painting

Interview & Review – Laura Tempest Zakroff: Sigil Witchery

February, 2019

A Book Review

Sigil Witchery

(An interview with Tempest follows this review.)

It was very serendipitous that as this book was coming up for review, I had just registered to take a workshop with Tempest based on this very book.

The word “sigil” means “seal” or an action/word of a spiritual nature. I would hazard a guess that most of us have seen sigils that mean specific things, written and drawn by others.

Tempest brings sigils to us in a more personal way, with the sigils drawn by us, to have meaning to us, specifically. She simplifies it for us, while never detracting from their power.

Before doing this, she gives us a brief history of what she calls “making marks”, discussing the paintings, symbolism and markings of previous civilizations, which are still so important to us today. Tempest does on to explain the differences between sigils and signs, seals, designs, etc.

There are sections on the basic shapes used in sigils and their meanings, adding directions, letters and numbers, how to use the elements in our sigils and how they work.

There is space for us to create our own symbols for specific words that Ms. Zakroff has listed for us, thus building our own library to make our own custom sigils. She gives guidance on designing our own, what tools we can use, why we should craft our own sigils. She offers us suggestion sigils and a gallery of her own custom sigils.

We don’t have to be “high magicians” to utilize the power of sigils and the how-to’s are all right here, in an informative, friendly, easy-to-read-and-relate-to manner.

As one who has never given much thought to sigils, on their own, this book has tempted me to not only think about it, but do it.

Interview With Laura Tempest Zakroff

Susan Morgaine (SM): Hi Tempest – it was so nice to see you while you were on tour.

So, belly dancer/performer, event producer, artist, witch, author and teacher. That is quite impressive. I knew you primarily as a dancer and performer when we met many years ago, and it wasn’t until I saw the logo for Waking Persephone that I realized you were an artist, as well

SM: How did you start and what did you start with, realizing it was most probably a circuitous journey? Please only respond with what you are comfortable with sharing.

Tempest: I definitely started with art, going back as early as age 3. By first grade I was taking formal art classes on a regular basis – all the way through high school. Then for college, I graduated from the Rhode Island School of Design. I discovered modern Witchcraft and Paganism in my teens, and got into dance in my college years. When I moved to California in 2001, dance and Pagan stuff pretty much took over my life. I didn’t have much room or resources to make the kind of art I had been doing in school, so art took a bit of a backseat. It manifested through my costume designs and creations, graphic design, and some small drawings and paintings. When I moved back to the East Coast in 2007, I started working as a fashion jewelry designer. I did that until mid-2012, when it was time for drastic life shift. In that process I moved to Seattle and began working for myself full-time in all the things I do (dance, design, art). Sometimes I feel frustrated that I didn’t just keep going with the fine art out of school, but I realize I wouldn’t be where I am now, on this path – if I had.

SM: What was the impetus behind the idea of Waking Persephone. I know there were several years here on the East Coast; are you continuing it on the West Coast?

Tempest: I co-produced Gothla US from 2008-2010 – which took place in California. It was supposed to switch coasts, but that didn’t happen. Which was frustrating because most of my east coast, home-base students couldn’t afford to attend it. So much work and the people I worked the closest with couldn’t participate. I also had a vision for something that encompassed more, without stylistic labels – to bring in more ritual/sacred dance, more artistry, more diversity. That became a reality first in Tapestry Dance Retreat (2011) and then Waking Persephone the following Spring. We did 2 years in Providence, and 3 more years in Seattle. At this time, I’m not producing any events, because I needed to focus on my art and writing, but when the time comes, something will probably emerge again. Producing events takes up so much time and energy. I transformed that time and focus into something else. Since the last WP in 2016, I’ve written 4 books, published an anthology, and pushed my art deeper.

SM: When did you realize your were a Witch? It’s so interesting to hear about other’s spiritual journeys.

Tempest: I was at odds with the Catholic Church since my youngest days. I got sent to the principal’s office at age 6 because during a field trip to the church, I insisted on sitting where the priests and altar boys did (like my brothers!), and couldn’t understand while girls weren’t allowed. So much doctrine that made no sense – I felt that God was more present in nature and everywhere around us. I discovered that there were other options to the Abrahamic religions in my mid-teens – that Witchcraft and Paganism was a thing. The realization that there were names for what I believed and felt, and that other people saw the world similarly was a huge revelation.

SM: What made you decide to start to write, and then to follow that with teaching?

