The 2nd creation in my chakra series.

SYMBOLISM

As discussed previously, the color yellow is associated with the 3rd chakra and the core of fire and sun. I chose not to seat the figure because I wanted her to embody the energy associated with this chakra. This woman is standing, floating up and away from the lotus beneath her. She rises unaided, of her volition as she integrates her focus and desire in order to initiate her own ascension. She is the source of her own ascension and transformation due to her own self-integration (we are in truth the truth we seek). Her outstretched arms are symbolic of both praise and the discovery of her own inner power.  It is as if her outstretched arms and slightly lifted head evoke ecstasy and draw in the swirling matter that surrounds her as it becomes an integral part of her being. Her hair is both charged with the light of the chakra’s activation and the power flowing within. 

The graphic lotus symbol above her depicts the third chakra and its accompanying Sanskrit character. The open lotus beneath her figure is also symbolic of the chakras in general. 

Look out for a discussion of the crown chakra next month!

 

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Synchronicity

The past 5 weeks have been a whirlwind. As you know, it was 5 weeks ago that I officially left my day job and began devoting myself toward the development of my vocation – to dedicate my time and energy to the fulfillment of my mission statement:

“To give divine light form through the manifestation of symbolic images that encourage reflection upon the myriad ways spirit reveals itself within our world.” 

I have been working on making sure things are in order for my vending at the various art and wine festivals throughout the Bay Area (see right panel for the schedule) setting up a consistent studio schedule and looking for reasonable part-time employment.  Money is tight, the vending circuit can be grueling, and I need to stay focused on the creation of additional images.

I have prepped the canvas in anticipation of completing the second image in my new chakra series. I was also inspired by a photo I posted on Facebook and a painting by Richard Diebenkorn I saw at an exhibit in San Francisco a few months ago. These 2 seeming ly random impressions blossomed into a concept regarding the notion of Memento mori – translated from Latin as, “remember you must die.” These kinds of images have been used historically but became a common genre of imagery for artists during the 17th century. Anyway, I began researching and collecting reference for the

Anyway, I began researching the theme and collecting reference images for the creation of my own memento mori about 6 weeks ago. In July First Friday was extremely packed and lots of people were in the studio. A woman began speaking with me about my work and inquired about my interest in submitting an image proposal for a project at the next Burning Man. I said sure and took her information to follow-up but didn;t really think much of it. the following week I reached out to make contact and was eventually sent a packet of specs and other information about how to complete my submission for the project. I initially saved the email but didn’t open any of the attachments to look at them because I was too busy with some other projects and the deadline wasn’t until August 3rd.

In the interim, I completed the canvas prep and worked up a suitable sketch for the memento mori project. Once the sketch was up to standards I decided to complete the image in scratchboard and mocked it up on a nice new piece of board.

Pyramid skectch

Mock-up sketch for Scratchboard

Last week I took a break from sketch-searching (my own new word for sketching and researching) to go through my emails and look at the specifications for the Burning Man submission. It turns out that the project is focused on the creation of a South American style pyramid themed around the Day of the Dead.  I immediately thought about how I could use the Memento Mori project I was working on and create a small mock-up version to submit for the Pyramid project.  I usually complete some kind of small mock-up n preparation for a new project anyway so the whole process was fitting right into my normal work flow.

Nicho b:w

Completed mock-up for Burning Man Pyramid

I completed the sketch and then decided it would be more attractive using color so I made the adjustment to create a color mock-up and submitted it for review. To my surprise, the next morning I received the following confirmation,

“Hi Damon,

This a beautiful piece! With your permission we would like to use it as a perk for our second crowdfunding campaign. We would print 8×10 poster prints as a donation reward, we would like to include a short bio about the artist and a link to more of your work. Let us know if this is acceptable for you.”

Talk about synchronicities! All of these random slices of events and impressions came together in order for this to happen. This is what life and the willingness to maintain a connection to spirit is truly all about. This is a reminder to keep following my intuition, listening through meditation and prayer, acting with assurance that guidance is always available, and being willing to follow-up and do the work! So mark your calendars and get ready to join me at my first Burning Man!!

Powell Nicho submission

Memento Mori color mock-up sketch.

I will still be completing my own Scratchboard piece of this image (with a few modifications) in the coming weeks so be on the lookout. When I post the completed image I will provide my usual breakdown with regard to the image’s meaning and symbolism – so be on the lookout!

 

 

There is only Love

 

WHEN WE PRAY: THERE IS ONLY LOVE

INSPIRATION

There are certain themes in life that continually repeat for each of us.  Lessons we must learn, ideas and concepts that require us to continually expand our understanding of them, seasons of lack and plenty…and these too are an integral part of our soul’s journey.

An ongoing theme for me is Love. In this case, I seem to have come full circle because I thought that the “When We Pray” series was complete last summer. I completed what I thought was the final image of the series (#VII) and began to move on, but the inspiration for this image burst forth in me and has already inspired me to begin another in the series. You may also remember that I was addressing the theme of Love inspired by Rumi in my creation of the “Resurrection of Love” triptych. But it appears that neither Prayer nor Love are through with me yet.

My efforts to strengthen my intuition and maintain a more consistent connection to my guides are steadily convincing me that we are forever and always surrounded by Love. It’s not that I didn’t already know or believe this, but my vision was clouded by my own biases and preconceptions. It is one thing to understand a thing conceptually, but truly knowing it in the depths of one’s spirit is something drastically different.

Most of us believe that God is love, that our souls have come here to give and receive love, that we are loved unconditionally; but very few of us have been able to truly experience the power and depths of divine love – let alone consistently dwell in that state of experience. At best we have epiphinal moments through which we are able to experience glimpses of glory. We know that familiar feeling you get with family or old friends when you feel completely safe, whole, known, accepted and loved. Those moments when all is right with the world and we silently wish that we could suspend time in such a way that would allow us to spend the rest of our lives suspended in that moment.

