Blooming Now
David Heskin and Aloria Weaver : The 4 Angels of the Apocalypse

David Heskin and Aloria Weaver : The 4 Angels of the Apocalypse

dna From deep in the heart of the wonder, SolPurpose presents this exclusive interview with globally renowned visionary artists David Heskin and Aloria Weaver. Founders of Dreaming Co:NeXus and esteemed teachers at the Vienna Academy of Visionary Art, David and Aloria are at the cusp visionary art culture, forging new pathways with their multidimensional, uniquely shaped canvases and innovative new painting techniques. These two are world bridgers; forging deep links between European and North American, classical and futuristic, scientific and artful realms of creation in the new Renaissance. Much more information about their inspired presence in the weave and full online galleries of their works may be found at their websites, www.davidheskin.com and www.aloriaweaver.com. SolPurpose correspondent Lunaya Shekinah presents this heart-lit interview in honour and celebration of their new 4 panel work entitled “The Four Angels of the Apocalypse”, which had its debut showing at the Chimeria Exhibition in France.

4 Angels of the Apocalypse

Q:

I will never forgetthe first moment I laid eyes on this powerful 4 panel series. Right away, shivers went up and down my spine, because I felt a profound knowing in my heart that this work had the potential to transform our collective consciousness as a human species, in this powerful time, and therefore genuinely shift what happens on Earth. In a way, it seems obvious that this artwork has tremendous potential for healing our world, by penetrating some of our most deeply rooted collective fears of mass destruction. Is that something that you anticipated from the very beginning? What was your seed intention for this work, when you first began the idea?

AW:

We were invited to participate in the renowned Chimeria Festival that’s held in Sedan, France every year and a half, and these pieces were initially created for the upcoming show in October. Chimeria is an exhibition of international visionary artists and it draws thousands of visitors from surrounding countries. This year’s theme for Chimeria is “Creation, Cosmology and Apocalypse”, which are deeply woven threads throughout both of our own work, and subjects we’ve been personally exploring for some time. The Four Angels of the Apocalypse paintings are the result of a new-paradigm reexamining and redefining of these themes.

The four pieces contain a great deal of symbology from the Electric Universe material as well, much of which is an outgrowth of the research and writing of Immanuel Velikovsky, who was a contemporary of Einstein, Freud and Jung. Velikovsky had a lot of controversial theories about the Universe and particularly about our own solar system, one of which had to do with a great planetary cataclysm sometime in human history. He felt that humanity had experienced a global trauma so profound that the memory of it was repressed into the collective consciousness, expressing itself in destructive urges in attempt after futile attempt to recreate, recall and ultimately process a massive collective trauma. He felt that if this traumatic experience could be understood and made conscious once again, it could be healed, which of course, would have massive implications for the state of current human affairs.

So, yes, we were holding this healing intention as part of the creation process.. the idea that these pieces could contain powerful imagery that would invoke or perhaps awaken deep collective memories and shift awareness, and potentially illuminate some of the pervasive fears of mass destruction and total annihilation so prevalent today.

DH:

It is intriguing how we can look at nature and beauty all day, then if we see something that startles our sensibilities, just how much longer that image will stay in mind. Perhaps there is something in these paintings that can assist humanity in its personal and cultural evolution, though they are much more a message of balance than one of polarity. Acceptance of our own mortality becomes the very tool to an immortal experience, and in the paradox, much treasure is to be found. The environmental extremes lead the eye and mind into a crescendo as they can do nothing but wonder what scene follows these. The world that follows is the one we collectively paint next, as a new story dawns and the old book goes out with a bang.

White Angel of Liberation Vanquishing Conquest

White Angel of Liberation Vanquishing Conquest

Q:

I’m very aware that the two of you have been traveling Europe for the last couple of years, exploring their rich culture, and studying & practicing the old Masters’ Misch Technique, which has been used in classical Religious Art through the ages. In these 4 figures, I see hints of the inspiration you may have gathered from your travels, and yet they also radiate a very unique creative style that has always been in place throughout your work. What was the visual inspiration behind these powerful angels? Each one has a very unique look – perhaps you could talk about each of them, one by one.