Tempest: I’ve been writing for a long time – in high school I was the editor of the literary magazine. At RISD in 1997, I got involved with Crescent Magazine – where I became an associate editor and had regular columns. I started up a website on Modern Traditional Witchcraft around then as well. Around 2000, I started offering Witchcraft classes – and kept that up until around 2005 or so. Then I burned out on being a public Witch, and retreated to a solitary path for almost a decade. After getting my life reset in 2012, I ventured out of my cave a bit with renewed focus and purpose. I started up a blog (which moved to Patheos in early 2016 I think), began teaching again and toyed with the idea of finally writing a book. In the Fall of 2015, I was offered the contract to write “The Witch’s Cauldron” for Llewellyn. It was a wonderful way to just dive right in, and was really well received. So from there, I wrote “Sigil Witchery” – after folks taking my workshops asked why I hadn’t written a book yet on it. And well, it’s just kept going from then.

SM: I was fortunate to have had the opportunity to take your Sigil Witchery workshop (which is reviewed somewhere else this month in Pagan Pages). What did you learn from your travels and sitting with/teaching so many Witches and Pagans around the country? I found it fascinating to see, on Instagram, the sigils you created with each workshop.

Tempest: No matter where folks are located or what path/label they use – Witches/Paganfolks have so much more in common than not. The community (or whatever we wish to call it) is incredibly diverse, but we share many beliefs and loves, as well as fears and concerns. There is so much potential in recognizing our collective power and connections.

SM: So what is next on the agenda for you, Tempest? Any sneak peeks?

Tempest: A. I’m finally working on an oracle deck! The tentative title is “The Liminal Spirits Oracle” and it will be out via Llewellyn I believe some point next year 🙂

You can reach/follow Tempest at the following:

Owlkeyme arts – Design & Fine art by Laura Tempest Zakroff | Seattle, WA

www.owlkeyme.com

Mago Djinn – Modern Folk Wear

www.magodjinn.com

Author Site – www.lauratempestzakroff.com

Sigil Witchery: A Witch’s Guide to Crafting Magick Symbols on Amazon

***

About the Author:

Susan Morgaine is a Daughter of the Goddess, Witch, Writer, Teacher, Healer, and Yogini. She is a monthly columnist with PaganPages.org Her writings can be found in The Girl God Anthologies, “Whatever Works: Feminists of Faith Speak” and “Jesus, Mohammed and the Goddess”, as well as Mago Publications “She Rises, Volume 2, and “Celebrating Seasons of the Goddess”. She has also been published in Jareeda and SageWoman magazines. She is a Certified Women’s Empowerment Coach/Facilitator through She is the author of “My Name is Isis”, one in the series of the “My Name Is


” children’s books published by The Girl God Publications. A Woman International, founded by Patricia Lynn Reilly. She has long been involved in Goddess Spirituality and Feminism, teaching classes and workshops, including Priestessing Red Tents within MA and RI. She is entering her 20th year teaching Kundalini Yoga and Meditation, being a Certified instructor through the Kundalini Research Institute, as well as being a Reiki Master. She is a member of the Sisterhood of Avalon. She can be found at https://mysticalshores.wordpress.com/ and her email is MysticalShores@gmail.com

My Name is Isis (Volume 4) on Amazon

Rune Activism for Fallen Trees

June, 2018

Rune Activism for Fallen Trees

In Germanic regions, it was believed that mankind was created from tree trunks, echoing the perception that people and trees have much in common.

In Sweden, some trees were considered ‘wardens’ and could guard a home from bad luck. The warden was usually a very old tree growing on the lot near the home. The family living there had such great respect for the tree that they would often adopt a surname related to the name of the tree.

A well-known sacred tree in Norse mythology was Yggdrasil, a giant ash tree that was said to link and shelter the nine worlds that were believed to exist.

https://blog.pachamama.org/people-and-trees-intimately-connected-through-the-ages

Earlier this year I wrote a blog titled Novena for Fallen Trees. This blog follows on from that article.

My (Swedish) surname is Almqvist: it means branch of an Elm tree.

My maiden name is Berendsen : it means son or child of a bear.

A few days ago I walked up the forest track right next to our house. I was looking for large smooth rocks that might volunteer themselves as spiritual boundary markers for our property (I am collecting 24 of them and painting the 24 runes of the Elder Futhark on them).