I am coming to know and rest assured that there is only love. That each of us is loved and cherished with a depth that we will never truly understand on this side of the veil. That our higher selves and guides pray with us, for us, and undergird each of us with an unfathomable love! Find the courage to trust it. Let go of fear and cling to love. What has been holding you back from love – both spiritually and romantically? Be quiet, become still, open your heart to Spirit and in the darkness of that silence, you will come to know that love is all in all.

There is Only Love72.5

SYMBOLISM

I made use of the repeating heart motif because it is easily recognizable within modern cultural iconography. This motif is repeated throughout the composition not only as a symbol of love but as a means of guiding the eye downward through the image. The heart motif with its downward edge helps push the eye downward from the heart of the angelic guide, down through the bottom of the heart shape surrounding the angel, then down through the hands framed in the heart shape, then we dive once more into the heart of the human figure which will also help guide our gaze into the power of love symbol located beneath the figure. A love that is always flowing downward to each of us through various levels of being.

The angelic being who floats in the large heart above the figure is also engaged with the human figure below it in meditation and prayer. This figure also holds and receives divine love with its heart. A love that is echoed in the heart of its human companion. This connection is symbolized in the identical hearts the two figures share. The two figures are communicating heart to heart through the medium of love. Earthly intuition is perceived in the gut, but spiritual intuition is perceived in the heart and transmitted through love. This being holds its hands in the form of a teaching mudra – as it imparts divine wisdom and blessings upon the human figure below.

The halo above this figure is a symbol of divine grace, majesty, and power; while the symbol directly below the figure is an Adinkra glyph indicating divine love.

Since this image is a companion to the When We Pray series it was imperative that the hand motif occupy a prominent role within the composition. As in the other pieces in the series, the hands symbolize the hands of the divine as an ever-present source of comfort, protection, support…etc. In this case, the hands have formed the shape of a heart to symbolize the presence of divine love which surrounds the praying figure within. The hands operate almost like a frame that we gaze into to find the small but significant human being within them. Not only are we surrounded by love, but it serves as the very framework through which all humanity must be viewed.

The figure within the divine hands is deep in prayer and meditation. His closed eyes and traditional meditative posture indicate his turn within- while the halo and biomorphic energy field surrounding him are indicative of the higher spiritual energies he is receiving as a result of his practice. His hands form the mudra associated with blessings and wisdom. His practice brings him both divine blessing and love, but also provides wisdom into the deeper spiritual insights that are only available to those who consistently go within. The symbol below the figure is a West African glyph indicating the power of love. A love which is filling his heart as symbolized by the heart shape within the chest of the figure.

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The Flowering of Truth

INSPIRATION

The impetus for this work has been part of an ongoing struggle. A struggle that has been uniquely mine yet paradoxically experienced by each of us at various points throughout life. From the earliest stages of human development, each of us learns about self through the experience of contrast between us and that which is other. A baby begins to comprehend the difference between self and mother through the contrasts created by the touch. sight, and sound of its mother versus that of its own. Later in life, we often learn to distinguish who we are through the experience of contrast between the ways others (friends, parents, classmates…) are like us or different from us.
 
This process of self-discovery continues throughout the life cycle because each of us is always changing. The person you were at 3 is still present within your DNA and consciousness but is definitely not the same person who is reading this post right now. This process of continual growth and deepening consciousness requires that we not only discover who we are in terms of likes and preferences but also necessitates that we come to know self with depth and profundity. In a sense, one could postulate that we don’t actually learn who we truly are, but rather that we find the courage and strength to discover, and then become who we truly are. That living a conscious life is a continual process of becoming or embodying the spiritual beings whom we truly are.
  
As our eternal being, our essence becomes more fully integrated and embodied within us it shines forth more brightly through us under the guise of personality. In order for this to occur, we must first find the willingness to look within, the strength to face what we find there, and finally the courage to be that person in the world regardless of what others may say or think about us because of it. This kind of courage requires that we commit ourselves to complete truth and authenticity in all of our interactions. That you find the courage and commitment to be and do YOU in every aspect of your life – no matter what the circumstances. No facades, no compromises to get along, no hiding how you really feel or think to fit in, no holding back your truth for another’s sake…etc. I’m talking about having the courage and determination to be who you are in every way you can, under any and all circumstances.
 
Each of us has the right and the responsibility, to be who we are and do what we want as long as we are honest and forthright in our intentions, and do not hurt or harm others in the process. This kind of freedom can only be achieved by operating from a level of truth and authenticity that most of us are not willing to live from.  In my opinion, this is the kind of commitment to truth and authenticity which lies at the core of 5th chakra symbolism.  
The 5th chakra’s core principle is truth. It is the first chakra to move us beyond the boundaries of our physicality and connect us to the higher realms of consciousness by acting as a conduit for the expression of vibration, sound, and speech. Thus it is associated with the throat, neck thyroid, shoulders, arms, and hands. When we deny the truth within ourselves, or continually speak or act in ways which lack integrity or truth this chakra can easily become clogged or choked thereby weakening its’ vibration. When fully opened, this chakra gives one the courage and commitment to express one’s self in truth and authenticity.  
This has been the focus of my struggle. To not only know, “Who I am” but to strive to authentically “be me” in all situations and circumstances. To stop worrying about, “how others view me or my art?” If speaking my truth will cost me friends or prestige? Will people not like me if I show them who I really am or what I’m about? To be true to self is the simplest yet most difficult of endeavors. This year I am determined to open and clear this chakra. To let the real me shine forth and open up like as a flower opens to the receive the rays of the morning sun! To open to my truth, and express that authenticity in all my interactions. This is the Flowering of Truth.

flowering-of-truth-72-5

SYMBOLISM

The symbolism within this work is focused on truth. The large lotus symbol floating above the figure is a reinterpretation of the 5th chakra symbol. The deep cerulean blue is one of the colors associated with the chakra. The symbol found within the inner flower is the Bija symbol (or seed sound) “Ham”. When repeated, this sound is the key used to activate the chakra and unlock its power. The symbol eye-like piece above symbol is my own additive that which is reminiscent of omniscient divine presence. The white outline used to outline the flower is symbolic of the full moon which is also part of the chakra’s symbolism. T

The flower upon which the figure sits is also a lotus. I purposely used the varying shades of blue for this composition since the primary colors associated with the chakra are cerulean blue and turquoise. This flowering lotus is opening because the figure seated upon it is chanting the seed sound “Ham” as a mantra as she meditates upon the qualities associated with the 5th chakra. 

