vmoore masonic mystery issuu

8/8/2019 VMoore Masonic Mystery Issuu

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This book styled presentation is intended exclusively for the use of The Masonic Temple & Museum, Grand Lodge of Pennsylvania, myself and

my representatives to present my ndings so we may engage a dialog.

Myself and others have come to be intrigued by the synergy and feel thatyour respective parties should have the opportunity to see what was

surprisingly uncovered. What is revealed inside I believe will engage you.

If the ndings presented within spark your group as much as it

does mine, or should my work be of interest to your

associations in any capacity, please contact me or I can direct you to one of my representatives

if you are more comfortable with that.

Included are articles written on my work by

others for some background on me and I

have given the history or back-story on particular paintings.

This body of work began with The Goddess Isis in

1996 and has evolved over 13 years and continues to expand. My desire is that the work become

a catalyst to bring the imagery, iconography and message to a new generation of

seekers and initiates.

With inspired regards,

Victoria



T R R D

It has been designed for the exclusive use of presentation

of ar tist Victoria Moore’s illuminated works to the

R. W. Grand Master, the Museum Curator and any other

internal parties as they deem appropriate. It’s sole purpose is for

education and review or consideration by the Masonic Temple

and Museum, Grand Lodge of Pennsylvania.

Two similar proof versions were printed and this nal set of two.

No additional prints or distribution is anticipated by either party without written permissions. Images of the interior and exterior

of The Masonic Temple and Museum, Grand Lodge of Pennsylvania are the sole proterty of the Masonic Temple andMuseum and/or Grand Lodge of Pennsylvania. This use of these

low-resolution web captures are for the informative use of this

presentation and are not intended for re-print, distribution,nor are they of print quality.

November 11, 2009

©2009 Victoria Moore

All rights reserved to the artist, the Masonic Temple andMuseum, Grand Lodge of Pennsylvania or appropriate 3rd par ty.

Vt M

41.3.7138

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Pnng

Introduction 1 Artist

The I lluminated Works 2Fine Art Magazine article: 2009

Egyptian Hall 4

Oriental Hall 10

Corinthian Hall 12

Ionic Hall 18

Grand Foyer 24

Gothic Hall 28

Renaissance Hall 28

A Matter of Spirit 32

Mature Living Magazine article: 2003

Universal Architecture 28

About the Artist 42 Statement, Awards, Memberships

T I Wk

The Goddess Isis 5

Cleopatra: Daughter of the Nile 9

Dance of the Seven Veils 10

The Mystery School of Sophia 12

Mystical Vision 19

Consulting the Oracle 22

Themis: Blind Justice 25

Kindred Spirits 28

My Secret Garden 30

Presence of Angels II 32

Presence of Angels I 33

Surrender 34

Manifestation 38

Evidence 37

Crossing Guard 41

Lean on Me 47



Synhny ...Shortly after painting The Goddess Isis in 1996, I stumbled upon the small ‘Egyptian Room’ photo. While doing a Google image search the websites do not show, and I did not see where it came from. I made a mental note it was related to a Masonic Lodge somewhere.

I was unaware that it was a National Museum nor that it contained other themed rooms. I was a bit intrigued, recalling that my father

had been a 32nd Degree Master Mason. His was a private pursuit and I knew little of his involvement with the brotherhood.

Thirteen years later, in March of this year, while supporting a Scottish Rite Children’s Hospital fund-raiser event in Dallas, Texas, a collection

of my paintings works were curated for a retrospective. A guest at the gallery fund-raiser event was a Mason associated with the local

lodge. He began recounting his visit to your Lodge & Museum and what amazing similarities he found in my work to the ‘themes’ of various

rooms. He spoke with such mesmerized intent I resolved to investigate his observations and I would search out the museum online when

I returned to Atlanta, GA. I began wondering if it was also related to the “Isis Room” web-grab as I had named this little picture below.

My online research began in August, and brought me to the magnicence of this structure and the stunning similarities he’d described, and

I understood his intrigue. The content, design, iconography, architecture and attention to detail resonate with an entire body of my work

that reect mankind’s growing spiritual evolution and it’s ancient roots. I had never seen these rooms prior to creating my paintings

nor have I been in this building in my lifetime, yet. It leaves me a bit awe struck to see them presented together in this format.

Maybe it will for you as well.

M T M C R If

It is with pleasure that I present this book of synchronicity and mystery.I respectfully request your considered opinions and insightful guidance as to what

possibilities, if any, these works might be applicable within your scope of use,

be it educational, entertainment, fund-raising, or if any, a curatorial interest.

The classic nature of these works give them a broad generational appeal.

It is through the divine guidance of your brother that led me to knock on your door. I would certainly be curious to know if you see in them what myself and others have. VM

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f M M

In her research and contemplation of the teachings of the ancient

philosophers over the past two decades, Victoria Moore’s work hasevolved along the path of her personal spiritual beliefs, which were

intensied after a near-death experience in her early twenties.

She has created an expanding series that explores iconic symbolismand its concealed knowledge embracing ancient mythical teachings

in a modern interpretation. Victoria’s paintings relay universal and

sacred wisdom that have been passed down throughout the ages

and believes that the symbolism associated with mythic journeys illuminates nature and human imagination.

Moore, whose strongest inuence comes from The Mystery Schools, continues to explore the divine feminine with her latest

work The Mystery School of Sophia. She executes this philosophic

imagery exquisitely in her Mythic Women series.

“The revelation of truth is a multi-layer process, whether hidden

by a cloak or veil,” says Victoria, who considers and executes these

thoughts in the paintings: The Goddess Isis, Mystical Visions,

Iumnd Wk f Via M

by Jamie Forbes: Publisher Fine art magazine 2009

2



Dance of the Seven Veils and Themis: Blind Justice. Each image presented in this expanding series establishes a modern painters’

interpretation of ancient doctrines and infuses a fresh perspective in the miraculous layers of human exploration. The Pillars are the

foundation for the knowledge that is found in most esoteric traditions, represent dualistic ideals in Moore’s work. They are not only used

as a reference to both strength and support, but further represent the balance of beauty and strength, severity and mercy, feminine andmasculine, black and white, active and passive. Moore says, “In the research of these works I have discovered great truths. Within them

I have learned that we must all nd and follow our own path to personal understandings. While I have enjoyed the other bodies of

my work, this series is nearest to my hear t. As I look back on these paintings, either they mature or I do. It seems I gain a broader

understanding of their meanings over time. Wherever this passion takes me with this series, I have come to appreciate that there

is a deeper meaning to the progression and a statement that will most certainly outlive me.”

“If ‘myth’ is dened as having an imaginary and unveriable existence, then I hope my legacy leaves not only evidence that these

concepts move beyond myth, but that in the 20th century, they are still relevant, intriguing and will continue to enlighten and inspire

generations to come.”

Victoria didn’t realize when she began her creative quest, that most of the mythologies of classical nations were originally rituals of secret

societies. Esoteric philosophies were often taught by secret organizations. Moore takes her viewers on an “exoteric” visual journey.

Her deep soul searching has taken on its own energy, leading her fur ther into her journey with each painting. Her aim is to take you

on a path of discovery. Her work will inspire you to explore the thread of truth within divine teachings that runs through the entire

Mythic Women series.

Stylistically, she often blends old school with new, the past with the present in an attempt to convey her message through her ar twork.