In horror movies there often is a scene where an unsuspecting person is walking in the forest and feeling completely relaxed, but ominous music starts playing (obviously not heard by this person!) – the viewer grips their seat and fears the worst


As I saw one particularly suitable rock and started making my way to it I heard a roaring noise and saw a massive machine rolling out of the forest towards me. I took another leap aside but it veered too and continued to come directly at me.

I am all alone in the forest in a pretty remote place. What now?!

The machine stopped. A set of green metallic steps was lowered and a large man climbed out. We were face to face, the Logger and I. He offered me his hand and said: I am Sten – who are you? (The name Sten means Stone!) I stood there cradling one large rock like a baby and said: “I am Imelda, I am collecting large rocks”. He nodded as if a woman holding a big rock as if it is new born baby was a normal event in his life. He then proceeded to tell me that he had not seen a human being for four days. He had been working 14-hour days logging away, all on his own. He was desperate for some conversation and a human face.

This encounter reminded me of coming face to face with a pack of hunters in the same forest, in October last year. This was after waking up to a gunshot outside my window and then finding a dead young deer on the track in front of our house. I set with this deer for a while and spoke some prayers.

The forest that surrounds our house is owned by two large local country estates (essentially two aristocratic families). Everyone who owns forest land must file a plan with the forest authorities (a family friend who owns forest land has explained this to us). Sten is just doing his job. He works for the logging company that was hired to turn mature trees into logs. Those logs might then become buildings (or IKEA furniture).

There exist many myths throughout the world that say human beings are descended from trees, and these are particularly prevalent among Indo-European cultures. In Völuspå the first humans, Askr and Embla, are created from pieces of wood, and in Gylfaginning Askr and Embla are created from driftwood logs found on land by the sea. The three gods credited with their creation include Odin, and either his brothers Vili and Ve or companions HƓnir and Lóðurr (believed by some to be Loki or, by others, Frey). Each god endowed the first man and woman with different attributes.

http://www.thesoulofbones.com/blog/the-world-tree

I had briefly contemplated doing something heroic, like dramatically throwing myself in front of his death-machine. However, Sten doesn’t call the shots, he does not have the power to reverse any decisions. He is only doing his job
.

Yesterday evening I decided it was time to check how far the destruction had reached. I brought a candle, red paint and a huge drum with 24 runes painted on it.

Things were even worse than I thought. My youngest son has a favourite hang-out in the forest that he calls Lynx Rock. – Lynx Rock is no more – it has been raised to the ground.

This week I had a dream where I was painting the rune Eoh (Eihwaz in the Anglo-Saxon system) on the tree stumps of fallen trees. Eoh represents the world tree and world pillar or axis mundi. So I used my red paint to do this. I turned one large tree stump into an altar where I had my candle burning while drummed loudly enough to raise the dead. I half expected the loggers (holed up in their caravan) to come running and investigate what was going on – but they stayed away.

I drummed. I chanted. I prayed. I asked the spirit of the world tree for regeneration and healing of this land. I apologised to all the animals, plants and creatures that had just lost their homes.

I took a moment to connect to tribal peoples all over the world who have lost their trees and way of life to loggers and deforestation.

As the world axis, the World Tree runs vertically through the centre of the cosmos and links the heavens, earth and underworld together. Holding the many worlds within its boughs, it is the connecting point between all realms. Its branches (or, in some cases of inverted world trees, the roots) stretch into the realm of the gods while its roots reach into the depths of the world of the dead. It also functions as an anchoring point – a sort of “world nail” or “spike” (Old Norse veraldar nagli) – around which the firmaments revolve. It is sometimes represented by the Pole Star, or North Star, since the skies do appear to revolve around this central, fixed point. As Åke Hultkrantz mentions in a discussion about world trees and pillars in shamanic cultures, the world tree and world pillar/nail were probably two distinct concepts initially which eventually merged together.

http://www.thesoulofbones.com/blog/the-world-tree

When all that was done, I made my way home down the forest track. The daylight was going. I was still extremely upset but I felt better for having performed my vigil and “rune activism”.

In Old Europe there were many ancestor cults involving trees. It was believed that after death the souls of the ancestors took up residence in trees. This is why many forests and groves were so sacred and there were severe penalties and punishments for messing with trees.

What if the Old Europeans were right? What if Heaven does not exist or Heaven turns out to be a forest in this world where our souls take up residence in trees after death so we can continue to watch over the living (and pray that they pay attention to our loving guidance)?! Do we give this ancient belief any thought before we decide to decimate forest land?!!