Since the seated figure is meditating upon the 5th chakra and chanting its’ seed sound, I chose the lift her head and expose her neck – the primary body part associated with the 5th chakra. I intentionally placed the tale end of the seed symbol in the lotus above her head near the figure’s throat in order to further accentuate her neckline and the connection between sound/mantra, the symbol, and the chakra’s connection to the throat. 

My intention was to strike a balance between the areas that were more highly rendered (the opening lotus and the figure’s flesh) and the more graphic areas (the lotus above the figure and the figure’s clothing in order to create a visually energetic push-and-pull between the various portions of the composition. This tension helps to create a downward movement which draws the eye from the face down through the opening lotus. I chose to keep the background soft and muted so that it would not distract from the main focal point of the composition – the meditating figure.

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The Awakening

INSPIRATION

If you recall, last month I spoke about my creative rut and accompanying blues. The 1 piece I did manage to create during the darkest portion of that period “Moonlight Blues” played an integral role in the creation of the piece featured this month.  It’s a shame that even the most spiritually in tune of us often miss the significance of certain events or decisions when we are caught up in the midst of them.  
For each of us there are ingatherings. Periods in our lives when we are struck by pain, hurt, loss, rapid change…and it affects us so deeply that we are forced to withdraw,  step back from life and the world, and just be alone (ingathering). During these times we are forced to grow, transform, stretch our inner being beyond the limits we had convinced ourselves we could not reach. During these periods of ingathering, we are often able to undergo rapid growth and experience profound shifts in spiritual awareness through which we are literally elevated and transformed. 
Just as the caterpillar cannot transform into the beautiful butterfly unless it withdraws from life and enters into its cocoon – a kind of ingathering. It must first go within. While in the cocoon, every cell in its body literally dissolves back into primal goo and is then recombined into an entirely new being.   It is literally transformed. From the prefix trans – to move beyond or through, and form – the physical manifestation of our material world.  We too must transform.
For me, the place of wrath and tears that created Moonlight Blues, was actually a time of ingathering. It was literally the cocoon of my transformation. From within that shell, I received an awakening. I was able to literally receive a divine transmission which elevated my outlook and frequency. My intuition has been awakened and strengthened, I have begun to connect intimately with my higher self and guides, and I have also been able to allow my spirit to fuse more fully with my physical being thereby uprooting many deeply held negative energies. There has been an awakening – a quickening that has pushed me to a new way a being with a new higher vibratory baseline. This Awakening is the inspiration for the similarly entitled work shown here.  
awakening-72-5
 

SYMBOLISM

“The Awakening” is the next phase of the process of ascension and descension I had been depicting in the ascension series (Ascension I, II and Breaking the Veil). The ingathering experience has given me deeper insights into the process and some of its more subtle nuances. The image depicts a single figure seated in deep meditation. If you know anything about meditation you understand that the act itself is a form of ingathering as one becomes still, goes within, begins to decompress from the body/mind’s constant barrage of sensory stimuli so that one can be renewed. As she receives divine transformation her head lifts up towards the heavens and in a gesture of receptivity and thanksgiving for the spiritual energies she is receiving. There is an opening, an infusion, a download if you will that will energize and awakens parts of her being (both physically and spiritually) which had previously lain dormant. The ability to literally float upon the air and phase in and out of  physical reality was a common feat documented on the life stories of many spiritual masters. 

As the figure floats upon the air bolts of lightning spread out beneath her. These thunderbolts represent not only spiritual power but the subsequent ability to affect the physical realm of nature – an ability that is also shared by those who have ascended and is usually narrated in the form of healings, walking on water, stilling storms, speaking with animals…etc.  Those who reach this level of mastery have power flowing through them that has a spontaneous effect upon others around them. This phenomena was responsible for the veneration of relics and other sacred items that belonged to holy figures. For example, the bible speaks of people being healed by the touching the discarded garments of the apostle Paul and other noted saints. 

Her hair rises up as it is filled with the sacred energies that are being received and course through her entire being. These energies are both spiritual and physical. Her hands form a mudra symbolizing power and transformation, while her eyes open up toward the heavens above. All the while she is supported by the divine hand of god which serves as a support, source of uplift, and grounding protection from any lower energies.

The burning fire bursting forth from the figure’s heart symbolizes healing, regeneration, and the development of a richer sense of intuition and connection to spiritual realities. There is so much discussion in circles about the third eye and its power to open one to spiritual insights, that we often forgot the true seat of all knowing is not from the mind or upper chakras, but from and within the heart. The same spiritual fire depicted within the figure’s chest is also mirrored above her in each of the smaller orbs that comprise the outer portion of the heavenly circle above. This divine connection is maintained within the awakened heart.

The other symbols within the piece are all loosely based upon numerological theories. The large circle above her is an adaptation of the Fibonacci scaling system which is directly connected to Phi and the golden rule of divine proportion found throughout nature, art, music, the human body, and symbology. The circular scaling sequence and the spiraling energies within the circle are all part of this system. The floating circular shapes are healing glyphs fashioned of copper that have been purported to heal those who come into contact with them, while the 9 pointed triangular shapes within the glyphs are indicative of the 9 personality types found within the Enneagram.  The number 4 is associated with the earthly plane so the four glyphs are earthly symbols which help to keep the figure grounded as the heavenly energies descend and fuse with her physical nature.  As in many of my other images, the figure is encircled within a biomorphically shaped ring of power which is indicative of both spiritual power and the auric energies.

