In Times Of Peril She Would Call Up All Strange Orders Of Spirits Into Her Aura To Protect Herself From Evil Painting by Roger Williamson

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In Times Of Peril She Would Call Up All Strange Orders Of Spirits Into Her Aura To Protect Herself From Evil

Roger Williamson

United States

Painting

Size: 24 W x 48 H x 2 D in

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About The Artwork

The painting illustrates a technique utilized by some practitioners of the magical tradition to ward off what is perceived as, and known by, psychic attack. In many ways, the method mirrors the use in Medieval times on churches where a grotesque image, gargoyle, was stationed on the outside of the building to ward off evil influences. In the Pyramid Texts of Ancient Egypt, found in the pyramid of Unis dating back to the fifth and sixth dynasties, Utterance 759, a protection spell, using a similar concept. In this example the speaker frightens the enemy away by making a fierce expression. See R.O. Faulkner, Ancient Egyptian Pyramid Texts, Oxford University Press, 1998 Before going further, I would like to say the act of psychic attack is very involved, time consuming and both physically and mentally exhausting. Therefore, when considering if we are being attacked psychically, we should ask ourselves if we really think we are important enough for others to want to take so much time and trouble over us. This is not to say the phenomena doesn't occur, many believe it does, but at the same time don't believe it to be common. Returning to the painting and what it illustrates. In it we are witnessing a young woman filling her aura, sphere of sensation, with as many grotesque images from her life experiences so they intimidate the pyschic body of her attacker. It could also be construed the young woman's aura has become a mirror reflecting the psychic attack back onto her attacker. In this later example, the origin of the images are from the attacker who's weapons have been turned back onto himself. When we are repelling influences of psychic attack we should remember we are not attempting to destroy them. We are endeavoring, through what is alchemical action, to return them to their correct place of origin, whether this be in this universe or some other dimension. This technique of aura control can also be utilized when encountering individuals of a vampiric nature, those who, when ever we meet them, seem to drain us of energy. Symptoms of psychic attack include the body feeling highly charged with static electricity making one feel on edge and nervous for no apparent reason with the mind spiraling down self created avenues in fatalistic scenarios giving the effect of imprisoning oneself in an attitude of doom.

Details & Dimensions

Painting:Oil on Wood

Original:One-of-a-kind Artwork

Size:24 W x 48 H x 2 D in

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Roger Williamson is a visual artist, residing and creating in Minneapolis Minnesota. Born in Loughborough, England, in 1947 and growing up in Coventry he was inspired from an early age by the French Symbolist painters of late nineteenth century France, These artistic influences, in conjunction with his own esoteric upbringing and practical experiences of magick, mythology and dream control, form the matrix, a collective oeuvre upon which his paintings and writings are an extension. Using diverse creative media, whether painting or writing books, Williamson endeavors to develop techniques that materialize the sensuous dreaming experience into the language of the waking world. Aspiring to reintroduce mystery and ambiguity back into the adventure of human existence through the creative process, encouraging artistic audiences towards "living effulgent and invigorating lives, revitalized from the secretions of our subconscious." Roger Williamson is the creator of Tarot of the Morning Star deck and the author of The Sun at Night. Statement Art is an externalization of struggle to rationalize and give form to something not understood. The artist, like the oyster, is driven to externalize this conflict into the image of a pearl. I believe art should be appreciated through a viewer's individual intercourse with the work, allowing the image to speak for itself and not be prejudged by societies academic paradigms. This concept has close parallels to techniques first acquired in childhood, such as the ability to stare at clouds and see recognizable images arise and fall in the mind’s eye out of what initially was perceived as chaos. Through this technique, letting a work speak to a deeper self than the superficial mind involves the viewer in the creative process, their imagination evolves the artwork to another level. The work is no longer stationary but part of a wave as is nature herself.

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