Victoria’s work has gained international recognition, awards and the attention of the late Dept. Director Don Lopez, who selected two

works from her ‘Holes in the Sky’ series for the permanent collection of The Smithsonian National Air & Space Museum. She is a member

of the Women’s Caucus for the Arts, and a founding member of the National Museum of Women In The Arts, and a past State Ambassador volunteer for the Portrait Society of America.

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Ep H

T G I

The Egyptian goddess Isis played an important role in the development

of modern religions, although her inuence has been largely forgotten.

Isis, the Egyptian goddess of rebir th remains one of the most familiar images

of empowered and utter femininity. The Goddess Isis was the rst daughter

of Geb, God of the Earth, and Nut, the Goddess of the Over-arching Sky.

Isis was born on the rst day between the rst years of creation, and was

adored by her human followers. Unlike the other Egyptian goddesses, the

Goddess Isis spent time among her people, teaching women how to grind corn

and make bread, spin ax, weave cloth, and how to tame men enough to livewith them. Isis taught her people the skills of reading and agriculture and was

worshipped as the goddess of medicine and wisdom.

More than any other of the ancient Egyptian goddesses, Isis embodied the

characteristics of all the lesser goddesses that preceded her. Isis became

the model on which future generations of female deities in other cultures

were to be based. As the personication of the “complete female,” Isis was

called “The One Who Is All,” Isis Panthea (“Isis the All Goddess”), and the “Lady of Ten-Thousand Names.” The goddess Isis, a moon goddess, gave bir th

to Horus, the God of the Sun. Together, Isis and Horus created and sustainedall life and were the saviors of their people.

Isis became the most powerful of the gods and goddesses in the ancient world.

Ra, the God of the Sun, originally had the greatest power. But Ra was uncaring,

and the people of the world suffered greatly during his reign. Isis was called the

Mother of Life, but she was also known as the Crone of Death. Her immense

powers earned her the titles of “The Giver of Life” and “Goddess of Magic.”

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G I

60 x 36” | oil on masonite | standard 40 x 24” | petite 30 x 18”

Isis was the Goddess of the Ear th in ancient Egypt and loved

her brother Osiris. When they married, Osiris became the rst

King of Earth. Their brother Set, immensely jealous of their

powers, murdered Osiris so he could usurp the throne.

There are many variations of the Isis myth... in some,

the goddess consumed the dismembered par ts of her husbandand brought Osiris back to life, reincarnating him as her son

Horus. In one of the most beautiful renditions, Isis turns into

a sparrowhawk and hovers over the body of Osiris, fanning

life back into him with her long wings. Regardless of the

differences, each version speaks of the power over life and

death that the goddess Isis symbolizes the deep mysteries of

the feminine ability to create and to bring lifefrom that which is lifeless.

The festivities surrounding the ooding of the Nile each

year, originally named “The Night of the Tear-Drop” in

remembrance of the extent of the Isis’ lamentation of the

death of Osiris, her tears so plentiful they caused the Nile

to overow, is now celebrated annually by Egyptian Muslims

and is called “The Night of the Drop.” She was worshipped

throughout the Greco-Roman world. During the four th

century when Chr istianity was making its foothold in theRoman Empire, her worshippers founded the rst Madonna

cults in order to keep her inuence alive.



Some early Christians called themselves Pastophori, meaning the shepherds or ser vants of Isis, which may be where the word “pastors”

originated. The inuence of Isis is still seen in the Christian icons of the faithful wife and loving mother. Indeed, the ancient images of Isis

nursing the infant Horus inspired the style of por traits of mother and child for centuries, including those of the “Madonna and Child.”

Her role as a guide to the Underworld was often portrayed with winged arms outstretched in a protective position. The image of thewings of Isis was incorporated into the Egyptian throne on which the pharaohs would sit, the wings of Isis protecting them as in the

‘Egyptian Room’ photo on page 4.

The Goddess Isis has many gifts to share with modern women. She embodies the strengths of the feminine, the capacity to feel deeply

about relationships, the act of creation, and the source of sustenance and protection. It is also the Goddess Isis who shows us how

we can use our personal gifts to create the life we desire rather than simply opposing that which we do not like.

The myths of Isis and Osiris caution us about the need for occasional renewal and re-connection in our relationships.

She was the friend of slaves, sinners, artisans, and the downtrodden, as well as listening associated with Osiris,

lord of the underworld (Duat), and was considered his wife. VM

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Cp: D f N

Though Cleopatra bore the ancient Egyptian title of Pharaoh, the

Ptolemaic dynasty was Hellenistic, having been founded 300 yearsearlier. As such, Cleopatra’s language was the Greek spoken by

the Hellenic aristocracy, though she was reputed to be the rst

ruler of the dynasty to learn Egyptian. She also adopted common

Egyptian beliefs and deities. Her patron goddess was Isis, and thus

during her reign it was believed that she was the re-incarnation

and embodiment of the ‘Goddess of Wisdom.’ In most depictions,

Cleopatra is put forward as a great beauty and her successive

conquests of the world’s most powerful men is taken to be

proof of her aesthetic and sexual appeal.

The ancient sources, particularly the Roman ones, are in generalagreement that Cleopatra killed herself by inducing an Egyptian

cobra to bite her. The oldest source is Strabo, who was alive at

the time of the event, and might even have been in Alexandria.

He says that there are two stories: that she applied a toxic

ointment, or that she was bitten by an asp.

Cassius Dio also spoke of Cleopatra’s allure: “For she was a

woman of surpassing beauty, and at that time, when she was in

the prime of her youth, she was most striking; she also possesseda most charming voice and knowledge of how to make herself

agreeable to every one. Being brilliant to look upon and to listen

to, with the power to subjugate every one and she reposed in her

beauty all her claims to the throne.” These accounts inuenced

later cultural depictions of Cleopatra, which typically present

her using her charms to inuence the most powerful men

in the Western world. VM

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Cpt: Dt t N

24 x 40” | watercolor & oil on masonite | standard 18 x 30”

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T S V

60 x 36” | oil on masonite w/texture | standard 40 x 24” | petite 30 x 18”

O H

T S V

Modern day mystics see the Dance of the Seven Veils and the story of Inanna’s descent as a metaphor for enlightenment, shedding “veils”

of illusion on the path to deeper spirituality of self-realization.

These seven veils are, in order, Dreams, Reason, Passion, Bliss, Courage,

Compassion, and Knowledge. Some have claimed that it has its root in

an ancient myth about the Sumerian goddess Inanna or the Babylonian

goddess Ishtar. In this myth, the goddess descends into the underworld

and must pass through seven gates on her journey, at each of which

she must surrender a piece of jewelry or a symbol of her royalty.



The number seven was signicant to the ancients, as it is the number of heavenly bodies visible to the naked eye without a telescope:

Sun, Moon, Mercury, Venus, Mars, Saturn and Jupiter. Therefore, there are seven major gods in many ancient religions,and the number seven appears in many myths and classication systems.

It is not a traditional Middle Eastern dance, but more probably a Western invention steeped in Orientalist misconceptions,

although some believe it to have associations to ancient Eastern religions. Women through the years have performed

memorable and often scandalous versions of the dance. In ‘The Dance of the Seven Veils’ the dancer begins the dancewearing seven veils and removes them one by one as she dances, often, but not always, ending the dance nude

or nearly so. As each of her veils drops, she comes to another revelation or an epiphany about life. VM

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C H

T M S f Sp

The concept and historical references to Sophia echo into centuries past. She is the personication of the Divine Feminine

and is referenced as the feminine companion to God. She symbolizes the womb of creation, bringing forth all life from

the sacred marriage of opposing energies: spirit & matter, heaven & earth, intellect & intuition.