Today I will take my son to where Lynx Rock used to sit in a forest glade and where he would tune into Forest Magic and Lynx Medicine teachings. You can see him in action here and hear him explain what he is doing here:

I am not looking forward to seeing his face


***

About the Author:

Imelda Almqvist is an international teacher of Northern Tradition shamanism and sacred art. Her book Natural Born Shamans – A Spiritual Toolkit for Life: Using Shamanism Creatively with Young People of All Ages (Using shamanism creatively with young people of all ages) was published by Moon in 2016.  She is a presenter on the Shamanism Global Summit 2017 as well as on Year of Ceremony with Sounds True. She divides her time between the UK, Sweden and the US. Her second book Sacred : A Hollow Bone for Spirit (Where Meets Shamanism) will be published in March 2019. She is currently working on her third book: Medicine of the Imagination.

www.shaman-healer-painter.co.uk  (website)

https://imeldaalmqvist.wordpress.com/  (blog)

https://www.youtube.com/results?search_query=imelda+almqvist  

(Youtube channel: interviews, presentations and art videos)

http://affiliate.soundstrue.com/aff_c?offer_id=124&aff_id=2260&url_id=86  

(Year of Ceremony)

 

WitchCrafting: Crafts for Witches

April, 2018

There be Dragons

Merry meet.

When I fell in love with a Dragon’s Eye I’d seen on Pinterest, I felt I was lacking the talent and the tools to make one. Blessed be my artist friend Kerry Bower who likes to work with her dragon energy.

This is how she made them. Start to finish, you can finish one in about two hours, including baking time and cooling.

Gather Supplies:

Polymer clay (one small brick can make two eyes)

Polymer clay tools

Glass cabochons (the size of a quarter, found at dollar stores)

Multi-surface paint

Acrylic paint (or clay in the colors you desire)

Small detail brush

Oven

Shape a thin piece of clay into an oval that will be the size of the piece and place the eyeball roughly in the middle.

Roll out two clay snakes to form the top and bottom lids and place them as you wish on the eye. Using clay tools, blend the lids into the base to secure the cabochon to the base.

Form small cone-shaped horns and blend to secure them above the eye.

Roll tiny balls of clay, flatten them and place around the lid, pressing and shaping to form the scales.

Bake according to directions on the package.

If you choose to work with colored clay, you are done after baking.

Kerry used black polymer clay that she then painted with acrylics, explaining, “I like the black underneath, because when you dry brush it, it makes the colors pop so the scales stand out.”

“When creating each one, I could picture each dragon and the personality that would come along with each one. Dragon energy is powerful and it is a strong part of me,” said the magical, self-taught artist who works in multiple mediums.

She plans to add Dragon Eggs and Baby Dragons to her line.

Find her beautiful work on Facebook at Kerry’s Creations; or you can email her at kbcreations5900@gmail.com

Merry part. And merry meet again.

***

About the Author:

Lynn Woike was 50 – divorced and living on her own for the first time – before she consciously began practicing as a self taught solitary witch. She draws on an eclectic mix of old ways she has studied – from her Sicilian and Germanic heritage to Zen and astrology, the fae, Buddhism, Celtic, the Kabbalah, Norse and Native American – pulling from each as she is guided. She practices yoga, reads Tarot and uses Reiki. From the time she was little, she has loved stories, making her job as the editor of two monthly newspapers seem less than the work it is because of the stories she gets to tell. She lives with her large white cat, Pyewacket, in central Connecticut. You can follow her boards on Pinterest, and write to her at woikelynn at gmail dot com.

SpellCrafting: Spells & Rituals

March, 2018

Egg Spells

Merry meet.

Eggs are one of Ostara’s most prevalent associations. Like all seeds, it contains the promise of a new life. It is a potent symbol of fertility because it contains the power to become something: a chicken, a turtle, a bird, a fish. Eggs are a symbol of abundance, prosperity and the rebirth of nature. In some traditions, the entire universe is portrayed as an egg. That makes them very magickal.

At Ostara, the Wheel of the Year is perfectly balanced. Day and night are of equal length. Masculine and feminine, inner and outer, dark and light are also balanced as the world begins to come alive. Imbolc’s whispered hopes become Ostara’s actions. At this moment, the light defeats the dark. The power is expansive and exuberant.

