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Mixed Media Gallery – Aadhya Chambers

Chamber One



Chamber 1: Fallacy of Form


Not all lies are the same.

Not all illusions 

have their roots in soil.

Fallacies do not rise up

to reveal the truth,

no matter what 

you have been told.


The fallacy of form is welded

to the fallacy of space.

Together, they are the serpent 

that dangles from the tree. 

The apple falls

from its mouth,

regurgitated so you can be alike. 


The fallacy of form

is that we are different.

and in that difference we mesh,


conjoin to create the formless

in form. 

We, the creation, create

the creation.

The cycle repeats itself,

leading to the great portal

when we all wake 

to our collective godhood

and in one smile

extinguish the fallacy of form.



Aadhya chamber 1 is related to illusion. The mandorla in this painting is very abstracted, with a sense of creation brimming on its periphery. The temptor serpend is present near the bottom, opposite the cross. The “as above, so below” symbol is pointing into the mandorla, and above it, duality.

Chamber Two



Chamber 2: Unity


Too young to be lost

you need a world that is true.

No cape with deliver you,

no payment will cover the cost

so long overdue.


You are more than a name;

given by your past

to a soul merely loaned.

In all the mirrors 

I have crossed

I have seen only one face unowned.


The mirrorless absorption 

of all things sacred.

That secret network

that churns duality to make

unity aware of itself.


Aadhya Chamber 2 has several themes, but the dmoninant one is unity. There are three figures present in the piece. The main subject is “wrapped” in an energetic casing, around which are two other angelic figures (guardians) who are essential parts of the local universe. Unity is represented symbolically by the infinity symbol hovering above the head of the main subject.

Chamber Three



Chamber 3: Perspective Matters


A program exists. 



Your disagreement proves you are inside it.

Blissfully oblivious. 

Painfully unaware of its sharp edges. 

The program is deeply seated,

passed from generation to generation,

embedded like oxygen in water. 

DNA carries it, 

hoisting it into our vaulted minds

where pictures pour cement

for the imprinting.


Is it enough to know the program?

You can study it.

Analyze it.

Rip every covering off of it

until you are staring into the face

of a sinister plan

to enslave,




that part of you 

that is both sovereign and integral.


The house of mirrors smiles.

There is always another level. 

An expansion waiting.

Isn’t the program 

a part of the expansion?

Where we feign ignorance

in order to gain our difference?


If you hate the program,

you are flicking embers 

into the tinder night,

summoning a fire with fatal persistence.

There is an implicate order

that embraces us.

Better to allow than hate.

Better to resist than sate.

Better to follow your heart than fate.

Better to understand now than too late.


The program is a tiny oder 

in the glorious feast of immortal life. 

Perspective matters. 


Chamber 3 of the Aadhya site is focused on the program that is instilled within the human subconcious (personal) and collective unconscious (universal). The vertical bands represent the 10 primary cultures of human society. Within each band is the seed of equality and oneness, but there are also competing forces that dillute or modify this fundamental truth, and these are the programs that create the separation frquency.

Chamber Four



Chamber 4: Trained Ways


We were trained to retreat.

To circle the core like a moon

reflecting light

without gravity.

We were trained to live blind

of the profound spaces;

frequencies we shuttered

like masks over faces.

We were trained to ignore 

the endless plea of our heart’s instinct

to steer inward to feel the link

of our soul.

We were trained to believe 

words and numbers,

as if they pointed the way 

to the ultimate truth,

but truth never encumbers.

Truth displays itself in those rare, 

random moments that cannot be trained

or coaxed into our perception. 

The shadows, however, 

of that ultimate truth,

do protrude,

expressed in a million different 

trained ways.


This painting represents the joy that can be found after recognition of the Progam and its insidious methods of infiltrating and influencing the mind. This joy is an internal generation founded on the principle that you understand the long path, the big picture, the arc of life, and your role within as a receptor and transmitter of the frequencies of one and equal.