AW:

Very perceptive.. Actually, two of these figures- the Red Angel of Peace, and the Black Angel of Abundance were referenced directly from statues in two of the places we lived over the winter of 2011-2012. The Red Angel was a stone statue on the side of a church or building in the Gracia neighborhood in Barcelona. Gracia of course, means grace, and she had such a serene expression about her, yet an almost peaceful ferocity as well. The Black Angel was referenced from a bronze statue of the Madonna in the French countryside of Bourgogne. The statue was the singular thing of interest for kilometers, aside from the cows, in the little village of Germenay, where we were. We would walk down the road to the statue and David did quite a few sketches of her. So she found her way into the painting as well. And the other two angels I actually posed for… the Green Angel of Rebirth, whom I adapted slightly to give her a more Asian appearance, and the White Angel of Liberation. We also referenced a number of the classical paintings of the Birth of Venus for the pose of the White Angel. The crown of the Black Angel is a crop circle that we visited in England in 2010 with our friends and fellow painters Daniel Mirante, Emma Watkinson, and Basia Wiacek. As for the rest of the imagery, much of it is directly related to the EU material. For example, the caduceus (whose meaning is often confused with that of the “Rod of Asclepius”) in the hand of the White Angel is actually also a plasma discharge, and its significance can be inferred from both that of the caduceus as well as the rod of Asclepius. Much of the EU symbology is explained in greater detail in our written descriptions of the individual pieces and the series as a whole: http://www.dreamingconex.us/healing-visions/four-angels-of-the-apocalypse

DH:

Naturally while traveling abroad as an artist, there is no choice but to integrate the novel stream of visual information. European art and architecture continue to be endless sources of inspiration, in the sense that there are so many examples of an idea being brought to its fullest manifestation. So, the angels are also quite an autobiographical schematic of our interests applied to our travels with deadlines as motivation!

Red Angel of Peace Overcoming War

Red Angel of Peace Overcoming War

Q:

In person, you shared with me that you brought these incredible paintings through in a very short period of time. What were your feelings about the paintings and your process of creation, as these came through you? Did it feel that you were somehow channeling this work from a higher source? Did you feel any particular emotions or intuitive feelings coming through in your relationship with the images? What was your personal relationship with the paintings, as they were being brought into being?

AW:

Yes, we were in Barcelona for three months, and we completed these four pieces in about six weeks, start to finish. We were intensely focused on the creation of them, as we were operating under a major time constraint, but we were also each working on our own individual paintings, simultaneously. It was an enormous push but we finished in time for them to be sent to Granada, in southern Spain, for another exhibition before they went to France. As is often the case when we hold art vigil, the energy and inspiration does seem to come from somewhere outside of ourselves. “Art Vigil” was a term we coined years ago, for the act of devotional painting over long periods of time. So, while the imagery itself was conceived and laid out in a rather calculated and cerebral way, we were definitely tapping into some higher energy and accessing shamanic states through extended sleep deprivation while painting. We also listened to as much EU audio material as we could find while we worked (talks and interviews with David Talbott, Wallace Thornhill, Rens Van Der Sluijs, etc.) so our minds stayed occupied and out of the way, allowing the spirit of creativity to just pour through.

Black Angel of Abundance Relieving Famine

Black Angel of Abundance Relieving Famine

Q:

Each of these angels are portrayed in such a unique way. Their beauty and presence seem to radiate ancient archetypal qualities of the Divine Feminine. I see here 4 beautiful reflections of the Goddess. Can you speak about how this most ancient spiritual symbol has been a part of your intention with this work?