To harness Ostara energy in a spell, let an egg be the seed that will bring forth your desires. Inscribe it with symbols, pictures or words for abundance, joy, healing, strength, security, laughter or whatever you can imagine and feel yourself possessing. Consider dying the egg in a corresponding color, such as green for abundance, fertility, or eco-magic; and red for will, strength, passion or purification. Yellow corresponds with laughter, thought, travel, communication, happiness, freedom and beginnings; while blue can be used for healing, compassion, love and dreams.

As you decorate the egg, infuse it with the feeling of already having these qualities, of having reached the goal or of having had the wishes come true. Clear your mind and hold the egg as you continue to add your energy to it with breath, song, dance or words, focusing on your desires and their place in your life.

Then, on Ostara night, bury it, perhaps in a garden, as an offering to Mother Earth, and know that as it transforms and feeds the earth, it feeds and transforms what you wish to manifest.

You can also use an egg as a spell bottle of sorts.

First, make holes at both ends of the egg and blow the contents into a small container to be used for recipes. Rinse out the empty shell and let it dry.

Write your spell on a piece of paper small enough that you can roll it up and slip it into the hole at one end of the egg. You might want to include symbols, anoint it with an oil related to your desires and perhaps include corresponding botanicals before rolling it up.

Once it is inside, seal the holes by dripping melted candle wax on them.

Place the egg at the base of a special tree and ask it to guard your workings, adding its strength to yours.

If you have other spells involving eggs, please share on our Facebook page so that we all might benefit from your experience.

Merry part. And merry meet again.

***

About the Author:

Lynn Woike was 50 – divorced and living on her own for the first time – before she consciously began practicing as a self taught solitary witch. She draws on an eclectic mix of old ways she has studied – from her Sicilian and Germanic heritage to Zen and astrology, the fae, Buddhism, Celtic, the Kabbalah, Norse and Native American – pulling from each as she is guided. She practices yoga, reads Tarot and uses Reiki. From the time she was little, she has loved stories, making her job as the editor of two monthly newspapers seem less than the work it is because of the stories she gets to tell. She lives with her large white cat, Pyewacket, in central Connecticut. You can follow her boards on Pinterest, and write to her at woikelynn at gmail dot com.

Sacred Art

October, 2017

 

 

TRIBUTE TO THE MIMI SPIRITS

 

MiMi figures are small stick-like spirits. They are said to live in bush and rock crevices in Arnhem Land in the very North of Australia. They are regarded as great artists because they like painting their portraits in red ochre on rocks!

Mimi spirits are not Creator Beings, but they taught the Ancestors of the present-day Gunwinggu tribe the art of painting.

Mimi spirits can be enchanting creatures, but one must realise they can be malevolent as well as benevolent.

As a painter I wished to create a tribute to the Mimi spirits for giving human beings the art of painting!

***

About the author:

Imelda Almqvist’s book Natural Born Shamans: A Spiritual Toolkit For Life (Using shamanism creatively with young people of all ages) was published by Moon on 26th August 2016.  She is based in London,UK and teaches shamanism and sacred art internationally. 

For her courses in Norse Shamanism (in both Europe and soon coming to the USA as well) please visit the following webpages

FORNSED IN SWEDEN

http://www.shaman-healer-painter.co.uk/info2.cfm?info_id=211324

2 YEAR PRACTITIONER OF NORSE SHAMANISM PROGRAM

http://www.shaman-healer-painter.co.uk/info2.cfm?info_id=224450

www.shaman-healer-painter.co.uk

https://imeldaalmqvist.wordpress.com/

YEAR OF CEREMONY

http://affiliate.soundstrue.com/aff_c?offer_id=124&aff_id=2260&url_id=86

Imelda Almqvist About Painting

September, 2017

Imelda Almqvist About Painting

People often ask me about painting. I teach courses in making art internationally and do a fair amount of public speaking, as well, so I am often asked questions about my own process and my relationship to my own paintings.

Over the years, as paintings have gone off to exhibitions and galleries and I have hosted many Open Studio Days, I have written my artist’s statement on many occasions, as artists are supposed to do. I observe constant shifts in my own consciousness bringing fresh insights. I doubt this journey will ever end! (it will probably continue beyond my departure from the earthly realm!) This means that I am always engaged in re-writing and trying to find even better words for processes that happen in the place beyond words! Today those earlier artists statements are interesting artifacts because they track and map my personal creative journey over a period of three decades.

