The following is an interview from a student from Scotland, Wenna King.
Q: The mandala is an ancient symbol that appears and reappears throughout culture and history. Do you feel there is a connection between this ancient imagery (e.g. Islamic tiling and the mandala) and the images you create in ‘Order’? If yes, please explain why?
A: Indeed. The mandala formation that portrays Order in my paintings is inspired by a psychedelic vision a vast vista of fountains and drains, multi-colored strands of light energy, as seen from above, looking down into the spout. Often, there are seven layers to the Order mandala, honoring the seven chakras identified in Eastern metaphysical anatomy of an individual.
Q: Are you interested in Carl Jung’s theories on archetypes? Do you feel there is a universality to the symbols and images you create in your art?
A: Interested? Yes, but I am in no way a Jung scholar, nor do I claim that my artwork has ever been consciously influenced by a study of archetypes or the study of Jung or any particular great thinkers of history. Archetypes of femininity set down by a man would be influenced heavily by the male perspective of women. We all play roles in life related to our gender, our economic status, our every view that has resulted from every experience throughout our individual lives. My art expresses, to the best of my current and unfolding capability, my inner authenticity, a unique signature cultivated throughout my personal life’s journey.
Q: Do you think of secret writing as a form of prayer?
A: In 1969, when I was seventeen, I took my first psychedelic and for a couple of years I had many experiences with friends, at dance events, hiking, biking and in various settings. All of those experiences were self-revelatory and personally evolutionary. In 1971, I read the book Be Here Now by Ram Dass when it occurred to me for the first time to take LSD by myself in a dark room. In that experience, I first saw the vision of Secret Writing. Infinite symbols made of light appeared throughout the room, wafting through the air in ribbons and hovering in motion over all surfaces. I recall saying clearly to myself, “This is what people call “God.” The writing portrayed an ineffable language. ALL language is made of symbols and this language of infinite symbols represented ALL language of the highest wisdom and depth of consciousness, the language of the Divine, the Almighty, the Creator, Source of Holy Light.
Scribing Secret Writing, painting squares or triangles of color is a meditation I've practiced several hours everyday for decades.
Q: You deliberately do not assign meaning to your Secret Alphabet, would you consider this deliberate lack of meaning to be a sort of literary form of aniconism (i.e. A deliberate abstraction to avoid biased meanings, worship or interpretation)?
A: In a sense, that is true. This language is a personal expression of the Divine, unique to this artist. If I were to use a known alphabet, the writing would forever be associated with the culture in which that alphabet is used to dispel wisdom and blasphemy. The Nameless Presence lives in the Realms of the Unpronounceable. No specificity should be attributed to the true communication of the Divine which enters each individual uniquely. After all, God is within. The Almighty Creator has one agenda and that is goodness, the light that dispels all darkness.