Also considered the ‘Goddess of Wisdom,’ according to the

Book of Proverbs, “Wisdom has built her house; she has

hewn it out of Seven Pillars.”

The Greek religious temples and philosophical academieswere supported by pillars car ved in the likeness of women,

as the priestesses of the Great Goddess were also the

original “pillars of the church.” Known as the Seven Pillars

of Wisdom: Arithmetic , Geometry, Astronomy, Grammar,

Rhetoric, Dialectic, and Music. These correspond to the

seven gifts of the Holy Spirit: Wisdom, Understanding,

Counsel, Fortitude, Knowledge, Piety, and Fear of the Lord.

Strategically I have placed you, the viewer, or initiate

at the location of a pillar.

Many of my works involve historically researched elements

from personal research and then reinterpreted throughclassical painting techniques. This painting weaves no less

than 79 icons and symbols related to Sophia andThe Mysteries. An abrerviated list of the

79 elements is listed on page 17.

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T Mt S Sp

48 x 30” | oil on canvas | standard 38.25 x 24” | petite 28.75 x 18”

In the most simplistic of terms I will endeavor relaying the symbology.

She holds the caduceus: the winged staff entwined with two serpents.

The serpent is an ancient symbol of duality. It is considered bothmasculine and feminine, solar and lunar, medicinaland poisonous, preserver and destroyer, spiritual and sensual.

In addition, the Rosy Cross, from which emerges the sheaf

of grain, representing the ultimate revelation of the Mysteries.

On the left of Sophia, feminine energies are symbolized by the

moon and the pool of water. The moon governs the tidal cycles and

is associated with the waters of creation. The moon also symbolizes

the material realm. As the moon reects the light of the sun, matter

is the reection of spirit. In addition, the moon illuminates the invisibleworld which corresponds to the feminine gift of intuition. To the right

of Sophia, the masculine energies are represented by the sun and theelement of re. The sun generates heat and light which sustains all life.

The sun also symbolizes the spiritual realm. As the sun generates light,

the spiritual realm is composed of pure light. The sun illuminates

the visible world, which corresponds to the masculine

characteristic of intellect.

In ancient times, the seven stars of the Pleiades marked the point

of the vernal equinox which occurred in the constellation of Taurus.The two males reclining near the feet of Sophia represent the sacred

king and his deputy who each ruled for one half of the year.



This corresponds to the Ancient PoeticTheme: the God of the Waxing Year

constantly striving against the God of

the Waning Year for the love of the TripleGoddess. One male sits near the point

of the winter solstice, known as the Gate

of the Gods, where the soul ascends upon

the solar path to the heavenly realm of spirit.

The other male sits near the point of thesummer solstice, known as the Gate of Men,

where the soul descends upon the lunar

path to the physical realm of matter.

Both of these cycles harmoniously

complement each other as the eternally revolving Wheel of Life, or Zodiac.

The stars around the moon and beneath of dove are ve-pointed pentacles. These are associated with the goddess Venus, as her planet

forms a ve-pointed star within the circle of the zodiac every eight years. Around the head of Sophia are six- pointed stars which symbolize

the union of masculine and feminine energies. To her right is a lily which is her sacred ower and symbolizes both purity and innocence.

To her left is a lotus, the Eastern counterpart to the lily, which also represents enlightenment. Near the lotus is a crown which symbolizes

divinity, sovereignty, power, and royalty. Finally, in her right hand she holds a book, the universal symbol of knowledge and wisdom.

Sophia is also the embodiment of the Many-Named Lunar Goddess, crowned with a halo of twelve stars, which correspond to the twelve

months, or moons, of the solar year. Upon her forehead, she wears the symbol of the triple moon. This corresponds to the three visiblelunar phases of the Triple Goddess: the Virgin (Waxing Moon), the Mother (Full Moon), and the Crone (Waning Moon).

Furthermore, her triple aspect is represented by her three daughters Faith, Hope, and Charity. According to the ancients, the Ear th is

encircled by seven heavens or spheres. Above them is the eighth sphere of the xed stars. Also, behind the eighth sphere is the heavenly

light of the Divine which shines through the cr ystal sphere and appears as stars. The All-Seeing Eye symbolizes illumination and was

originally an emblem of Maat, the Egyptian goddess of justice. She is identied with the Greek goddess Ananke, the Strong Fate,

who guides the destiny of the universe and is the Spindle of Necessity upon which all the spheres of heaven revolved.

14



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T Bk f W

Sp ff I

On the cover, Ouroboros is the ancient serpent seen in the act

of eating its own tail, symbolizing the eternal cycle of bir th and

death and rebir th. Sometimes it is depicted as a snake, sometimes

a worm, and at other times as a dragon. In any of these incarnations

it is reminiscent of the earliest nature, of original form. Its current

name comes from the Greek for “tail-eater,” for it is ever devouring

itself, but it can be found in many mythologies over a vast spanof time, from the Hindu to the Norse and even the Egyptian.

In the Norse tales, the serpent is named Jormungandr and

it circles the entire world to grasp its tail in its jaws.

Even as far back as the ancient Egyptian culture, the serpent already

symbolized what it has come to mean through the ages,

the essential unity of the universe, the eternal oneness that is at the core of all being. Ouroboros symbolizes this inherent unity

by exhibiting the cyclic nature of the universe . Through its union

with itself we see the ubiquitous processes of creation and

destruction, the endless repetitive patterns of the universe.

Thus Ouroboros is the integration of opposites into the

completeness of all reality, the realization that there areno others, only the One. Carl Jung described the serpent

this way: Here the symbol of Ouroboros represents

the continuity of life as a persistent process in theuniverse. The perpetuation of life necessitates three

characteristics: the biological processes that sustain it, the instinctual drive to satisfy those processes,

and the physical ability to actualize that drive.



16

Where we are mistaken, I think, is in believing that “life” as we think of it is something separate from the other processes that the universe

has unfolded in its glorious history. We tend to think in terms of needs and their satisfaction when in reality the universe ows in a pattern

that behaves a certain way, true to its integrity. The process we refer to as life is simply a continuation of these myriad universal processes

that stem from each other and feed each other in an unimaginably interconnected web of action, reaction and interaction. As sentientbeings we seem to know ourselves, if only in a supercial, limited way, and in that sense it appears that we have stepped out of the pattern

established by history. But exactly what that knowledge means may ultimately be unknowable to us. And what we may do with it is one of

the great hopes and mysteries of the human condition. In any case, it is this continuity that is symbolized by the Ouroboros -

from atoms to the star s to humankind, the cosmic path is continuous and clear.

Sophia is found throughout the wisdom books of the Bible. Thanks to her continuing presence in the wor ld and her presence in the Bible,

veneration of Sophia surfaced in the Eastern Chr istian tradition with the construction of the Hagia Sophia cathedral in Constantinople

(now a Muslim museum in Istanbul). This is the reference used for the arched windows to the heavens and illuminating the tiers of angels.

Sophia’s traits: righteous, wise, loving, communicative, knowledgeable, creative, protective, giving, and truthful. A Sophia woman sees itand tells it as it is; she has no fear of the truth.

