Decoding Predictive Painting 101
1 of a 2 part illustrated introduction
SOPHIA’S CHOICE: Gas Masks
A decade of large event predictions using a universal symbol language embedded in creative output springing from up from the Ground Of Being ?
Let us begin small.
My painting ‘Sophia of Spring’ from the fall of 2019, complete with drained swamp and Bat-Shaped 3M gas mask months before Covid was announced.
For a decade plus now I’ve been producing and sharing to the web precognitive visual art that regularly and increasingly predicts future events using a symbolic language of ancient iconography decrypted with a previously unknown form of Christian divination I’ll gradually unfold here. Several times I’ve had the pleasure to discuss this work with George Noory of radio’s Coast to Coast and Gaia Media’s Beyond Belief, and I unpack these ideas and more on my YouTube and Patreon pages as well. It’s a bold claim, but I hope to persuade here, and in general, that what I’ve been studying in my own and other’s work is of great importance. The gestalt is what I call Gnostic Idealism (GI) which I introduced here.
Carl Jung, Rudolph Steiner, and Owen Barfield have commented on similar phenomena I’ll unpack in future essays; I borrow Jung’s term of ‘meaningful acausal coincidences’ (MACs) in speaking to what he called a ‘collective unconscious’ to describe and understand the predictive and increasingly prevalent and synchronizing phenomena I’ve documented and studied for over ten years.
‘A Truth-Bearing Faculty’
Products of the creative imagination come from a latent truth-bearing faculty I began unpacking in my first essay and will properly introduce here.
In his work Lifting The Veil: Imagination and the Kingdom of God, poet and pastor Malcom Guite defends the depths and truth-bearing qualities of creative and imaginative work in service of bringing about and maintaining spiritual insight while quoting from Samuel Taylor Coleridge:
“In our compartmentalized, privatized, individualized, and divided world, the arts have been relegated to something purely subjective, a matter of individual taste, a decorative version of "what's true for me," a private aesthetic thrill to compensate for the grimness of what is actually out there, something to numb the mind as it faces the brutality of day-to-day living. Such is the view today, and it is the exact opposite of how the arts and artists were once seen and could be seen again. Far from numbing the mind or turning our gaze inwards to the merely private and subjective, Samuel Taylor Coleridge, the great poet and theologian of the imagination, says that he and William Wordsworth were using the arts to awaken the mind's attention, to help us, just as much as science might help us, to look out and see what is really there and to discover that reality is itself numinous, translucent with glimmerings of the "supernatural," of something holy shining through it. Here is what Coleridge says about their intentions in writing Lyrical Ballads:
‘…to excite a feeling analogous to the supernatural, by awakening the mind's attention to the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude, we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.’ “
Coleridge is here referring to Isaiah 6:9, which Christ paraphrases in the three synoptic gospels. Mark 4:11-12 reads:
“And he said to them,
‘To you has been given the secret of the kingdom of God, but for those outside everything is in parables, so that
‘they may indeed see but not perceive,
and may indeed hear but not understand,
lest they should turn and be forgiven.’ “
Guite continues:
“Central to this passage is the idea of "the film of familiarity and selfish solicitude." Coleridge says that it is as though there were a film or veil between us and the radiant reality of things. This film is not there by accident: we have put it there! We have dulled our own vision of the world, both by over-familiarity and by what Coleridge calls "selfish solicitude," that is to say, we are treating nature not only as a familiar and easily dismissible background but also as an agglomeration of stuff for us to exploit. That is what selfish solicitude means, it means we solicit or demand from the world all its goods and resources for our own selfish ends, without considering its own intrinsic being or purpose. To make that exploitation easier, to avoid being challenged by the radiant beauty and otherness of nature, we throw over it this "film of familiarity and selfish solicitude." Then, because of what Coleridge calls the lethargy of custom, we forget that the veil, the film of familiarity is there at all, and think that nature is as dull as we are. The whole purpose of the arts, not just poetry but all the arts, is to awaken the mind's attention to remove "the film of familiarity," to "cleanse the doors of perception" as Blake put it. The power which art deploys to do these things is the power of imagination. There is a paradox here. We have come to think of the imagination as merely about the imaginary, about making things up, and we can of course make things up, but paradoxically, even as we do, we find new ways of glimpsing and telling the truth.”
From Holy Books to Hollywood
We see this ‘film of familiarity’ dissolve in front of Eve’s eyes in Michaelangelo’s Sisiteen Chapel depiction of The Fall of Man from Genesis 3:24 when we look back at it in the sliding mirror of what I call The Overlays Method. In this basic version of stacking mirrored transparencies over themselves (or other synched paintings / images) we see Eve striving for the Adam’s Apple / loin clothe / oral sex manifold. In a future essay I’ll contrast the astrological symbols embedded here with concepts about the Rod of Asclepius, embedded in the iconography of the World Health Organization as well as the Torah’s Book of Numbers.
