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She Hath Ore was originally painted in acrylic on a 30"x30" canvas with no digital or airbrush enhancements.
MY CREATIVE PROCESS:
I first began She Hath Ore while I was pregnant with my daughter. I was actually very engaged in working on another painting at the time, but the Hathor just kind of jumped in front of the line. She's a mother goddess archetype, so it seemed fitting that she would be painted just as I was becoming a mother myself. I knew very little about Hathor when I started, but like all the magical beings in my paintings, I learned a lot along the way, and have thoroughly enjoyed incorporating the symbology and mythology surrounding her into my own life practices and rituals.
I first began this piece by drawing a torus in the upper mid-section of the canvas. All you need is a compass to make one, and it’s super fun and easy. I love all geometry construction that involves nothing more than a compass and a ruler—it’s such a great meditation—and the possibilities are endless! The torus is really quite something; and while it is rather simple to make, it is beautifully complex in its practical implications and represents a very dynamic process. In essence, the torus is a fundamental form of balanced energy flow found in sustainable systems of all scales, from subatomic to galactic. Apples, trees, hurricanes, and whole galaxies all exhibit a toroidal energy field, one in which energy is continually contracting and expanding into and out of itself. This amazing donut-shaped energy system makes me think of the Ouroboros, the circle symbol of a snake that is forever eating its own tail, illustrating the power of our self-sustaining universe.
I loved drawing the first torus so much that I decided to overlay two more of them just below, on the left and right, to create a little trinity of toruses. Below that, I drew a cascade of overlapping circles, like one would do to make a Flower of Life (see here to learn more about that). I love using the Flower of Life pattern as the foundation for emerging organic forms in my work because it is a naturally occurring pattern of energy that creates and sustains life on this planet--that's why it is often referred to as "sacred" geometry because it is geometry that is cosmological by nature (e.g. the Flower of Life is the geometric basis for all Platonic solids, which relate to the arrangement of protons and neutrons in the elements of the periodic table). Lastly, near the bottom, I drew more circles whose center points were based off different circles from the toruses and Flower of Life framework, which created a little more free form patterns for me to play around with, too. The features of the Hathor's face and body were mapped out upon the curves and intersection points of all the circles (above, I have included images with all the geometries I used to help illustrate the process--all the lines marked in red were lines from the circles that remained visible in the organic forms, and all the white dots mark an intersection point that informed a change in direction in my linework of the final composition). The visual impact of this kind of mapping process in my work expresses itself more strongly as a movement of light and color that moves and breathes, like the progression of frequencies of sound and/or physical vibration.
So, why a Hathor? What is a Hathor? In a nutshell, the Hathor is a powerful goddess (or group of goddesses as some might say) first revered in ancient Egypt. For years, I was captivated by their serene grace depicted in art, sculpture, and myth in museums and literature, and I’m pretty sure I've transformed into one during ceremony on a number of occasions. My desire to connect more deeply with these beings consumed my curiosity during my second trimester of pregnancy; so, while I was on art tour one summer, I decided to paint one. While I was working on this new work as a performance piece at a festival, I was introduced to a woman named Nicki Scully, an elder in my community who knows the Egyptian Neteru inside and out, and leads spiritual pilgrimages down into the Egyptian pyramids. That weekend, she gifted me with an oracle deck she created and two books she wrote on the subject of the shamanic mysteries of Egypt. I was really grateful to have met her; and from her deep knowledge base, I gathered a much better understanding of this beautiful and powerful goddess.
For the next several months before each painting session, I did a Hathor meditation, and pulled one card from the oracle deck that Nicki gave me to help inform my next step in the creative process. Interestingly enough, I kept pulling the same card: Set, the Adversarial Ally—the shadow card. This card represents the hidden away aspects of human nature that can result in chaos and confusion, if not attended to with care. More interestingly, the reading of this card recommends calling on the Hathor to shed light on unconscious behavior, so that we can create and meet our fate with loving awareness. These readings helped me realize a large part of why the Hathor sort of cut to the front of my painting line, even though I was already working hard on another piece. The other one I was working on was all about the dark masculine and healing negative tendencies (see Moment of Truth), and I needed to work on healing those aspects within myself with the unconditional loving way of the Hathor in order to finish it properly.
The Egyptian Hathor Goddess is most often referred to as the Mother of the Milky Way-- she is the mother of stars! She is a divine mother archetype who represents fierce compassion, magic, and integration. With a heartfelt and powerful intensity, she will steadily guide anyone toward a state of greater compassion in any given situation. No matter how hard your ego may want to squabble, if you call on her, she'll steer you straight to your heart. She is a great medicine woman who prepares the way for us to address our shadow with loving compassion, and helps us to integrate our learnings with kindness and a splash of humor. Often, I imagine her standing in front of a giant golden cauldron, stirring all the colors of Self together into one brightly colored rainbow brew, and throwing in bits of sparkling song and laughter as she swirls and dances us awake to every aspect of ourselves in perfection.
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All giclée prints are made with archival inks on fine art papers using a high-resolution large format inkjet printer at a certified green business facility. All original paintings are created using only professional grade Golden Acrylics. All other art products are created with the highest quality in mind, as well as keeping production as local and green friendly as possible.
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