(Sadness, monoprint 1997)

The Encounter with White Canvas

For me every painting starts with an encounter with a blank canvas or white sheet of paper.. There is a seed concept: an idea, a colour, a shape, a piece of music, a sudden insight, often a possible marriage of two unlikely things.

Once I start the process of painting I am in dialogue with the spirit of the painting I am working on. That which seeks coming into form and embodiment through art actually guides the process. 

In shamanism we call this hollowing out or being a hollow bone for Spirit, for luminous beings from other realms. Beings more evolved than myself come forward offer a higher perspective on events on Earth and a glimpses of other worlds behind the Veil.

( UNDERTAKING Oil Painting 1994)

About Selling Paintings

Do I sell paintings? Yes. Will I sell any painting to absolutely anyone who expresses interest in it? No!

In our culture we often rate artists (and authors!) by their sales The selling of work means that other people put value on what we do. To be “successful” we need to regularly sell paintings or sell many copies of a book. My younger self, fresh out of art school, “bought into this”. School instils a very particular idea of what it means to be a professional (and commercially successful) artist!

Over the years my own helping spirits have taught me many powerful lessons and my perception has shifted completely.

Once someone got in touch about buying a painting. The spirits said  no, it is a piece of your soul they are trying to buy, don’t do it!  

Another time I promised someone a painting of a very powerful goddess. This painting went missing for two years and only reappeared recently. She was not willing to go and she was angry that I had not consulted her before making the promise. Rightly so! Lesson learned!! OUCH!

However, most of the time when people get in touch about buying a painting, the spirit of the painting is thrilled and very excited. Everything flows very smoothly and all arrangements fall into place easily. Then I say my goodbyes and the painting starts a new life in a new home. 

(While I was at art school the teachers warned us against people “choosing a painting to go with the colours of their sofa”. In truth I have not seen too much of this over 30 years of selling art!)

(DADDY IS A BALLOON  1997 Oil.

Painting title inspired by a paper on Therapy)

Paintings as Trusted Allies and Teachers

In November 2016 I gave a presentation at “Threshold“, the annual conference of The Gatekeeper Trust. There was a beautiful audience of about 100 people. I had a made a power point presentation in which many of my own paintings (inspired by spiritual work done all over the world) appeared.

After that talk (and the reactions I received from many people) I could put into words something I have always known, on some level: the spirits embodied by my own paintings are my trusted allies and teachers. They go wherever I go. They will often go on missions too, performing healing work for a person, family or location or appearing in someone’s dream to provide important guidance on a big decision or career move.

In that moment I realised that for me painting is about a life led by and dedicated to Spirit. It is about an intimate relationship with powerful beings that come forward  to help those on Earth – but they can only do so if we invite them and welcome their help.

It was not just me giving a presentation: it was me and my whole team, all of us doing this! It was not nervous, only overjoyed. You can watch this presentation on Youtube:

“Gods of Portals, Life Transitions and Liminal Spaces”

I feel I need to write this article (as adapted from the About Painting page on my website) as it might be a powerful message for other artists: moving beyond this paradigm of measuring success by sales and paintings sold! It has given me an immense sense of peace and soul purpose, working this way. And this is the way of working I teach my own sacred art students on different continents!

(GUARDIAN ANGEL   1997  Oil painting)

FAQ – A few more answers to questions I am asked very often

 

What materials do you use?

Before I had children I loved using oil paint on canvas (though, also, made mono prints and mixed media artwork on paper). However, oil paint is quite toxic because metallic resins are used to create the different hues (Cadmium Orange and Yellow, Zinc White etc.) and so is turpentine. For that reason I switched to acrylic paints months before even trying to for a baby as I did not want my unborn children to be exposed to these resins and fumes.

In recent years I have developed a particular fondness for making short art films because this allows me to blend paintings, digital photographs, myths poems and stories as well as music and moving images all at the same time to arrive at one seamless creation. 

ART VIDEO: SEVEN DESERT MAIDENS

This process has also brought a revival of working in black and white to create print-like stark images. I am greatly enjoying the multi-media experience that new technology makes possible!

Do you undertake a shamanic journey before you make a painting?

No, the process of painting IS the journey! Only better because I get to stay “in the zone” for a whole working day! (Say 8 hours rather than 30 minutes!) A journey can easily be the starting point of a painting. For instance in 2014 I did one journey where I was told that I “am an Apprentice of the Waning Moon” and that led to a painting by that title. 

(Apprentice of the Waning Moon)

How do you work with dreams?