Apocalypse means Unveiling - Adam’s Humbling Loin Cloth Reveal
The oral sex / Adam’s Apple overlap here speaks to the cultural phenomena embedded in the co-occurrence of opposites saturating pop media from advertisements to entertainment and manifesting as the trans movement and other pattern inversions/ subversions.
Inverted Pair a dimes- Heads Or Tails?
Onward To Greener Grasses: Failing the mirror test-
“I hate turkeys. If you stand in the deli section at the grocery store long enough, you start to get mad at turkeys. There's turkey ham, turkey bologna, turkey pastrami. Someone needs to tell the turkey, man- just be yourself.'
-Mitch Hedberg
What a tangled web we weave…
I began this digital/mixed media precognitive painting ‘The Fall of Man (Gen 3:24)’ in October of 2022, posting early WIP versions to other platforms. I posted this image on my July 4th intro essay here.
And 19 weeks ago I posted this WIP to my Procreate Portfolio page.
This image features a rather Abraham-looking version of Adam and a Medea-based potion brewing Eve or Lilith.
It’s largely comprised of a mirrored collage, though the sides are not entirely symmetrical, as one of these men, the Left Wing, wears a crown / corona, and he other is giving his mirrored self an ear wound with a bow.
Fun fact: In both Hebrew and Greek the word for missing a target in sport is the same word as ‘sin’. Sinning, therefore, embeds missing the target. I’ll circle back here to go over the homosexuality as sin as misunderstood frat boy / fraternal order humor in a separate essay.
The Strong’s concordance number 2403 reminds me of Genesis 3:24, which itself embeds the three days of Christ in the “harrowing of hell” and St Paul’s post-gnosis three day coma-like symptoms, as well as 72 hours- an esoteric number that unifies symbolism encoded in myth and/or scripture from Aboriginal Australians, Jews, Christians (including gnostic) and Muslims- among others, as well as in the field of optics and lunar cosmology- it’s even related to precognitive pamphleteers of the Neoconservative think tanks soft-predicting the events of September 11, 2001.
I introduce that here, and will return to illustrate those connections further.
Things that make you go hmmm!
Genesis 3:24 is the Fall of Man (and Woman) event. I’ll unpack how this maps onto recent revelations about authors Neil Gaiman and Alice Munro, but for now remember June was Pride Month in USA, and-
“pride comes before the fall”
Here we see, on the Right Wing side of the image, a cocaine stairway to the ear.
The ghostlike overlayed image of media/Lilith/Eve is pulling the right wing Adam further Right.
The crossed arms create a pale star amidst a mostly blue background, while regular, horizontal faded red stripes complete the embedded American flag. Laid upon the mind are the Indris Net pearls of wisdom / Sophia.
If you add me to me you get meme- or Metwo - Metoo, too.
How Did You Keshet?
Meanwhile, the Left Wing side of the mirrored image, the one wearing the Corona, seems to suggest this one’s losing his mind hearing about the Keshet, or war bow sweeping across the Stars and Stripes.
Fun Facts and Pattern Maps of The Heterozygosity Zeitgeist
Adam (אדם) literally means " ruddy /red", and there is an etymological connection between adam and adamah, adamah designating "red clay" or "red ground" in a non-theological context. In traditional Jewish theology, a strong etymological connection between the terms is often assumed. So Adam and Eve ( and Esau and Jacob more explicitly) embed Red clay and Darkness / Night.
Perhaps this maps onto the emergent synchronicity of what scientists call “biological Adam and Eve” and scriptural symbol language and pattern explained and illustrated very well in the documentary Dismantled: A Scientific Deconstruction of The Theory of Evolution.
Here, the right and left hands of Adam are engaged in weaving an Islamic-style honeycomb / web pattern of gold.
Con-artist Alchemists were said, as early as the 15th century, to have had their ears mutilated if caught defrauding the Crown’s good graces. I’m reminded of President Trump’s remarks at the recent fuel-injected RNC about the United States:
“We have liquid gold”
Van Gough, whose favorite color of golden yellow was perfectly embedded in his famous sunflowers, mutilated his ear to express his love for a woman. He painted a self-portrait in the mirror wearing the large bandage on his ear. His clothing appears rough hewn, perhaps Slavic, the easel over his right shoulder looks like a pitchfork, and the woodcut print over his shoulder is Japanese.
"I put my heart and my soul into my work, and have lost my mind in the process."
-Vincent Van Gogh
Fun facts: 98% of humans don’t have green eyes.
Van Gough had green eyes.
I do, as well.
As we continue to stack these pattern maps, coincidence theory will become increasingly mathematically untenable.
Bonus pattern:
In the overlay transparency veil of the Sisteen Chapel Eve’s eye becomes Adam’s navel. A navel orange, an Adam’s Apple device ? It reminds me of Janet Winterson’s lesbian bildungsroman Oranges aren’t the only fruit.
And Cis (Gender) teen chapel, as in public school ?
Left to right - black to white - night to day - 6 is 9 - sex is nein - female to Adam’s Apple…
See you soon!
Artificial Intelligence was not used in the production of this work.
Part 2 loads soon…