Sophia’s Daughters: Faith, Hope & Charity, the Three Cornerstone Virtues.

Detail: from ‘Mystery School of Sophia’

SoPhia: The Mother oF aith, HoPe & Charity She brings meaning to human experience with her gift of understanding “the bigger picture.”

Only when you stand back, gaining some emotional distance, can you see that even the most

traumatic experiences can be the birthplace of your most treasured strengths.

It is only in times of great stress that heroic feats are truly appreciated.

Faith, Hope, and Charity are Soa’s gifts to us... gifts that can overcome the despair, confusion,

and suffering that frame human life. Sophia reminds you that clear vision and understanding

line the path that leads to the discovery of the meaning of your life . VM



1. The 12 levels of the Archangelic Plane2. Hagia Sophia Dome Windows

3. Sun (Solar) Masculine Day Forces

4. Moon (Lunar) Feminine Night Forces

5. Beams of Light Into Minds of Initiates 6. Owl Wisdom 7. Angelic Child Often seen w/Sophia

8. All Seeing Eye Feminine Expression

9. Dove Holy Spirit

10. Ascending Angel Lighting the way Up

11. Descending “ Lighting the way Down

12. Cross of Light Dove carries in claws

13. 6 Star Cong. Below Cross of Light

14. Pyramid Knowledge Center

15. Rosey Cross

16. Eye in Heart

17. Wheat Shaft

18. Innity

19. Lunar Phases20. Pillar of Wisdom 1 Arithmetic | Knowledge 21. Pillar of Wisdom 2 Astronomy |

Understanding22. Pillar of Wisdom 3 Grammer | Counsel

23. Pillar of Wisdom 4 Rhetoric | Fortitude

24. Pillar of Wisdom 5 Dialectic | Piety

25. Pillar of Wisdom 6 Music | Fear of the Lord

26. Pillar of Wisdom 7 Geometry | Wisdom

27. Initiate at Pillar 7 You, the Viewer

28. Staircase: Degrees of Enlightenment Steps or Stages of Purication

Within “The Mystery School oF SoPhia”

29. Element Earth

30. Element Air 31. Element Fire

32. Element Water 33. Upper Universe Ceiling Constellation 34. Lower Universe with hole & ripple

35. Milky way

36. Urn For re

37. Smoke from Fire Smudging:Fragrance of Prayer

38. 12 Stars Around the Lunar Moon39. Faith, Hope & Charity Sophia’s Daughters40. Faith Cross

41. Hope Heart

42. Charity Anchor 43. Chalice Sophia’s w/equal length bars

making the cross44. Chalice Christ’s w/Christian cross w/a

< to the left45. Crown Traditional Style46. Eagle On Crown

47. Palm Leaf On Crown48. Lapis The ultimate in purication

49. Flowers The “Sophia” ower in pot

50. Vessel Surrounded w/Eastern &

Western Flower Blossoms

51. Tablet Word is written

52. Crystals Transmit/Communication

53. Lily Western Spiritual Traditions

54. Lotus Eastern Spiritual Traditions

55. Bee’s Three56. Antakytheara Mechinism57. The Byss or the Abyss58. Male Left 59. Male Right60. The Ripple Effect

61. Zodiac Wheel of Life

62. Egg Cosmic Egg

63. Goose Laid Cosmic/Golden Egg

64. Nest65. Solar & Lunar Head-dress Crown

66. 12 Starred Halo Sophia67. Rainbow Light from halo towards

Faith, Hope & Charity

68. Winged Ceduceus with Lapis

stone in the top69. Dual Snakes70. Sword Warrior

71. Philosopher’s Stone72. ‘Y’ on her dress Feminine Yanni

73. Book of Wisdom

74. Osobusus On Cover of Book

75. Gold Pages Edges On the Book

76. 4 Squared Metal corners on theBook of Wisdom

77. Sophia’s Veil Hiding Spiritual Truths

78. Eye of Horus On her Bracelet

79. Sophia: Goddess of Wisdom,

Virgin of the World

17



I H

M VScience today seems to be pointing beyond itself or at least beyond its materialistic boundaries to what we might call a ‘meta-science’ which

admits the possibility that consciousness may be primary. And in many religious traditions, there has been a re-awakening to the esoteric

wisdom hidden within the outer forms, which by its very nature par ticipates in the mystical.

In the mid-eighties, Dr. Annie Besant spoke of a ‘wave of mysticism passing over the world’ where many people express a hunger, an inner yearning, for a genuine spiritual experience. Not satised with the answers which either science or religion has to offer, many have sought

out teachers, gurus, psychics of var ying degrees of reliability, anyone who seems to promise fullment of an inner need.

At the same time, the religious philosopher, Hans Jonas, suggests there exists a historical sequence of development that leads fromobjectication, as he calls it, to interiorization. In his view, one

generation’s conceptual structure becomes the next generation’sguide to inner transformation. This is to say that our ideas, our

beliefs, all that constitutes our basic world-view must become

known experience in such a manner as to bring about a radical

change in our lives.

Such a sequential development, however, is not only a

development from generation to generation, but must occur within us in a kind of continual pattern of assimilation. Every

great teacher, for example, has recognized the need to translate

objective theory into practical experience.

‘Ionic’ references a specic ancient Greek architectural order

related to columns (Pillars) and distinguished by uted columns

on bases and scroll volutes in it’s capitals.

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Mt V

60 x 36” | oil on masonite w/texture

standard 40 x 24” | petite 30 x 18”

Exp f S M

Essentially the experience which we may call mystical is the experience of our interconnectedness. Dr. Gillian Ross discovered the mystic vision is

an ‘experience of the heart’, and to quote Dr. Ross further, ‘Mysticism andcompassion are inseparable.’ The vision that transforms becomes indeed

transformative. Because we are the world, to put the matter simply,

the vision that transforms us transforms the world.

Do we not all have experiences that speak to us of something greater

than the sum of these various impressions? Authentic mysticalexperience implies a complete transcendence of any separate self-

sense, therefore an awakening to an awareness of non-duality.

No one can deny the transformative nature of such awareness.

As Dr. Neuman suggested, the true development of consciousness

occurs through archetypal encounters which give a mystical stamp to the

inner development of every person. Further, he proposed, it is possible to

see the major phases of the life cycle in terms of the growth of mystical

consciousness. Three major stages may be identied as early or source

mysticism, associated with childhood, a zenith mysticism identied with

maturity, and a last stage or death mysticism characteristic of theindividual who has truly ‘died’ to the separated self, the one we often

describe as liberated. Representationaly, the cloak she wears protects

and hides the Truth while the magnication of the fabric of life

symbolizes the looking closer at it, through the rened cr ystal.

The light within, the spark of Divinity to light the way.



Mysticism extends back into that unknown sphere or the realm of the unconscious

before the emergence of any sense of a separate ‘I’. Zenith mysticism is

experienced in those transcendent moments when the ‘I’ is not present, while

death or immortality mysticism is the realization of the One without a second andis indeed the experience of the extinguishing of any sense of a separate self.

Perceived as simultaneously present within us, these stages constitute the totality

of our experiences of pure Being. The mark of authenticity of the mystic vision,

however, lies neither in some clearly demarcated progression in the growth of

consciousness nor in some collective listing of characteristics of the mysticalexperience, but rather in the transformative impact which even a partial

experience of the unitive state has upon our ordinary lives.