This image will be the cover for my next major project. I have begun the process of developing 2 books for next year. This image will serve as the cover of project number 2. A large format coffee table book entitled: When We Pray: Seven Monographs on the Aesthetics of Prayer and the Spiritual Life. Look for further details by the end of March 2017! 

To purchase the original image please contact me directly at:

Damon’s Originals

To Purchase a Print use the link below:

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Ascension III: Breaking through the Veil

INSPIRATION

Although the appearance of this image is very different from the two which have preceded it, the impetus for its creation is deeply embedded within the same concept. “Breaking through the Veil” is still very much about ascension. At the most fundamental level, each of us is spirit and exists as such in this dimension and those beyond it. From a quantum perspective, we know that more dense slower moving particles (lower vibration) can not maintain their integrity in the presence of less dense particles (higher vibration). The more dense particles must either be accelerated to the higher frequency or be destroyed by it. From a spiritual viewpoint, Spirit must literally descend to a lower frequency in order to become encased within physical matter. The portion of human consciousness which exists within our bodies had to literally descend and break through into this 4th-dimensional reality. 
Part of our spiritual work is the practice of more fully embodying this higher energy and consciousness within our physical body. At our best, we do this through a process of spiritual formation and an intentional cultivation of the inner life that will help spirit become increasingly more present within every aspect of our being. At our worst, we live unconsciously and are driven by ego, habit, and basic physical impulses. Siddhartha the first Buddha is a shining example of the potential we possess when the spiritual life is cultivated with discipline and intention. As we read his story we are privy to an ongoing process of transformation which culminates in him embodying so much spiritual light that he could phase up and out (ascend) into the higher dimensions of consciousness. He took the small spark which had initially broken through the veil and fanned it into a bright and shining light that brought about his ascension. 
When we review the life of Jesus and the events which led to his resurrection and subsequent ascension we find another point of entry. As a boy, we are told that Jesus was constantly spending time with the spiritual masters of his particular tradition. We also find that a significant portion of this embodiment work was completed during his baptism in the river Jordan under the hand of his cousin John the Baptizer. We are told that when he presents himself to John for baptism, Jesus rose up from the water and the spirit descended upon him like a dove. Whether we view this literally or symbolically, the essential point is that he was transformed in a manner which was easily identifiable by those around him. In this case, he was provided with an inpouring of spiritual power for the performance of his particular mission within the earthly realm. This descension could be interpreted as a greater connection to his higher self, or a greater capacity to access the frequencies within the higher realms. This capacity allowed him to perform various works which seemed to be miraculous by our limited perspective. 
The examples above inspired me to create “Breaking through the Veil”. The images I create are not only birthed from my vocational practice but are the result of spiritual insights that have accompanied my own process of spiritual formation.
 

Breaking the Veil 72.5

SYMBOLISM

“Breaking through the Veil” symbolizes ascension and descension. The piece was created using scratchboard because the stark contrasts between dark and light were an essential part of my vision for the image. We encounter utter darkness on the left and right sides of the image. For me, this blackness is pregnant with symbolism. In Western Euroethnic culture, blackness is associated with that which is base and evil. But in other cultures this isn’t the case. The blackness encountered here is associated with formlessness, the void, a place absent of any “thing” yet pregnant with infinite possibility. Science refers to it as anti-matter that fills the spaces between space and as such it is the blank canvas of the cosmos.   

On the left side of this expanse, we find a single point of light shining forth within the darkness. This light, this single spark from source is filled with infinite knowledge which is symbolized by the all-seeing eye contained within it. This single divine spark is filled with all knowledge and therefore, an infinite capacity to act upon and within the darkness which surrounds it. It uses its very being to pierce through, manipulate, and mold the slower moving anti-matter into a form that a portion of its consciousness can embody. In the process of descension and embodiment so much is of its former brilliance is lost that it, we, so often forget that how truly powerful, brilliant and expansive we are. We forget that there is so much more to us than theses bodies and thoughts could ever contain. We forget that this is not all there is and that the reality we know is simply the tip of a massive iceberg buried deep within.  

The child-like figure finds shape and form as it emerges from the darkness yet it is not fully formed as none of us truly are. Some of us will live a thousand lifetimes and still remain partially unformed. unfulfilled, and never fully mature into the possibilities for which we were intended.  This is why we must work at embodying the spark, bringing forth the light which yearns to become fully actualized within us. Live in the Light!

The rings emanating from the figure are indicative of both spiritual light and the dissolution that accompanies time. The first one is bright white and clear as we grow into our full maturity. The second aura is much denser because it represents the genesis of our physical forms process of decline. Notice that each successive emanation has less form and greater degrees of dissipation.  What is spirit must return to spirit. Eventually, the physical form will return back into the void from which it was birthed, and the spark will once again merge with its own omniscient brillance. As Job reminds us, “Naked I came from my mother’s womb, and naked shall I return. The spirit gives and the spirit will take away.” Amen.

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Damon Powell – Artist & Theologian

Ascension II: The Buddha Nature Ascends

INSPIRATION

The term enlightenment is derived from the notion of light. The light of consciousness, the light of knowledge, the light of awareness that breaks through to us, and in us. Light comes to us in the midst of our ignorance, blindness, our will to power, and our pain. As we receive that light we slowly but surely ascend. We accelerate the process when we consciously and deliberately choose to consistently go within. These epiphanal glimpses of light inspired Ascension II.

As I reflect upon it now, the creation of Ascension II was almost inevitable. The thoughts and feelings which led to its creation are evidence of the natural process of expansion and deeper consciousness that accompanies the path to enlightenment. The Buddha is not necessarily a person. A more accurate characterization  would be to identify it as a state of being, or conscious awareness that can be reached by anyone. This truth ensures that there have been, and will be many Buddhas throughout the course of history. The Buddha is a nature which one acquires as one seeks to go ever deeper within. It is believed that some who have reached this state were able to literally shift their vibration to such a high rate that they disappeared into the realms of higher consciousness. 