For me keeping a dream journal is a daily practice. My husband risks his life if he talks to me in the mornings before I have written up my dream notes! I do oneiric work (shamanic dreamwork) with all my students as well.  Many of my paintings were inspired by dreams.

(The Mother of Dreams 2013)

I hope that this article will inspire you to get out some art materials!

Imelda Almqvist, 23 August 2017, London UK

***

About the Author:

Imelda Almqvist’s book Natural Born Shamans: A Spiritual Toolkit For Life (Using shamanism creatively with young people of all ages) was published by Moon on 26th August 2016.  She is based in London,UK and teaches shamanism and sacred art internationally. 

For her courses in Norse Shamanism (in both Europe and soon coming to the USA as well) please visit the following webpages

FORNSED IN SWEDEN

http://www.shaman-healer-painter.co.uk/info2.cfm?info_id=211324

2 YEAR PRACTITIONER OF NORSE SHAMANISM PROGRAM

http://www.shaman-healer-painter.co.uk/info2.cfm?info_id=224450

www.shaman-healer-painter.co.uk

https://imeldaalmqvist.wordpress.com/

YEAR OF CEREMONY

http://affiliate.soundstrue.com/aff_c?offer_id=124&aff_id=2260&url_id=86

FREE “HARNESS YOUR CREATIVE POWER SUMMIT” WITH GUNHILD LORENZEN

http://www.gunhildlorenzen.com/imelda-almqvist-speaking-at-harness-your-creative-power-online-summit

 

 

Sacred Art

September, 2017

The Great Cosmic Womb

of Egyptian Goddess Nut

In Ancient Egypt, Nut was the Sky Goddess and daughter of Shu and Tefnut. She was seen as a personification of The Milky Way. She was both the ultimate Mother Goddess and the Soul Conductor or Psychopomp who reabsorbed the souls of dead people back within herself. The ancient  Egyptians believed that our star constellation Cygnus (or The Swan) marked the location of The Cosmic Womb in The Milk Way, the womb of Nut. 

The sun god Ra entered her mouth after the Sun set in the evening and was reborn from her vulva the next morning. She also swallowed and re-birthed stars. The pharaoh entered her body after death and was later resurrected. Her image is painted on the inside of many sarcophagi. This symbolized the return of dead souls to the Divine Womb at the heart of the Cosmos.

In art, Nut is often depicted as a woman wearing no clothes, covered with stars. Her husband  was Geb and they were the parents of Osiris, Horus,  Isis, Set, and Nephthys.

I was guided to lead a group of colleagues in working with Nut at Chaco Canyon in New Mexico in October 2016. The work was earth-shattering and life changing!

Here is a link for the Youtube recording of my presentation at THRESHOLD, the 2016 annual conference of The Gatekeeper Trust

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About the Author:

 

Imelda Almqvist is the author of Natural Born Shamans: A Spiritual Toolkit For Life, (Using shamanism creatively with young people of all ages) published by Moon in 2016. She teaches shamanism and sacred art internationally. Imelda pioneered a shamanic program for young people called The Time Travellers. This offers safe group space for children and teenagers to develop a viable spiritual toolkit and her first book describes this work and why young people are our greatest spiritual teachers! She is currently working on her second book (about sacred art).

 

 

Imelda’s otherworld paintings can be found in art collections all over the world. Her courses take place in the fertile place where art meets shamanism. The focus is on engaging in innovative ways with both mystery school material and on creating healthy vibrant reality rather than continuing to create reality from wounded or distorted old blueprints. Our ability to do this lies at the heart of navigating the current paradigm shift successfully.

Imelda is starting a school of Norse shamanism  based in Sweden called True North. She has three teenage sons and loves making art videos. The most extreme thing she has ever done is assisting with eye surgery in a field hospital in Bangladesh. One of the most life-changing things she has ever done is teaching art and design to under-privileged children and teenagers in Lima, Peru!

 

Her Links:

http://www.shaman-healer-painter.co.uk/

https://imeldaalmqvist.wordpress.com/

Artist Erin Martinez

March, 2010

Painting is a passion. It is what keeps my blood flowing. I’m  full of many visions that coil around my heart. having opened my emotions in a deeper light these paintings are portraits of my inner creature. being a self taught artist for some time now, I realize that it is truly the core of creativity that binds the colors and figures used in my work and feel very proud to make my art come to life.

To Escape is to Dream

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