All too often, visionary experiences end up being used in the service of ego-centered goals; the mystic vision not only results in an inner sense of renewal

and peace, but even more profoundly in an outpouring of love and compassion for the suffering of the world. Quite simply, the authentic mystical experience tends to

manifest in ordinary life as ethical behavior founded on a genuine realization,

far more substantial than theory, that all life is one.

Annie Besant, referred to this essential transformative nature of the experience:That is the splendor of the mystic life, this power of service which only this inner

form of realization can possibly give to any one of us. We are climbing towards

it as we begin to understand something of its possibilities, as we live a little of the truth we know.... If you would become a mystic, never pretend to believe

a truth which you are not willing to act out in the world, for truth is only truth

when you have learned to live it.

Mystic vision, may be said to constitute an in-break of the creative-sacred intoour lives, in our immediate, existential, situation in such a manner as to causean out-break of genuine and unconditional love for all beings.



Knw Tyf...O H D, M S,I Kw.

To know fully and wholly, not simply to theorize, to have opinions, to conjecture,

to believe, but really to know is to be the mystic. To know is to encounter reality

at every moment of time, in every place in space. Out of that encounter, which

is truly the mystic experience, arises naturally a new way of living, a way of living

that is both simple and beautiful, a way that is one of commitment to the cosmos,

to our fellow human beings, to life itself, a commitment of the personal self to

the One Self seated in the hear t of all beings.

One’s action is one’s presence in the world and one’s presence in the world is action

in accord with the ethic of love, compassion, harmony. Out of our encounter with

reality, with the vision of oneness, we fulll the challenge given by Krishna to Arjuna,

when the Divine spoke to the human, saying ‘Be thou the efcient cause.’ Out of the vision, the experience, the moment that we call mystical, arises

a new being, a transformed being, whose very life is love and compassion.

Or, as Hugh l’Anson Fausset, in The Lost Dimension, has expressed it, ‘To be human is to bring the Kingdom of Light down to ear th

and to raise up ear th to heaven.’ There is an ongoing and continual sur rendering of intellectual knowledge to hear t-wisdom,

a continual awareness in the midst of daily existence of that mystery which animates the entire cosmos and which makes

us all of one family. We begin to understand why the mystical vision authenticates itself by the transformation that occursin that ‘personal nature’ because we now better understand the underlying unity of existence. We know ourselves as

part of a greater whole in which the personal self no longer clamors for attention. The whole manner of our seeing,

how we look at the world, is changing. VM

21



C T O

“Know Thyself.” This famous Greek maxim is attributed to any number of ancient Greek philosophers, including the great Socrates.

It was originally the admonition “Gnothi se auton” inscribed on the Sun god Apollo’s Oracle of Delphi temple in ancient Greece.

Note: There are at least ve different major versions (with several variations of each version) of exactly how the Oracle of Delphi

came into being. Delphi is perhaps best-known for the oracle at the sanctuar y that became dedicated to Apollo during the classical

period. The priestess of the oracle at Delphi was known as the Pythia. Apollo spoke through his oracles, who had to be older women

of a blameless life chosen from among the peasants of the area. When Apollo slew Python, its body fell into the ear thly ssure,

according to legend, and fumes arose from its decomposing body. Intoxicated by the vapors, the sibyl/oracle would fall into

a trance, allowing Apollo to possess her spirit. It was in this state she prophesied.

While in a trance the Pythia “raved” - probably a form of ecstatic speech - and her ravings were “translated” by the priests of the temple

into elegant hexameters. People consulted the Delphic oracle on everything from important matters of public policy to personal affairs.

The Seven Sages of Greece (c. 620 BC–550 BC) was the title given by Greek tradition to seven wise ancient Greek men who werephilosophers, statesmen and law-givers. The Seven Sages are known for their practical wisdom which “consisted of pithy and memorable

dicta.” The best were put up on the wall of the temple at Delphi as dedications to the god Apollo. Plato provides the earliest list of the

so-called Seven Sages; although Simonides, a century earlier, sets out to answer Pittacus and Cleobulus as though striving for a place

on the list.

The standard list is: Solon, Miden Agan -“Nothing in excess”: Chilon of Sparta -“Know thyself ”; Thales of Miletus -“To bring surety

brings ruin”: Bias of Priene -“Too many workers spoil the work”; Cleobulus of Lindos -“Moderation is the chief good” ; Solon of

Athens -“Nothing in excess”; Pittacus of Mitylene - “Know thine opportunity”; Periander of Corinth -“Forethought in all things”

Modern science proves the myth of the ‘trances.’ The Temple of Apollo at Delphi sits on cr isscrossing geological faults, according to a team of scientists led by archaeologist John Hale of the University of Louisville and geologist Jelle Zeilinga de Boer of Wesleyan

University in Connecticut. In re-embracing the ancients’ view that intoxicants emanated from water bubbling from a rock ssure

beneath the temple, Hale said, the team is challenging a century of research that held “that the priests and oracle were

deceiving the public and inventing stories” to boost the shrine’s importance . Instead, it appears the ancients were right.

And so it proved. It seems most of the time, the priestess was conscious, clever and chatty, but on occasion she ipped out,

and things got nasty. The bad trips, including a death repor ted by Plutarch, had led past Delphi administrators to swap out

the young maidens they used to put in the seat for more levelheaded matrons. VM

23



24



Tm: B Jt


G

T: B

Themis built the Oracle at Delphi and was herself oracular. According to

another legend, Themis received the Oracle at Delphi from Gaia and later gave

it to Phoebe. When Themis is disregarded, Nemesis brings just and wrathful

retribution. Themis is an ancient Greek goddess. She is descr ibed as “of good

counsel,” and is the embodiment of divine order, law, and custom. Themis means

“law of nature” rather than human ordinance, literally “that which is put in place.”



To the ancient Greeks she was originally the organizer of the “communal affairs of humans, par ticularly assemblies.” The ability of the

goddess Themis to foresee the future enabled her to become one of the Oracles of Delphi, which in turn led to her establishment

as the Goddess of Divine Justice. Followers of Zeus claimed that it was with him that Themis produced the Three Fates:

Nona (Clotho), spun the thread of life, Decima (Lachesis), measured the thread of life. Morta (Atropos),

was the cutter of the thread of life.

Themis and Dike were both Greek goddesses associated with Justice. The role of Themis was the embodiment of order. Sometimes she

is called the mother of Dike. Themis was also a goddess of prophecy and of oaths. She is sometimes associated with the Ear th goddess,

her mother Gaia. Themis is untranslatable. A gift of the gods and a mark of civilized existence, sometimes it means r ight custom, proper

procedure, social order, and sometimes merely the will of the gods. Finley adds, “There was themis—custom, tradition, folk-ways, mores,

whatever we may call it, the enormous power of ‘it is (or is not) done’. The world of Odysseus had a highly developed sense of what

was tting and proper.”

Themis presided over the proper relation between man and woman, the basis of the rightly ordered family. Themis was present

at Delos to witness the birth of Apollo. According to Ovid, it was Themis rather than Zeus who told Deucalion to throw the bones

of “his Mother” over his shoulder to create a new race of humankind after the Deluge. A Roman equivalent of one aspect of HellenicThemis, as the personication of the divine r ightness of law, was Iustitia (Anglicized as Justitia). Her origins are in c ivic abstractions of

a Roman mind-set, rather than archaic mythology, so drawing comparisons is not fruitful. Portrayed as an impassive woman, holding

scales and a double-edged sword (sometimes a cornucopia), and since the 1500s usually shown blindfolded. Themis judged whether the

dead went to Tartarus or the Elysian Fields and is depicted as blindfolded so as to be impar tial. When people were assigned to Tartarus,

the Erinyes took them. When alive, those who thwarted Themis, were visited by Nemesis, the personication or goddess of divine

retribution. Themis was the rst deity of prophecy and in charge of the Delphic oracle, until she gave it to Apollo.