Ascenion II72.5

SYMBOLISM

One of the first things you will notice about this piece is the horizontal format. I intentionally chose to use this format because I wanted to emphasize the point I made in my discussion of Ascension I regarding enlightenment as a process of expansion and not the upward movement we so often assign to it. Just as the first piece was long and vertical, this piece is wide and horizontal (36h x 48w) to reflect the notion of expansion as both upward and outward movement.

The four figures located in the corners of the image are seated in various meditation poses. They represent adepts who are following the teachings of the Buddha, and the Four Noble Truths of the Buddhist tradition (suffering, craving, there is an end to suffering, follow the path). Each figure is surrounded by an auric field which is not complete because they have not yet achieved enlightenment but are still walking the path.

The Buddha is encompassed within an eight-rung wheel which is reminiscent of the eight-fold path that is followed by all who seek to ascend in this tradition. The Path is characterized by the concepts of: right understanding, right thought, right speech, right action, right livelihood, right effort, mindfulness, and singularity of mind (enlightenment). It is the possession of these virtues which leads one toward ascension. The deep purple which comprises the wheel and the four figures is indicative spiritual strength-an essential for any transformation.

The Bodhi tree at the bottom center of the composition is a historical reminder that it was during meditation under a such a tree that Siddhartha achieved his enlightenment and thus ascended into the realms of Nirvana.

My use of the star-shaped figure around the wheel symbolizes both light, and the sudden flash of spiritual insight which can often accompany periods of deep meditation. One is often privy to sudden flashes of understanding which lead to even deeper levels of inner light and spaciousness.

In the center of the composition, we find the Buddha himself. He is sitting in a full lotus position with his eyes closed in deep meditation. He levitates above and within the spiritual energies which surround him.  I wasn’t really interested in representing the chakras in this image. My main concern was to depict spiritual light and create a sense of vibration and spiritual power. The lighter pastel colors which form the auric field, are not necessarily based upon the chakras.

All of the colors used in this piece were carefully chosen after numerous color roughs to determine which tones would work together seamlessly. It may seem random but the placement of the colors was carefully worked out so that they would all work together and compliment one another. Many pastel colors can be symbolic of higher energies without necessarily referring to the chakras. From a frequency perspective the many of the colors we associate with cooler temperatures (blue, green, violet) are actually of a higher wavelength frequency than  those we think of as warm (red, orange, yellow).The magenta cloud is juxtaposed to the deep blue clouds in an interplay of light and dark. The deep blue representing spiritual darkness or the unexamined state while the higher vibrations of magenta and the rays of green and yellow light break through the darkness.

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Winds of Hope

Winds of Hope

INSPIRATION

Recent events in my life have led me to the contemplation of hope. It just so happens that life has been moving along at its own steady pace. Sometimes intense and other times slow, but thankfully there have been no major upsets or crashing waves. When things are like this I often find the breathing room needed to catch my breath and connect more deeply to my higher self. It is during the steady rhythm of life that I am more easily able to reflect upon life’s deeper layers and connect with Spirit from a much more grounded place.

These times of recollection and reflection usually start with gratitude. I find myself grateful for the periods of sunshine that burst forth from the heart in the seasons between the storms. When I am quiet, I can observe a kind of in-gathering within my mind and spirit as all the myriad pieces of my identity are gently de-fragmented and reconnected to one another. I review the progress I have made, see things moving forward, and am filled with gratitude. But even more than that – I am filled with hope.

I am able to see the bigger picture and all the small but progressive steps that let me know I am moving forward towards my goals. This acknowledgment fills me with hope. Hope that that I can succeed. Hope that I can achieve my goals. Hope that I have and can make the right choices, and hope for the future. Hope is foundational and inspirational. The bible reminds us that,  “faith is the substance of things we yet hope for, the evidence of things not seen.” Most of us focus upon faith in this passage but the statement clearly places an even weightier emphasis upon hope – as the foundation which makes faith even possible. Without hope, life has no meaning. Without hope, faith is not possible. Without hope, there is no vision for the future. From this perspective, hope could best be defined as an assurance that the things we desire are actually capable of becoming reality. Thus my stepping back to acknowledge my progress. express gratitude for my current place, and celebrate my accomplishments fills me with hope.

Hope is the wind which blows through my spirit filling me with renewed determination and inspiration. My sails are full so, I do a bit more dreaming and make a few more plans. Then I stretch my arms out wide, lift my head towards the heavens and bathe in the hope’s breeze. HOPE

THE CREATIVE PROCESS

I began this blog because people who view my works often inquire about the meaning within my imagery and the symbols I employ. Since a great deal of my work is about spiritual insight and visual metaphor, symbology plays in integral role in my creative process. Lately, visitors to my studio have also begun asking about my medium, techniques, and the ways in which I am able to integrate them into my overall creative process. So I took the time to snap a few photos of this work in various stages of my creative process.

Everything starts with an idea or inspiration. It may be something I see, a spark gleaned from something I’ve been reading, an image or feeling that is impressed upon me within my meditations…but  things keep coming so I just try to remain open. Once I have solid grasp upon the concept, I begin doing sketches and/or looking at various images that may help to translate my inspiration into concrete visual form. This particular image had a rather long germination which began last winter while I spent 2 months viewing a package of subliminal message videos I had purchased. The actual composition came together quickly after I began researching images.

I am an extremely visual person and an artist so I often save random images that speak to me. While watching one of the videos, the image of the young man standing in the field struck me so I saved it. A few months later I was on google images (I just do that sometimes) and the grassy knoll just kind of popped out at me so I saved it as well. A month or so after that, I was at work making myself a cup of tea. I pulled the last tea bag out of the box and I saw the image of a lotus flower on the inside so I ripped the box apart and took the image to my studio so that I could digitize into my image library.  Shortly after that, I was sitting in my studio sketching. I was feeling really good and reflecting upon how well about things had been going and I got this very full, glad, hopeful feeling. I began to try and sketch it – so I pulled up a few images from my image library to see if anything might create a few more sparks and these three spoke to me.