Chamber Five


Chamber 5 is all about the heart.



Chamber 5: The Voice


I wept the name out loud;

the universe stilled to listen.

Orbiting planets patrolled the crowd

that gathered with glistening eyes.

I sang it true;

I sang it proud,

with calm tones I christened it.

It bore the sacred fire

impervious to time, 

unbounded by a single hour

it knew only how to climb.


That sound traversed the spacious skies,

a sung bolt surging through portals obscure.

The cosmos, free of any malady or cure,

stood up and bowed, 

the summation of all material forms.

Out of this deep, impenetrable void,

a voice flung itself 

across the absonite empire

In search of us all. 


Chamber Six



Chamber 6: Unknowable


Claws fully extended

defined in fire,

I close my eyes and 

see ocean floors,

the sky’s abandonment.

Calm, liquid peace.

The heart’s intellect awakens here.


the out-bound world drifts

in a sea of verdicts;

hoping to find and hold 

the unknowable.

Forgetfulness is the sanction

of reorientation.


They have forgotten

the reason 

it is called unknowable.




Chamber 6: Unknowable


Claws fully extended

defined in fire,

I close my eyes and 

see ocean floors,

the sky’s abandonment.

Calm, liquid peace.

The heart’s intellect awakens here.


the out-bound world drifts

in a sea of verdicts;

hoping to find and hold 

the unknowable.

Forgetfulness is the sanction

of reorientation.


They have forgotten

the reason 

it is called unknowable.


Chamber Seven


Chamber 7 depicts the interaction of the energetic heart with First Source.

Chamber Eight


This painting features a large glyph under extreme magnification where all of the detail can be seen. The glyph, partly because of the eye, seems imbued with intelligence. The two abstracted figures on either side are both resting on the symbol of infinity. The one on the right is horned in earthy colors and represents the ego self. The one on the left represents the newly activated aspirant. This particular glyph represents the Wholeness Navigator, a term used in the WingMakers materials to signify the element within the human instrument that initiates the authentic search for God.

Chamber Nine


Aadhya Chamber 9 is a very complex set of themes. The central figure is horned, indicative of their human instrument program or ego self obsession. Overlaid on top of this figure is the tree of life symbol as depicted in Jewish mysticism, showing the 10 interconnected nodes. This is a key symbol of the Kabbalah. There is a highly abstracted figure on the right side, and a WingMaker is represented on the left. The level of information that is encoded in this painting would require a dozen or more pages of text to explain. I will resist the temptation.



Chamber Ten


The top of Aadhya Chamber 10 speaks to duality and the chessboard construct. The 64 squares of the chessboard are collectively a single square (fractals). The square is a metaphor for two dimensions. The black and white a metaphor for the dual nature of reality. This would be the equivalent of a “base reality” aligned to survival. Below this is the circle, which is a metaphor for unity, wholeness, and the pathless path. Inside the circle is an angelic figure that is rooted to an earthly landscape. In front of this angelic presence is a spiral mandala that leads to a hole in the ground. This mandala is almost beckoning the angelic figure to step from the triangle and enter the “hole”, which represents the subconscious. 

The triangle inside the circle is symbolic of the three-dimensional world. It is the “container” of the spirit or soul essence. The eye on the left side is alive, in comparison to the eye on the right side that is lifeless, but open. The left eye is connected through light to the heart of the angelic presence inside the triangle through an energetic beam. 

Beyond this core description, the painting is divided fairly evenly into quartiles. The upper left quartile is dominated by a human figure, eye, and a dragon. The human figure is “fragmented”, because it has one eye on the shifting reality of three dimensions and one eye is inward on the timeless reality of origins. The glyph represents the origins. The dragon is an archetype of the primitive powerful that has been vanquished by human prowess. That memory still persists, but it is abstract, as is the image of the dragon.

The upper right quartile is dominated by an elongated portal and a human figure with her hands behind her back, in a gesture of calm acceptance. Behind her are the origin glyphs, and both humans are looking into the circle. The elongated portal (the blue oval) includes the same quartile symbol of the painting overall, which is to say that the painting itself is a portal. 

