Gallery – Page 7 – Aspen Moon Art

Faery Star, by Aspen Moon, July 2013. Acrylic on Canvas 30″ x 30″. ( Original for Sale )

First, ask yourself… Do you believe in fairies?

Seven—a number with so many interesting and powerful associations it would take pages to list them all. While Seven prevails in this work, it isn’t the point of this work. Nevertheless, I would encourage you to delve into a deeper understanding of the symbolism and attributes ascribed to the number Seven. It will enrich and broaden your capacity to relate those ideas to the deeper meaning of Faery Star. But to begin, we must delve into an understanding of the world of fairy tales…

In modern times, the seven pointed star has been has been dubbed the Elvin Star, or the Fairy Star. Which makes me wonder, why is the seven pointed star specifically assigned to a seemingly mythical (fairy tale) symoblism? This question is the key to understanding two (though not all) of the principle aspects of the artwork I’d like to emphasize. Both are rooted in the original meanings of the word fay, and the question, what is a fairy after all??

To answer this question, I will first quote the great wikipedia oracle, “The early modern fairies do not have any single origin, representing a conflation of disparate elements of folk belief, influenced by literature and by learned speculation (e.g. alchemy). In folklore, they are variously regarded as a “natural” but hidden species, as spirits of the dead, or as descendants of either fallen angels or demons. Fairies are generally described as human in appearance and having magical powers. Their origins are less clear in the folklore, being variously dead, or some form of demon, or a species completely independent of humans or angels. The folkloristic or mythological elements combine Celtic, Germanic and Greco-Roman elements.”

Understanding how the concept of fairies (or fay) evolved from the magical traditions of various cultures and mythologies sheds an interesting light on the origins of the word fairy as well.

Fay: (source Merriam Webster):

fairy, elf, Origin Middle English faie, from Anglo-French fee; First Known Use: 14th century.
obsolete: faith, Origin Middle English fai, fei, from Anglo-French feid, fei; First Known Use: 13th century.
to fit or join closely or tightly, Origin English feien, from Old English fēgan; akin to Old High German fuogen to fit, Latin pangere to fasten; First Known Use: before 12th century.

The two main concepts I’d like to emphasize in the definition are faith, and to join. Notice that I listed the definitions in reverse chronological order. Therefore, the oldest meaning of the word is “to join,” and the newest is of the creatures (i.e. embodiment) known as fairies and elves. However, it is when we bring together all three definitions into a united concept that it creates (or conjures) the quintessence of our modern notions of magic, the supernatural, or the world of wonder.

Much of the purpose and power of progressive magical, scientific, or new age philosophy—whether you describe it from the perspective of a quantum physicist or Wiccan high priestess—is to imbue, shape, or even bind physical energy with conscious purpose (intention). In other words, putting together physical and conceptual energies to create a new, functional, willful whole—an act available to not only the Creator but also lovers at the moment of conception, farmers who plan each spring, and even the aspiring magician. People who experience success within these pursuits acknowledge that it is partially an act of faith and partially an act on the material world. The fact that the a material (though mythological) being is also given the same word, to me literally embodies the two concepts into a tangible one. Moreover, this makes me want to associate the fairy or the elf to a modern equivalent, which we might today call a shaman, a monk, or even a priest. Mysticism still shrouds these roles in society today for the tribes-people, the pilgrim, or the congregation. Therefore, similar notions of magical, supernatural powers may still linger, even in a modern association, adaptation, or understanding of fay. In other words, modern fairies, in the forms of priests, priestesses, pastors, prophets, and popes, still live and dwell in the realm of magic, of miracles, and of the supernatural (by combining faith with action).

To portray such lofty ideas, I turned to capturing the aesthetic notions we imbue the magical, heavenly, supernatural, or mystical realms. This comes into being as my humbling attempt to create a painting with the potential to be universally beautiful as well as spiritually accessible, through geometry, color, shape, and form. Above all, we humans depict these realms as superlatively beautiful—in other words, our notion is of an onmi-aesthetic nature of heaven. Another example is that we often find incomprehensible beauty in those things we do not fully understand. Even our modern description of the mythical elves is that they were beautiful beyond humans in every way. Many even describe the elves as what humans were before the Fall of Adam, or other fall from grace.