As you can see from my initial thumbnail sketches it didn’t take long for me to come up with a workable composition. There are days and weeks when it doesn’t  come this easily and I may spend weeks researching, or end up producing 20-30 thumbnail sketches until I can find an inspiring and workable composition. Once I have a good composition, I will often produce 2-3 larger ones (4 x 6) to work out some of the light and shade problems.  For this image, I didn’t feel the need to do so. I moved directly to creating some small color roughs. The circled Image with the double stars is the color combination I decided upon using. With an extremely complicated image, I will create 1 or 2 larger-scale color roughs (4 x 6 as well) to alert myself to any potential tonal problems that may arise before I get into the actual process of execution.

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The Work

For me, getting down to the actual work of creation is also an act of worship, and ritual. This aspect of my vocation involves the use of several rituals that I employ to move me toward concrete acts of creation. Creativity necessitates form. An idea or concept is no better than a daydream until you give it form through acts of concrete physical manifestation. Just as “faith without works is dead” inspiration that are not accompanied by acts of manifestation die shortly after conception.

Keeping the above in mind, I often let the work itself determine the medium from which it will be manifested. At some point during the sketching stage, the imagery begins to inform me about which medium would be the best vehicle for this particular expression. In this case I knew the colors needed to be bright and vibrant so scratchboard was not a consideration. Once the color roughs were completed, it became clear to me that watercolor would be a better medium since the white paper beneath would produce a much brighter, ephemeral, and luminous quality than I could achieve with acrylics.

I begin by engaging in prayer, and then slowly and mindfully laying out my materials so that they are easily accessible and functionally placed within and around my work area. I then choose my material (in this case watercolor paper), and outline the image upon the surface. I often us a projector for larger layouts rather than drawing everything out by freehand. In this case, I used a thinner sheet of paper than I normally prefer to work with (I prefer 300lb Arches watercolor paper), so I had to size the paper before I could begin any actual painting (many artists don’t lay out their imagery until after sizing, but I prefer to do it beforehand).

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Before I begin to do any creative work I spend at least 10-15 minutes in prayer and meditation just before I begin. I created a small altar in my studio that contains candles, incense, crystals, a bell, and other items of significant personal value. After completing my meditation, I spend about 2-3 minutes with my Ipod selecting what (if any) music will be playing for that particular creative session.  With Winds of Hope I began by painting the first layer of washes upon the largest areas of the image. Although it is not depicted here, each area of color has anywhere from 5-8 thin layers of color upon it. This technique allows for the vibrancy of the colors to reflect up through the paper as each successive layer builds upon the next.

As you can see from the images below, the vibrancy of the colors slowly builds intensity with the application of each successive layer. The more subtle details and shading are added in as each layer of color is applied. For me, this process is more like sculpting than painting. I often imagine myself pushing, pulling and molding the various surfaces and contours of the image rather than drawing or rendering them with the paint brush.

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Finishing Touches

As you can observe from these photos, I save the more precisely detailed portions of the image for last. In this instance, it was the waving grass and the figure’s skin tones. These final details were part of my work activities on days 5-6.  Sometimes, I will initiate changes to the image based upon insights or promptings that come to me during my preparation meditations. For this particular piece, there were no promptings over the course of the process, but once the work was completed several people pointed out that the figure resembled me. This was not a conscious decision on my part and I honestly hadn’t noticed (oftentimes, we do more than we can know or say).

The piece was unveiled in my studio for the First Fridays Art Murmur without the facial mustache and goatee, but after the 7th or 8th comment about the figure resembling me, the following day I removed it from the frame and added the mustache and goatee so that the figure would resemble me more closely.

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SYMBOLISM

There are only two actual symbols in this image: the lotus flower depicted behind the central figure, and the West African Adinkra symbol floating above them both. The work’s title, “Winds of Hope” embodies the notion of Hope being the wind which blows through mind, body and spirit, filling us with renewed determination, enthusiasm,  courage, and willingness to sacrifice for the creation of our dreams. Hope is the literal wind beneath our spiritual wings. The figure lifts his head toward the heavens and opens his arms wide to be caressed by the spiritual winds of Hope in a display of gratitude for blessings already received. The lotus behind the figure is also indicative of hope as it springs up from the muck and mire of muddy riverbeds to show forth its splendor. The Adinkra symbol floating above the main portion of the composition literally symbolizes Hope in West African symbology. I thought it very apt and appropriate that hope is connected to the heart’s symbol. For hope too is about the heart –  it’s dreams, passions, and desires. Purple is indicative of spiritual power and love, red passion, and yellow symbolizes wisdom, happiness, and divine benevolence.

Winds of Hope

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Live In the Light: I & II

Light

Since the dawn of time all of creation has been living in the light. The first intimations of life on this planet were birthed as a direct result of their interaction with beams of light that penetrated the atmosphere and  pierced the ocean’s surface to cause reactions within tiny micro-organisms. As the process of evolution continued its never-ending project of differentiation and expansion, the foreparents of humanity came into being. And just like the other animals who roamed the earth our foreparents lived, hunted, and died according to the rhythms of the sun and moon. It is no wonder that some of the earliest known spiritual and religious rituals were often centered around the sun and the characteristics of light.