DH:

This series could be considered a four-fold exploration of the multifaceted nature of the Goddess through time. The life-giving principle found her way into metaphors at all scales, in the form of comets, the planet Venus, planet Earth and the cosmos. She has both wrathful and sacred expressions, wherein the bestowal of Famine and a resplendent Abundance are seen as unified in the light of the all-powerful and dual-natured Goddess. There is a necessary decay before the regeneration, and in these cycles we can also recognize a quality of the feminine principle. The angels in these paintings are cosmic in scale, and though winged, they are far more associated with planetary deities and celestial phenomena, in the tradition of our early ancestors. The human interpretations are universal in their descriptions of supreme deities, and it is from their direct observations that the true attributes and innumerable sagas of celestial drama anchored themselves indelibly within the human psyche.

AW:

People often speak of the subjugation of the Goddess by the Church. I see the gradual loss of Goddess-worship (which is synonymous with the worship of Nature), as being related to a trauma inflicted upon humanity by Nature herself, much as Velikovsky did. After a massively destructive cosmic event in human history, we sought order and some form of control or domination over Nature, which was seen as unpredictable, frightening and at times, destructive. When we honor the wrathful as well as the benevolent nature of the Goddess, as in these pieces, we are acknowledging the greater cycles. Honoring the Goddess is now akin to forgiving our mother, none other than Earth herself, for the destruction and chaos in our past, and thereby transcending both the patriarchal and matriarchal structures of modern civilization, moving toward a more balanced relationship within these polarities.

Green Angel of Rebirth Transcending Death

Green Angel of Rebirth Transcending Death

Q:

You’ve spoken about your profound influence from the Electric Universe materials, and your intention to use these paintings as talismans which can trigger and reprogram ancient ancestral trauma. The Electric Universe documentaries discuss how visible cosmic phenomena in the sky in ancient times have given birth to the mythic landscape of humanity. Modern awareness of this connection is now triggering revolutionary new scientific discoveries. Can you discuss more specifically how your paintings may be playing this exact role as a dynamic and evolutionary link between science and myth?

DH:

Indeed, the Electric Universe material has been pivotal for us as artists, and we were fortunate in 2010 to discover this scientific perspective through ancient symbols carved in stone throughout Paris. Since then, we have been working to collaborate with the “EU” group on the topic of “The Meeting of Art & Science”, looking deep within the human potential to synthesize whole-brain functions as the Renaissance generation comes of age. When one utilizes their intuitive capacities to guide the quest for rigorous scientific observation, the results yield far greater results than a one-sided approach in which equations are utilized to prove reality. The first evidence of the Electric Universe was recorded in stone by our earliest ancestors at the dawn of time, unsurprisingly in the form of art! The petroglyphs which remain as testimony of the myth-making epoch of humanity have deeply influenced the course of today’s cutting-edge science, as they have successfully transmitted messages across space and time. Thus, art and science have a deep symbiotic history, that we believe can continue to produce generations of inspired polymaths.

We understand that there are two primary functions of art in relation to science- either utilitarian or interpretive. On one side of this spectrum, art has the ability to illuminate concepts that may be otherwise difficult to understand as they are presented. On the other, art has the capacity to deepen the metaphors that are all around us, allowing for a more comprehensive and integrated human experience.

Chimeria Exhibition France

Four Angels of The Apocalypse on display at Chimeria Exhibition in France

Q:

Again, my mind is taken back to the incredible moment when I first laid eyes on these works. My first intuition about these powerful visions for humanity was that they are important because of their direct connection to the real world and our very pressing modern circumstances. What is your highest vision for how these powerful works could affect the current state and trajectory of human culture?