26



27

Themis was the Titan Goddess of divine law and order - the traditional rules of conduct rst established by the gods.

She was also a prophetic goddess who presided over the most ancient oracles. In this role, she was the divine voice who

rst instructed mankind in the primal laws of justice and morality, such as the precepts of piety, the rules of hospitality, good

governance, conduct of assembly, and pious offerings to the gods. In Greek, the word ‘themis’ referred to divine law, those rules

of conduct long established by custom. Unlike the word nomos, the term was not usually used to describe laws of human decree. VM



28



K Spt


G H

K Sp

Kindred Spirits is many things. It is a band of people who recognize that there is

more to life than meets the eye; that there is a difference between temporal matter

and eternal spirit; that there are Beings greater and grander than us who have been

elevated to the levels for which we strive and who will assist us in our lessons if

we let them. It is my hear t. Kindred Spirits as a concept is non-sectarian in that it

supports the journey of others where ever they are along the way. I must begin

from where I am and so must you. We can travel in contact with each other.

29

We can help each other by shar ing what we have learned along our way andby making offerings to each other that will assist in making our journey the most

effective, the most benecial and the most joyous. “We are all kindred spirits

in terms of our humanity, in terms of our relationship to the horizontal human

experience. We are all kindred spirits with more connection than differences

without even taking the ver tical - the Spiritual relationship - into consideration.”

You are together because you resonate on the same wave lengths, you t

together vibrationally, in such a way that together you form a powerful energy

eld that helps both of you access the Higher Vibrational Energy of Love, Joy,

Light, and Truth - in a way that would be very difcult for either one of you to

do by yourself. You are coming together to touch the face of God.You are uniting your energies to help you access the Love of the Holy

Mother Source Energy. You are not the source of each other’s Love.

You are helping each other to access the love that is the Source.” VM



M St G

40 x 21” watercolor, resin & oil

on masonite

standard 24 x 12”

R H

M S G

Literary works from my youth and my late teens converge for me in this painting.

Author, Frances Hodgson Burnett, was a practitioner of Christian Science due

to the premature death of her son as well as personal illness when she wrote

‘The Secret Garden’ in 1909. As a result, her now classic children’s read is a wonderful book about friendship, determination, and perseverance.

while it espouses the concepts of New Thought and theosophy

as well as ideas about the healing powers of the mind.

The Secret Garden has steadily risen toprominence and is now arguably Burnett’s

best-known work. The book is often noted

as one of the best children’s booksof the twentieth century.

30



T G Sp Mp

Colin Craven’s absolute engrossment in the garden and its creatures fuses him absolutely

with the stuff of life, and with the work of living - he is now cer tain that he is going to

live to be a man, and proposes that he will be the sort of “scientist” who studies magic.Of course , the only kind of scientist who might study what Hodgson Burnett calls

magic is a Christian Scientist - throughout the novel, the idea of magic is heavily inected

by the tenets of both Christian Science and New Thought. One denition of magic that

the novel provides is the conception of magic as a kind of life force - it enables Colin

to stand, and the owers to work out of the ear th. It is also aligned with the

Christian God, in that Colin says that the Doxology (a Christian hymn) offers thanks to

the same thing he does when he says that he is thankful for the magic.

This Christian connotation is strengthened in a number of ways, among them in

Mrs. Sowerby’s description of magic as a kind of creator, who is present in all things,

and even creates human beings themselves - clearly associating him with the

all-powerful, all- knowing, and omnipresent Chr istian God. Furthermore,

Mary says that the spring air makes Dickon feel as though “he could live forever and

ever and ever”; this idea clearly echoes the Chr istian belief that Paradise contains

the promise of eternal life. Unlike conventional Christian myth, Paradise can be

found on ear th, in nature, as well as in heaven.

This shift mirrors that made by Hodgson Burnett’s system of New Thought,

which held that divinity could be found in the landscape, in all natural living things.

Colin again shouts that he feels that he will live forever directly before the singing

of the Doxology. The children’s magic circle is compared to both “a prayer-

meeting” and “a sort of temple”; Colin is described as being “a sor t of pr iest.”

The chanting they perform to call upon the healing properties of the magicis very similar to the healing prayers of a Christian Science medical practitioner.

The idea that one need only “say things over and over and think about them

until they stay in your mind forever” is also taken from the Christian Scientist

emphasis upon the power and necessity of positive thinking. VM

31



A M o Sp

Presence of Angels II

36 x 60” | oil on masonite w/texture & foil | standard 17 x 40” | petite 12 x 28”

Mature Living Magazine By Johnny BlueStar

Victoria is currently exhibiting at Palm Springs Celebrity Art. As she explains, her inuences extend somewhat beyond both ar t school and the

history of ar t... somewhere-beyond innity, “I cannot recall a time in my life that drawing and painting were not beckoning me.” The r st paid

commission came at age fteen and the rst one-woman show in the San Francisco Bay Area introduced thirty works at the age of twenty-two.

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Presence of Angels I

36 x 60” oil on masonite w/texture & foil | standard 17 x 40” | petite 12 x 28”

“While studying ne ar t techniques in var ious disciplines, I slowly acquired consistent collectors. A near-death experience the following year

began my journey in looking past the surface of nearly everything in my life. As I was growing on both spiritual and creative levels, it has been

interesting to watch my artistic growth and life experiences reected on canvas. I was 23 years old (1979) and bad been dealing with a serious

health issue for over 18 months, often going to an emergency room by ambulance. The staff there had come to know me, and my emergency

status fairly me well. Most had left the ER to get medications and my char ts, etc. While laying on the table, it felt like I ‘snapped’ out of my body

and was suddenly looking over the scene below me from a comer of the room, which now seemed to not have a ceiling, as it felt very ‘open’ from above and behind ‘me’, very br ight white & warm, but slightly out of focus.“

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34



S


“I did not recognize for quite some time, that the person on the ER table was me. It felt like I was just an observer of someone else’s

emergency situation. I kept looking around the room, trying to understand why I was viewing this, but also having this feeling of a presence

‘behind’ me. It felt very much like I bad a physical body. I experienced the feeling of sitting Indian style, egs crossed under me with both

elbows resting on my knees, and my head resting in my hands, very casually watching what was going on below, somewhat

ambivalent and detached.

I would get the feeling of being drawn by the other energies! As if there were personalities or beings beckoning from behind me and I kept

looking over my shoulder to acknowledge them. I’d smile and feel comfor ted by their presence but would return my focus then to the

scene below. This happened a number of times, and each time the draw to go to them was stronger. Suddenly the body on the table went into total distress with convulsions, and it took my attention back to the scene below. I concentrated on it, and remember thinking.

‘’Wow, they are REALLY in trouble down there” Only then did I realize that it was me lying on the table.

Now the conscious mental processes star ted... How could I be there and here? Why was I not afraid or feeling pain? What could I do or

say to prove to the people in that room later that I was “out here”? Who was beckoning me from ‘behind me”. What was behind me?