As we developed signs, symbols, and language the notion of light was an integral part of our semiotic vocabulary and eventually became a potent universal metaphor. As an artist, I spend a great deal of time observing, studying and rendering light and its effects upon the world. The way it affects colors or shapes, what it reveals or obscures, how it creates a mood, and the thousands of other ways it influences my imagery. As a theologian, I am well acquainted with the use of light as a metaphor throughout all spiritual and religious traditions. Light is the physical manifestation of both cosmic and supranatural power. The creation of light and the heavens plays a central role in every culture’s cosmologies. From an aesthetic perspective this is an essential point because aesthetics is not just about beauty – but relationships and harmony. How each culture understands and relates to the cosmos and its creation will be reflected in all  its other relationships to some degree. For instance, if your cosmology interprets creation as existing for the benefit of humankind then this perspective will be reflected in your relationship to the planet and all the other beings within it.

INSPIRATION

The initial inspiration for all of my “Live in the Light” themed works comes from the song, “Live in the Light” by Fertile Ground. It just so happened that I was going through an extremely dark and rough period in my life. There was a great deal of fear and confusion about the future during this time. Most days I was struggling just to make it through the day without completely losing it. I was being consistent in my prayer and meditation practice but it seemed as if I was unable to be still enough to find the peace, answers, or relief I so desperately needed. Everything seemed dry. One weekend I couldn’t find the energy or focus to create so I decided to do some thorough house cleaning in hopes that it would declutter my mind a bit as well. I decided to put on some music while I worked and within 10 minutes Live in the Light began to play and I was literally struck by the lyrics as they resounded within my head. I just sat down and listened (over and over again) until I was overwhelmed by a palpable sense of well-being and peace. It was then that I gained my breakthrough. I knew that somehow everything would be alright if I just did my best to live in the light, love in the light. The healing, compassion and all else I needed would come forth if I did my best to stay in the light. I have taken the liberty of reposting the lyrics below:

Live in the Light

If this life is heaven, can we live like the stars? Then all of life is a just a lesson to live in the light, live in the light.

We keep on living life like better days are far away. Each day we pray to god to find our way back to the stars- when we need to heal our hearts.

If this life is heaven, then all that we do is all we have. See, we’ve got to find a way to shine love’s light today – somehow. See, we’ve got to find a way to shine love’s light today – somehow.

So let’s live in the light. live in the light, live in the light Let’s live in the light. live in the light, live in the light. See, this life can be heaven when we find peace of mind. The only way to receive our blessing is to live in the light. Love in the light.

So, let’s stop the wars, stop for peace, stop for love, stop the violence, stop the push, stop for peace, stop the lies, stop the fight, stop the death, stop the hate – live the light. So, let’s stop wars, stop for peace, stop for love, stop the violence, stop the push, stop for peace, stop the lies, stop the fight, stop the death, stop the hate – live the light. Oh live in the light.

Let’s live in the light Let’s live in the light. live in the light, live in the light Let’s live in the light. live in the light, live in the light.

I can see us dancing in the sun looking at the sky. I can see the god in everyone walking side-by-side. I can see us through your walls. I can see us in the stars. I can see the light in every night and peace in every heart. Let’s live in the light, Live in the light, live in the light…

Live in the Light  Live in the Light

SYMBOLISM

The image above was the first created on the Live in the Light theme. It was created using oils paints on a piece of canvas board which someone had given me a few years prior. I still had the canvas because I very rarely paint using oils. This image is the 2nd or 3rd creation I have ever made using oil-based paints.

The standing figure has her arms outstretched with her hands angled slightly upwards toward the heavens.  The figure is in a position of reverence, joy, and receptivity. She stands before the light with open arms and an open heart, ready and eager to receive all that is offered. The red line which outlines the figure is symbolic of love and the Holy Spirit in the Christian tradition. In Hinduism red is associated with the root chakra which is fundamentally raw creative power – the very energy of life itself. The symbol within the figure is the Reiki symbol of enlightenment. Reiki can best be described as a healing modality that utilizes touch and the transmission of divine energies for healing, balancing of the body’s systems, and rejuvenation. She stands upon the earth larger than life itself as she reaches out to touch and be touched by the cosmos. All the while still solidly grounded within material reality represented in the figure’s appearance of growing forth from the earth itself.

I purposely made the sun like shape ambiguous in its origins. This ambiguity symbolizes the very nature of the spiritual life, and the metaphor of light within it. It is unclear whether the light is emanating from the heart of the standing figure or shining down upon it. We are never quite sure if the light we feel, or the divine presence we sense is emanating from within us or touching us from without? In my experience, it is paradoxically both at the same time. Just as it is often said that when we hug someone the love we feel is not only their love for us, but our own love being reflected back within us. So it is with divine light. We must radiate the light even as we receive it – thus that which we extend out is also reflected back to us (you give what you get/like attracts like). The color red is present within the orb, but orange is also there to represent divine benevolence toward the creation. The yellow rays bursting forth from the orb/sun are both physical light and spiritual light which imparts divine wisdom to all (yellow). It was divine wisdom that created the cosmos and sustains it. The thin powder blue line circling the earth is indicative of divine love and inspiration.

Live in the Light II

Live in the Light II – The Grand Design

Live in the Light II  – The Grand Design was created using acrylic paint on a board. Once again we find the larger-than-life figure standing upon the earth. The darker blue is indicative of heavenly love which permeates both the earth and the heavens. The thin powder blue line circling the earth is indicative of divine love and inspiration. Golden rays of divine light pierce the heavens providing power, wisdom, and protection (gold).

This time red is used in both the figure and the symbol within the sun/light. The symbol is called the Grand Design and imparts 2 important meanings: 1) From a spiritual perspective it symbolizes three great world religions Judaism, Christianity, and Islam. It emphasizes their unity and connection to the same divine source. All three of which have been revealed to humanity here on the physical plane – hence the color red which indicates divine love for humanity. 2) As an artist the Grand Design points out all of the basic shapes that can be found in nature. All shapes can be comprised using either a square, triangle, circle or some combination. Thus we have the blueprint for every possible design contained within our own powers of creativity as they have been granted to us from above. It is through our various acts of creation that we most purely embody the image and wisdom of our creator. In this image the figure is more clearly defined as she is bathed in the encompassing light of divine wisdom as it flows past her to encircle all humankind (earth). Here the figure is representative of all humanity as it receives divine love and wisdom.