So again ask yourself, do you believe in fairies? Where does your faith lie? What is the source or font of your faith energy? And are your actions (and will) closely aligned? For thus are the powers of magic!

Learn to bind your full intention to your full energy, and you will be the most powerful mage of all.

So ultimately Faery Star is a painting about our yearning for the mystical and for true empowerment, which is made of both faith and action (James 2:26). It’s a representation of the intersection of faith and action, of science and religion, of just wishing and actually making it happen. Constantly moving, yearning, and re-balancing, Faery Star is a meditation on the human spirit’s ability to ponder the impossible and then conjure it into reality.

-am. July 2013

Phases of the Fairy Star painting

As you’re likely aware, there’s a whole lot more to the story about the Fairy Star… It’s been around and useful a long time. Keep delving into deeper understanding and you’ll discover lots of magical mysteries. Here a couple places to start:

1. Rosicrucian Library: http://www.crcsite.org/Tabulatext.htm (notice the prominance of Seven)
2. Fairy Star featured in a new age application as well as in Alchemical manuscript known as the VITRIOL formula star

Metatron’s Journey, by Aspen Moon, February 2013. Acrylic on Canvas 24″ x 24″. (Private Collection)

METAPHORICAL MANDALA ::: This painting is my second metaphorical mandala work. The mandala not only functions as a decorative or artistic framework, but also works to insinuate a journey or progression—seeing it as a wheel, which turns to create motion or movement makes this association easy to understand. The progression or movement is also created when considering how colors are arranged. For those who have studied the chakras, the progression of color and how it weaves through the piece will immediately communicate the pathway or journey through the chakras—journeying from the red root chakra to the purple white of the crown chakra and back down again, forever up and down according to the movement of the kundalini.

The journey in the metaphor of Metatron’s Journey begins with the skull at the top of the mandala—this location in “the wheel” represents the default notion of consciousness, in other words, our waking, aware state of being, where we live most of our reality. This is the realm in which we work, play, associate with others, and live within our understanding of being clinically conscious. This skull is placed in the third eye (6th chakra) position of the mandala—where we must begin our sojourn into the realms of deeper seeing. There are many direct and indirect pathways a wanderer could take from the starting point, each stringing a uniquely interrelated thread of ideas, dimensions, and moments to derive meaning. Direction may also affect the experience…going forward vs. backward, clockwise vs. counter-clockwise, etc.

DETAILS :::

Metatron’s Cube (follow this link for a good introduction to Metatron and how he got his very own cube) provides a symbolic introduction to the structure of the physical world and the idea that consciousness is the beginning of all being (i.e. thought precedes manifestation). This geometric form is a variant of the Fruit of Life figure in sacred geometry. From the coming together of the masculine aspect (the straight lines) and the feminine aspect (the circles), the forms of all the platonic solids may be derived. In other words, Metatron’s Cube acts as a blueprint to the most fundamental crystalline structures of matter in our universe. I used Metatron in the name (as the great Islamic/Judeo/Christian Archangel, Scribe of God, and purveyor of wisdom to humanity) and the analogy of the journey to really emphasize both the structure and the movement through it that allows for development, learning, advancement, and evolution. All things are based on extrapolations of simple and constant forms. What changes is how the sojourner undertakes the journey through the structure. We all take our own path in life. This is what brings color and vividness to our individual realities and makes the journey interesting and novel. This is demonstrated elegantly when following the various paths that render each of the platonic solids—each path is different and creates a unique outcome, despite the fact that the structure itself, as well as the abilities and constraints inherent in the structure, does not change…

Platonic Solids Derived from Metatron’s Cube

I’ve included references to the ankh, a well-known symbol for “life.” Life is our constant and what we all have in common. It is also the greatest gift we’ve ever been given. Whilst some believe the ankh may have originated as the belt clasp of Isis, many of the Egyptian gods carried the symbol. In my work, The ankh pours from an opening scarab flying out from the Golden Sun Disk, which is the symbol of the monotheistic god Aten in Egyptian mythology.