I looked over my shoulder again, and saw vague forms of energy bodies emerging from a cylinder/tunnel type shape of intense bright light,

and I wanted to go just see who or what ‘it’ or ‘they’ were, but I kept being drawn back to viewing the scene below.

It seemed like this continued 3-4 times.

The last time I refocused on my body on the table, I kept thinking how amazing it was to feel the ‘body’ I was experiencing in this different

dimension... I tried to control it as well. Changing my position, moving to another par t of the room to get a different perspective, the energy

bodies always seemed to be behind me no matter where I went. I looked around the room, trying to nd something to conclusively prove

later that I had seen the room from this vantage point... a dust ball, or ANYTHING left lying on the tops of the cabinets to validate my

experience. As I watch the ER staff return and star t managing the convulsing body on the table. I saw them hold me down and inser t

the IV’s. The room took a few big spins and I woke up hour s later in an Intensive Care Unit.“

A N- E Cp A Nw H Wk.

35



As this was the late 70’s... there had not been much written on the subject of NDE or OBE, so it took much effort to research.

Raymond Moody was one of the few pioneers at the time, and I was working closely with the physicists at Lawrence Livermore

Labs and NASA (as a visual ar tist contractor when I was having all these health problems) so I ran right to them for answers or

explanations. These scientists so surpr ised me with their varied observations, explanations and interpretations that it has sent me

on a lifetime of research into the subject. I have continued to work with recreating the OBE through meditation, and have had

some success. My experience led me to he in communication with Betty Eadie (Embraced By The Light author) and was invited to

spend some time whether at her home in Seattle to discuss our experiences in depth. The painting “Presence of Angels 1 & II” were a result of that conversation. These paintings are large (5 feet wide) and reect her experience of the angels as

being ‘larger than life’.

These experiences have directly inuenced some of my work. For instance, a painting called “Surrender” is an attempt to present

the feeling of peace and transcendence of an OBE. I added candles in the foreground not only to reect my own tools in the

process, but also for those who could relate to it more from a meditative effort, without the benet of knowing a NDE. The

painting “Manifestation” was also a result of my experience and then reecting a concept I felt impressed to understand from my

experience. That energy transforms to matter and, through some sort of spiritual transformation, drifts out to impact the physical

world and then has the ability to transform back to non-matter (ethereal at some level) and to continue this cyclic pattern...

but with some guidance or inuence so to speak.

I was raised without a strong religious inuence or foundation, which I feel has helped me to accept the experience without tr ying

to make it t into some religious doctrine. Both of my parents were cutting-edge type science/research oriented. I had always had

precognitive dreams as a child, and a psychic sensitivity, that until much research into these matters, never had understood or hadvalidated. My intuition and ability to ‘connect’ with others in mind-spirit seems above normal, whether as a result of this NDE/OBE

experience I am not sure... but it is very real.

It is truly a life altering experience like no other. Those that have been ‘on the other side’ all seem to have a major shift in the

attachment to this earth/physicality those others do not possess. I no longer have a fear of death, and those alone causes one to

live life differently than most. My approach to life allows the opportunity for more serendipity and less attachment to the physical.

With the lack of available literature or resources of the time, it has led me to some wonderful people who have helped me to

understand my experience. Now that the subjects has tons of books and references of case studies, it does seem that there are

some common elements to the experience, but individually, there seem to be many nuances, and those with strong ties to a

particular religious doctrine, seem to have experiences that t more to their belief systems of their life experiences.

36



E

30 x 40” | watercolor & oil on masonite w/texture

standard 24 x 30“ | petite 18 x 24”

This in an in-production shot. Available spring 2010

“Having gained the skill to paint anything I could see or visualize

in a fair ly photo-realistic manner. In my mid-thirties there was a

dramtic shift im my wok and style at a point when I was feeling

personally fractured and trying to get back to basics in my life, that showed dramatically in the work. I began breaking down

the elements and a new style emerged during with bold, free

line work. This style gained recognition from New York to San

Francisco, and attracted new collectors in Tokyo and press from

Manhattan Arts International Magazine selcted her as an

”Arist to Watch in the 90’s.”

Collaborating with photographers and directing shoots with

a specic eye for the subjects of my paintings is a pleasure.

Regional collectors maintained their interest making it difcult for

me to hold a body of work available for shows, so I was not yet

on the gallery radars. I continue my studies under specic artists

where I explored techniques and materials, contributing

greatly to my skill level. I owe much to the amazing

mentors and teachers who have come into my life.

I endeavor to be a wor thy student.”

37

•



38



Mtt


Unvrl Acu Mf

A form in which a being manifests itself or is thought to manifest itself, especially the material or bodily form of a spirit. The manifestation

of god’s power in creation. This brings us to the more metaphysical and mystical and implores us to look at the vertical/spiritual interaction

dynamic of this Illusion which we are experiencing. I am not going to go into a detailed discussion of the different planes of existence,

sufce it to say that on the highest levels we are all One . The energy of consciousness is projected outward (downward vibrationally)

from the Source. It passes through the level of Cosmic or Christ Consciousness as One emanation. We are all one in Christ or Universal

Consciousness. It then is projected into the next level which is the Archangelic plane. The emanation becomes 12 different vibrational

manifestations on the Archangelic plane, often referred to as the 12 tribes of human kind.

The science of manifesting your ultimate dream life and destiny starts with understanding one basic principle; that you are a manifesting

magnet and can attract anything. It also holds the belief that the future is not wr itten in stone and you have the free will to create

anything you want at anytime. There is something very impor tant to this equation that allows you to manifest any future outcome.

This is maintaining a state of “possibility consciousness.” Scientically speaking it’s the bioelectric amplitude of the frequency at which your

body-mind vibrates at. There are of course very “random” cosmic interactions from the Universe that will raise and lower your vibration,

yet its the general foundation of your being that determines how effortless things manifest for you.

The experiences you manifest are also a play of energy between your manifesting vibration, your level of expanded consciousness, and

how well you can emotionally receive the experience of your life in this moment. Ultimately, you are the main architect of your reality. Your spiritual intelligence uses the ne subtle energy that emanates from Spirit to create your desires. Your subconscious mind cannot

detect these subtle energies so it doesn’t even notice that change is happening. Knowing how to manifest your destiny originates from

the belief that you are the master of your mind, and that your thoughts create your life. So what do you want to create? VM

39



C G

40 x 30” | watercolor, resin & oil on masonite w/texture | standard 30 x 24” | petite 24 x 18”

The Crossing Guard

“Quantum physics has now proven that everything we see is an illusion, that the physical world is an illusion.

Everything is made up of interacting energy. Energy interacts on a subatomic level to form energy elds which physicists call subatomic

particles. These subatomic energy elds interact to form atomic energy elds, atoms, which interact to form molecules. Everything in thephysical world is made up of interacting atomic and molecular energy elds. There is no such thing as separation in the physical world.

Energy is interacting to form a giant, dynamic pattern of rhythmically repeating energy interactions. In other words, a dance of energy.

We are all par t of a gigantic dance of energy. This Universe is one gigantic pattern of dancing energy patterns.” *

In order to fully understand what an out-of-body experience (OBE) is, it must be understood as one of many related spiritual spectrum

phenomena. It can be dened as an experience in which a person seems to perceive the world from a location outside the physical body.