In Conclusion

This series reminds me that we must live in the light. That we are part of the light and its rays can only be reflected in us if we strive to live in it each and every moment. We do this by being present to life, present to our feelings, and present to the divine light within us. This life can be heaven if we allow ourselves to pour forth the aspects of heaven which are innately present within us. Live in the Light!

P.S. I had the pleasure of being interviewed by Mr. Heath Armstrong, Producer and host of the Artrepreneur Now podcast. If you get some time check it out or download it from iTunes (free) so you can listen at your leisure.

To Purchase a Print click on any of the images above, or use the link below:

Damon Powell – Artist & Theologian

To purchase an original work please contact me directly at:

info@damonpowell.com

The Resurrection of Love: Birth, Death & Resurrection

INSPIRATION

As I sit here contemplating what I would like to share about this triptych, I am filled with a sense of wonder and irony. It was around this time last Spring that I was inspired to create these panels. I was compelled by my own personal desire to receive and express love more deeply in every aspect of my life. What better time to do so than the outset of Spring – when the earth itself is being reborn from winter’s death-like grip. A time of rejuvenation, rebirth, and resurrection. There is something about Spring which never fails to revitalize the spirit and fill the air with excitement and anticipation.

As I began to think and read about love, I was drawn to the words of Rumi, “I have no companion but love, no beginning, no end, no dawn. The soul calls from within me: ‘You, ignorant of the way of love, set me free’.” Love has no beginning or end because love is all there is. Love is free for the taking if we would just open ourselves to receive it. But we often travel through life as if we are completely void of the very thing we crave so desperately. If we would simply take the time to look within, listen to our souls, and set free the love already within us, we would surprisingly find more of it everywhere we look.

From a metaphysical perspective love never ends. But it is often born, dies, and is resurrected within the context of our material human experience. This realization was the impetus for my decision to depict the cycle of love in 3 stages: Birth, Death, and Resurrection. The symbolism here lies within the number 3 and the connection between the Christian Trinity, and Jesus’ own birth, death, and resurrection here upon the material plane. It also mimics the cycle of nature (Summer, Winter, Spring) and many of our relationships with others.

SYMBOLISM

Colors

The color palette was chosen based upon the following color symbolism: white = pure spiritual light which like the sun contains the entire spectrum of colors, purple = a karmic and auric color which is indicative of spiritual depth and power, pink = associated with spiritual enlightenment and the crown chakra, lavender/deep rose pink = is often associated with divine love, red = the root chakra which is associated erotic love and life-force, and deep purple = which is often associated with death or the absence of light within the cosmos.

Imagery

Given the metaphysical nature of the subject my initial inclination was to use abstract imagery, or to work with a more Jesus-like figure to represent love. However, as I continued to read and meditate upon the topic, I came to the realization that the characteristics most associated with love are more easily recognized within the feminine. Openness, expansion, mutuality, inclusion,  sacrifice, nurturing, care, acceptance…are all characteristics which led me to personify love within a female figure.  I often speak with God using female metaphors, so it was/is easy for me to translate this use into feminine imagery.

The aureole which surrounds each figure is symbolic of spiritual power surrounding and sustaining the physical form. Despite the figure being human it is filled with  supra-natural power that manifests itself in the aureole-like form.

Birth

Birth

“Love is the path and direction of our Prophet. We are born from Love; Love is our mother. O Mother, hidden behind the body’s veil, concealed by our own cynical nature.” Rumi

Although “Birth” is the 1st piece in the tryptic it was actually the second image I created. My process is often very intuitive and I work upon whatever image or concept I feel most drawn to in the moment. This image is primarily about incarnation as Love is birthed into physical form. The nebulous darkness represents the spiritual realms, the unseen from which Love fashions itself ex nihilo (out of nothing). The viewer is here to witness love’s creation and evolution into physical form. That which is eternal in power and principle, without flesh becomes incarnate to dwell with and among its creation as Love, in love. The remaining pictorial landscape is purposely nondescript and abstract in order to maintain the figure as the primary focal point within the visual narrative. The aureole manifests itself from the portion of the figure which has become flesh (right side) since it is not needed within the spiritual realm.

Death

Death

“Come and be Love’s willing slave, for Love’s slavery will save you. Forsake the slavery of this world and take up Love’s sweet service. The freedom of the world enslaves, but to slaves Love grants freedom. I crave release from this world like a bird from its egg; free me from this shell that clings. As from the grave, grant me the new life. O Love, O quail in the free fields of spring, wildly sing songs of joy.” Rumi

In this image Love is surrendering its’ self to the forces of nonbeing. She is not being killed or forced to surrender herself, but does so of her own volition. Thus Love’s death represents a sacrificial act of self-emptying and surrender of her own physical presence. She does not do so alone as she is surrounded by, and presided over by the four spiritual beings whom are depicted in silhouette in the darkness above the figure.  These faces watch and preside over this act of holy sacrifice as guides and witnesses. The aureole is now red in association with the exiting life force/spirit and the passion of sacrificial death. Notice Love’s Spirit (in red) rises up to join the other spirits as both physical being and eternal observer.

Resurrection

Resurrection

“The moment I first heard of love I gave up my soul, my heart, and my eyes. I wondered, could it be that the lover and the beloved are two? No, they have always been one. It is I who have been seeing double.” Rumi

Although last in the tryptic, “Resurrection” was the first panel I painted.  In this panel Love has been reborn within the physical realm. The solitary figure stands alone striding between the sensual and supra-sensual realms. Once again the aureole is now present in pink and white. Loves physical presence casts a shadow upon the shores as her feet leave traces in the sands. In this panel omniscient divine eyes both see and know self as eternal lover and mortal beloved.

To Purchase a PRINT click on any of the images above, or use the link below:

Damon Powell – Artist & Theologian

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Info@DamonPowell.com