“During the Amarna period, the ankh sign was depicted being offered to Akhenaten (Ankh + Aten) and Nefertiti by the hands at the end of the rays descending from the sun disk, Aten. Therefore, the ankh sign is not only a symbol of worldly life, but of life in the netherworld…we also find the dead being referred to as ankhu, and a term for a sarcophagus was neb-ankh, meaning possessor of life.” (Source: TourEgypt.net) In my work, it helps articulate the space between episodes of death and rebirth in various aspects— forsaking learning for wisdom, the loss and return one’s of innocence, chapters or phases of life, one’s notions of truth, or even literal incarnations.

The dung beetle has long been an important symbol, most prevalent was in Egyptian’s use of the Scarab. As website states, “The Scarab personified the god, Khepri, a sun god associated with resurrection. As such, the large winged scarab and the heart scarab were considered good luck beetles and placed on mummies for protection against evil. These amulets were often inscribed with a spell from the Book of the Dead, which entreated the heart to, “not stand as a witness against me.”

“Scarab beetles lay their eggs in dung, which they roll into a ball and roll into a hole. The Egyptians equated this with the movement of the sun and its daily resurrection. Ancient Egyptians believed that a winged scarab flew across the sky each morning carrying the sun. The scarab was a symbol of the rising sun and as a protector from evil; it is also a symbol of rebirth, regeneration, creation, transformation and was commonly worn to gain strength.” (Source: http://www.squidoo.com/egyptian-symbols)

The Dragonfly is a powerful symbol and in this work represents not only the true power of consciousness to dissolve illusions and see truth, but also the vibration of sound and the throat chakra. “Many believe that dragonflies can travel between dimensions and are messengers of dreams and illusions.” (Source: Dragonfly Symbolism and Facts) These are the very same realms to which our dream consciousness and imagination journey and dwell, and therefore I’ve used dragonflies to convey the idea of our consciousness being carried to the mystical, contemplative, reconciliatory, and more deeply conscious pinnacles of our consciousness.

Iridescence is the property of an object that causes it to appear to be different colors depending on the angle and polarization of light reflecting from it. Because of the dragonfly’s iridescence, it is often “seen and believed as a symbol of the end of one’s self created illusions and a clear vision into the realities of life. The magical property of iridescence is also associated with the discovery of one’s own abilities by unmasking the real self and removing the doubts one casts on his/her own sense of identity. This again indirectly means self discovery and removal of inhibitions.” (source: Dragonfly-site.com)

“The eyes of the dragonfly are one of the most amazing and awe inspiring sights. Given almost 80% of the insect’s brain power is dedicated to its sight and the fact that it can see in all 360 degrees around it, it symbolizes the uninhibited vision of the mind and the ability to see beyond the limitations of the human self. It also in a manner of speaking symbolizes a rising from materialism to be able to see beyond the mundane into the vastness that is really our Universe, and our own minds.” (source: Dragonfly-site.com)

The Realms of Consciousness and Seeing

The upper and lower halves of the painting insinuate two very distinct realms of consciousness (as you wish: waking vs dreaming; conscious vs. subconscious, etc., etc.). But they work together to create a bridge-point of transcendent centeredness which emanates in harmony and with balance. The top half represents the outer realms of consciousness, with eyes open and perspectives vast. The lower represents the inner world of one’s consciousness, where vision is not constrained by our eyes, nor journeys tethered by our bodies or space or time, and with a context that is less derived or predetermined. And the two states of being cooperate—one realm of consciousness relies on the other to give it context, meaning, contrast, and value.

Touching back to the dragonfly analogy, developing one’s ability to see in all directions, including all states of consciousness, seems to be a gateway to higher understanding and higher self-awareness. Seems like the ability to see all pathways within the structure would be the ultimate perspective. This would enable the transformation of experience and observation into deep wisdown. Which I suppose is the journey we are all taking…right along with Metatron.

-am. Feb 2013