Some of the earliest research is still widely used as the gold standard in the study of OBE. Much of the ground-breaking research in OBE

paralleled that in near-death experience (NDE) in the mid-to late ‘70’s and early 80’s. Robert Monroe, who founded the Monroe Institute

of Applied Science had his rst OBE in 1958. The experience was profound enough to him that he spent the rest of his life trying to

scientically gure out what happened to him. His formal conclusion was similar to what we typically observe in NDE’s – that although there are signicant differences in cultural upbringing, religious beliefs, and experiences there were striking similarities in the basic elements

of separation of consciousness from the body.

The person sees his or her own physical body from the point of view of the “double”. While out of body, astral projection, and lucid

dreaming all share the common element of the consciousness separating from the body. The consciousness separates from the body and is

free to roam the ear th plane. The common report of the silver gossimer ‘cord’ that tethers the spirit to the physical body. I chose the

“Eye of God” constellation as the Universal Source or the destination/emination for the soul/spirit connection. VM

* Quote from Codependence: The Dance of Wounded Souls

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Sezng A Mmnt To begin from the void of blank canvas and create substance always elevates me. Capturing an image or a concept and suspending it in your mind is a provocative endeavor. When the spark of a moment has passed and the memory is all that remains, to breathe life into it again

visually requires the balancing of opposing forces; discipline and the creative spirit. The canvas transforms, becoming a permanent record and

timeless home for that energy and imagery.

Mysteries of life often reveal themselves through the creative process. Exploration not only takes place on the canvas, it becomes a journey

within. My hand is guided by the mind’s eye as I explore the uidity of reality, personal journeys and the inherently spiritual nature of our inner

and outer worlds. I was very much a blank canvas when I had the NDE/OBE at the age of 22 since I was raised more with esoteric teachings

and philosophies than the inuences of organized religions. The profound visual residue from that experience continues to demand attention

and it has inspired my search beyond physical realities as I delved into the sublime realm of the metaphysical.

Plunging into ethereal worlds often reveals equally delightful discoveries as submerging oneself into physical indulgences. As a child of the San

Francisco free-to-be-me sixties and seventies, the inuence of culture movements and the emergence of the Divine Feminine began to weave

throughout my work. As a human explorer, my hope is to continue the journey with a sense of wonder into the ever deeper Mysteries. As

an ar tist, I hope to discover new ways to illuminate them. I have included concepts about the evolution of many of the works that seemed

appropriate for your introduction, I have presented ar ticles about relative bodies of work. Some duplication of were inevitable and where

possible, were edited to avoid repetition of historical information.

This body of work is in limited edition reproduction.

Most are offered in two sizes: Standard or Petite.

Ltd. Editions are signed & numbered.

Editions do not exceed 300.

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Submitting to the rocess

Preparing to unveil these works for you has continued to be an insightful

part of the journey. In Novemeber learned that while my father began

ascending his 32 Degree’s in the mid-1970’s, his younger brother (now 84)had also chosen to ascend the steps. Interestingly, they never shared this

information with one another while my father was alive, and my father died

without knowing this aspect of his favorite brother..

The ritual involved with these works from the research through the stages

of execution is a process I have come to look forward to. As a mid-career

artist, I have a diversied body of work behind me. This body has become

a vehicle for me explore aspects of diverse cultures, philosophies andreligions. Most elements have been researched for their relevance, as in the

Mystery School of Sophia which includes 79+ symbols that emerged in

researched documents.

It is evident now this has become a life-long series of work as it has moved

well into a second decade. The education I receive while searching out

source material is a par t of the process I have come to love. It inevitably

opens unexpected doors. I was twenty-two when working at Lawrence

Livermore Labs as a technical illustrator in the area of nuclear weapons and

energy. I had access to some of the most brilliant thinkers, scientists and

physicists in the world when the near-death experience transpired. Since I

had not been exposed to organized religions, I rst went to them to helpunderstand the very real, substantive out-of-body experience. Their brilliant

answers led me into this lifetime of spiritual and scientic research.

44



Staying ocused on the uture

When left to my own devices I proceed as inspired and move

toward completion of a painting as it’s relevance unfolds for

me. There are always more than 5 paintings in progress andultimately they take their own position for order of completion.

Somewhere along the way, after the rst blush of the concept

or image hits the canvas, it’s ability to capturing my attentionagain and move it towards completion takes on a life of it’s own.

Inspiration from a variety of sources have also moved me to

bring a work back to the easel, often accelerating or illuminating

the personal or life-lesson emerging from the research of thework. Ultimately, it’s a fairly organic process, some emerge,

some evolve and most of them somehow transform me as

part of the process.

Nmse.

With DeeP GratitudeThank you for your time and consideration of this material.

I bless and release this into your care, condent that divine

guidance will carr y it to it’s appropriate destination. I’d like

to thank family and friends, fans and collectors, publishers,publications, galleries, writers, models, photographers,

framers and reproduction houses that encourage my

creativity. Your support is unwavering anddeeply appreciated.

45



MembershiPs

Portrait Society of AmericaPSA: Inception 2005 -

National Assn. of Female ExecutivesNAFE: Mid-90’s- early 2003

The Academy of Fine Art FoundationVoting Member: Inception 2001 -

Women’s Caucus for the ArtsNational & State: 2004 -

National Museum of Women In The ArtsNMWA: Inception 1995 -

Healthcare Financial Management AssociationHFMA National : 2009 -

H & C

National Air & Space Museum2 Paintings from Holes in the Sky Series

Selected by Deputy Director Don Lopez.

National Mall & Udvar-Hazy NASM.

Presidential Commission Ronald Reagan 1986

American Biographical Institute 2000-04

Marquis Who’s Who of American Women 2001-02

Kensington Who’s Who 1998-04

International Who’s Who 2000

Who’s Who in America 2010

Portrait Society of America

State Ambassador 2006-2008 volunteer

46

RePresentatives

Legacy Fine Art Publishing

Los Angles, CA: Diane Baldonado

Visual Image Fine Art

Dallas, TX: Loretta Reinick

StudioVictoria Moore

Atlanta, [email protected]

web.mac.com/victoriamooreneart

There is a .PDF version of this presentation avalable upon request. 2.6MB email fle size.

Before the book evolved, I buried a page within my

website as the initial presentation was going to be

online. It can be removed or shred at your discretion:

web.mac.com/victoriamooreneart/

iWeb/Artist%20Info/Masonic.html



L M

28 x 22” | oil on canvas | a work in progress | available spring 2010

F M S

Follow the light on your path.

Know Thy Self, And You Will Never Lose Your Way .

47



The Masonic Order was always presented to me as a secret male society and

until now I was unaware of the female components or opportunities within

the organization. His secrecy around me was no surprise. My Father held both Top Secret & a Queen’s Clearance (Atomic ‘Q’ Clearance)

as a Chief Petty Ofcer in the U.S. Navy. His specialty

was as master cryptographer and radio/computer

communications expert pre & during WWII and

continued on off-shore atomic testing during the Cold war. While exploring vrious

synchronicities of these artworks

with the magnicent iconography

in your museum I have gained

a deeper insight into more of my fathers related career,

personal and spiritualinterests in the

teachings of The Mysteries.

Moore’s amily Masonic History

There are three known generations in my father’simmediate family. Howard T. Moore ascended

to a 32nd Degree Master Mason before hedied in 1989. His son and grandson are

also members of the brotherhood.

48

Vt M

41.3.7138

4@.

vmoore masonic mystery issuu

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