You will notice that there is a blue, horizontal dividing line in the center of the painting that divides the conscious and unconscious aspects of the work. The two unconscious quartiles are noticeably more abstract for this reason. The lower right quartile is dominated by a geometric figure that bears some resemblance to a coffin or sarcophagus. This equates the acceptance of the figure in the top right quartile to death. You can see that the human figure is “dissolving” into that coffin, out of which springs two angelic figures on the far right of the bottom right quartile. 

The bottom left quartile is a portal. It represents, like all portals, a passageway. What divides the bottom quartiles is the flowing “river”. It’s the current of the painting. The thing that takes the eye away, but also brings the eye into the centermost quality of the painting. This is the hardest single thing to do as an artist: orchestrate eye movement in synchronization to the narrative of the work.

Chamber Eleven


Chamber 11 of the Aadhya site is a symbol of transmission: the outbreath of a human instrument to transmit the higher energies that they receive as an outcome of their application of Quantum Pause (or other breath work). 

Chamber Twelve


This painting (Aadhya Chamber 12) is symbolic of activation and the tensions that can be brought on once an individual is activated through their Wholeness Navigator. The color frequencies in this painting play a significant role in defining these tensions. There is the pull from the higher frequencies, and the roots of the old belief systems tighten. The Sovereign Integral (inside the main figure) beckons beneath the noise of the outside world. 

Chamber Thirteen


The mood of Chamber 13 is of the mystical realms from which we derive. This piece deals with very ancient energies of origin and destiny. It is the divine blueprint in abstracted form.

Chamber Fourteen


The poem that is represented in this chamber painting can be read in the Mixed Media gallery for Zyanya Chamber 2. It is entitled The Guardian. After writing the poem and asscociating it with Zyanya Chamber 2, I felt the poem needed to be part of a new piece. Sometimes visions gestate between the heart and mind as if they are playing ping pong. It was several years after I wrote the poem that I felt certain of how it could be represented in a painting. I believe you can decode this one without my help.

Chamber Fifteen


Very often an artist will produce a self portrait. This is mine. Yes, it is abstracted to the point that it doesn’t really represent how I look, but the portrait is more engaged with the energetic layers that comprise my human instrument, which include the mind, emotions and body.

Chamber Sixteen


Aadhya Chamber 16 is a very complex painting, and like all complex works, there are many themes being woven together. Among them are:

  • The importance of rhythmic movement
  • Contemplation in the 3-D world
  • Confronting and healing the “shadows” in your local universe
  • Being the “broadcast tower” for coherence
  • Staying awake once activated

Chamber Seventeen


I am going to resist an explanatoin for this painting. If you’ve been reading the notes of my other works, you will know how to decode this one yourself. Practice. 

Chamber Eighteen


When you are bounded by a 40 x 32 inch canvas, and you want to tell a very large story, you have to abstract (compile) the narrative into symbolic modules. I often do that, and these modules carry their own meaning. Time doesn’t permit me to expound on all of these meaning now, but I will try to come back and add this content later on. In the meantime, see if you can decode some of these modules.

Chamber Nineteen


In Chamber 19 of the Aadhya site, you can see three panels, separated by two lines full of glyphs and leaves. On the first panel (left) is the infinite being, on the right side is the finite being represented with one wing. Both of these beings are connected to the middle, highly abstracted form of the Sovereign Integral. I’ll let you figure out the rest.

Chamber Twenty


Chamber 20 portrays the activation of a powerful dream. Dreams of this kind have forward vision (precognitive) and are often used to inspire the dreamer to shift a mental model that is blocking them or to see the wider view relative to their immortality. 

Chamber Twenty-One


Chamber 21 depicts the complexity of our human instrument and how it is connected to quantum fields that pass beyond our awareness. 