DH:

These pieces remind of us how delicate the fabric of existence truly is on this planet. They show both sides of the spectrum of how life could be, and boldly encourage us to lean into a positive spin on reality. Even in the book of revelations, the darker aspects of the 4 Horsemen of the Apocalypse (Conquest, War, Famine & Death) precede a period of illumination. Ancient wisdom would tell us that, in an ever-cycling awareness of time, darkness is the very signal that the light is returning, and that it would mark the beginning of its own polarity. They offer us an opportunity to realize that the world is our own creation, in all its potential for beauty and horror, so which forces do we choose to give control of our psyche? These paintings offer the possibility of true hope and it is the Green Angel of Rebirth Transcending Death that most succinctly demonstrates this quality. Any situation can be turned into fertile ground for new growth, however as it is well known, the same actions cannot be repeated to create new results. These paintings are extremely potent for those who are not afraid to open their eyes to the truth of reality, overcoming thinly veiled attempts by those in power to reform the same system which is driving humanity into its deepest hole in history. To truly be reborn as a culture, we must make new patterns that reflect a wisdom gained through the unique struggles of our times. If we do not learn from history, we are doomed to fall into the same traps. No messiah or political hero will come to save us; we are the generation that will finally arrive to save ourselves. It is destiny, and it is time.

Chimeria Exhibition France

Four Angels of The Apocalypse on display at Chimeria Exhibition in France

Q:

I am curious to know how this creation has influenced your artistic direction. What would you say you have gained, as artists, from the process of creating these pieces, and has this experience influenced the direction you’ll be headed in with your upcoming works or artistic endeavours?

DH:

The 4 Angels of the Apocalypse has been deeply influenced by our time living in Europe. The contemporary art world has slowly but surely lost sight and lost the thread of the lineages of high art that defined the Renaissance and ensuing artistic epochs. For us, this series marks a distinct integration of the mastery and wisdom of the classical figurative approach to painting, albeit with an extremely modern slant, in light of the Electric Universe material. Various artistic and monumental traditions have created a perfected vision of beauty in accord with the culture in their respective times. This generally resulted in what one might call a timeless quality, what Ernst Fuchs would call a “hidden prime of styles.” What we have learned is that the human figure is the basis for this potential to ring true throughout all time, if treated in a manner which conveys meaning to humanity within and beyond the time of the creation of such art.

AW:

Certainly, the style in which we painted these pieces came as a bit of a surprise to many who have followed our careers from the early stages, and the painting styles that we have evolved through thus far. I feel these pieces mark a departure from what may have typified our respective styles in previous years. For me, it feels like a maturing of both technique and content. There is a way in which our approach to these pieces was quite different from our past collaborations, in that there were some very specific conceptual ideas we wanted to incorporate, and we planned them out in a very left-brained way, while allowing room for the Muse to guide the actual painting process. This is really the essence of “the Meeting of Art & Science”, as it were… illuminating both the left analytical brain, as well as the right creative side. It represents whole-brain functioning, which symbolizes a balanced and whole human. And I think this is ultimately what we’re all striving for.

About Lunaya Shekinah

New media designer, life counsellor, healer, visionary, singer, artist and cultural creative, Lunaya Shekinah is a dynamic human weaving an artful understanding of nature and technology together into the fabric of emerging planetary cultures. Spirituality has been a guiding force in her life, leading Lunaya to explore many healing modalities from indigenous and modern cultures. She is inspired by zen buddhist meditation and traditional shamanic work with plant medicines. A teacher of permaculture and reiki, she fuses an understanding of the human body and energy systems with a conscious approach to creating and maintaining healthy relationships. Offering permaculture design and consulting services, she cultivates her imaginative intelligence to support people in making successful, long term design decisions about their properties, homes and lifeways. Practicing Lomi Lomi hawaiian shamanic bodywork and Reiki, Lunaya has worked in the healing arts for over a decade. As a Life Coach and Shamanic Counsellor, she helps people understand and accept themselves while guiding them along a more integrative life journey. She has worked on a wide variety of visionary arts and culture initiatives including Elfintome Visionary Arts and Culture, the Galactik Trading Cards, Light Science, and Gaiacraft. Currently residing in a tiny coastal rainforest village on the west coast of Canada, Lunaya lives and works closely with the natural world while engaging in her dynamic life works. 

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