Chamber Twenty-Two


Chamber 22 has two primary “windows”: On the left side is a portal-like view (but could also be seen as a mirror) where the Id/shadow leers out at us confrontationally. One the right side, within a biomorphic “bubble” are two entities. The figure on the left is experiential consciousness, as defined by the visible brain, the blue color, the eye dominant and wide open, and the nerve endings that surround it. It’s an entity that’s driven by its environment. Reactive, and yet it’s connected by a single tendril to the all-knowing eye (symbol of omniscience; the connection to the One that is All). 

The other entity (green) is mostly closed to the environment and is operating from an internal perspective (psychological mindedness) and is reaching out to the other entity in an act of comfort and solace. It is the more evolved (superconsciousness) while the blue figure is more indicative of the ego. So, in a way, we have the subconscious, intellectual, and superconscious represented in three separate entities. The painting was created to give each equal representation and a way for the viewer to see them simultaneously, under the watchful eye of omniscience. 

Chamber Twenty-Three


In Aadhya Chamber 23 we see that the main theme is that of a woman undergoing an initiation. I have different themes that I like to use in my work:

  • A desolate landscape with water. This conjures, for me at least, the quintessential duality: desert and water, life and death.  
  • I like winged humans who have transparency. In this case the main character is nude, but not just nude, she is semi-transparent, and not in the sense of physical transparency, as in an anatomical depiction, but rather more about energetic flows.
  • The idea of wings and roots is a dichotomy that builds a quiet tension in the work. However, as you can see in the main character, she is breaking from the roots (this is the initiation).
  • The soul complex is an interesting theme, because it operates outside of the physical dimension of the human instrument. I used both the biblical variant (halo) and my personal version with its connection to the symbol of infinity. 
  • The snake approaching the main figure is a reference to Eve, as is the tree of the knowledge of good and evil.
  • The entity on the left is the initiator. He’s wearing the dress of a harlequin, but his mask is not of this world. I like to use horns, not as a means to depict demons, but rather people who are grounded in their animal selves (id). He’s holding a feather from the woman (Eve) and touching her shoulder, sending the intiatory symbols to her through his touch.
  • He is defined as male due to the spermatozoa that covers his chest (note the question mark that is formed with the white section of the chest). The initiator is almost always male in mythological narratives because they are the activator, and the receiver is almost always a woman because they are the receptor. This dynamic establishes a creative spark or birthing. 
  • Notice the egg in the background being hit by lightning. That is the output of the initiation. Notice, too, that the male stands in a pool of water (life force), whereas Eve is rooted to a desert floor.
  • On the floor of the desert are various objects: A spiral eye, old tree limbs, glove, eye, and mask. These are part of the narrative of Eve giving up the things that protect her from total transparency. In some shamanic cultures, in order to receive an initiation, the person must remove their mask and gloves. 
  • The being in the background with the wings is a midwayer, defined as midway between human and angelic states. They are quite real, but time and dimensionally displaced. They are in the background. This one is observing the initiation with its wings outstretched ready to fly. It is a form of inspiration to Eve. 
  • The ley lines etched into the ground are references to interconnection.
  • The blood on the horns of the initiator is a sign of humanness. Harlequins were known in late 16th century Italy as bedeviled servants, but as I said earlier, this is not an earthly mask. It is more like a helmet and a high-tech one at that. You can see the circuits on the helmet if you look closely. 
  • Both the initiator and the initiate have heart portals — one being more convex and one being more concave.

Chamber Twenty-Four


Chamber 24 reveals the wise wolf archetype. This painting might be the first picture to depict an animal inside a mandorla, although, in this case, the mandorla serves the dual purpose of full body aura and wings. The biomorphic shape on the right side symbolizes the creative energy of wisdom to transform density and lighten it, making it more buoyant. the phrase: “Something is revealing itself to us, through us” is inscribed on the rooted foundation of the wolf (lower right). In WingMakers mythology that “something” is the Grand Portal: the irrefutable, scientific discovery of the human soul.