2009 – Woodstock
200cm x 250cm/ mixed media on canvas
All God's children gathered in the garden
In celebration of the great mysteries
In the shadow of 'Nam
Giant leaps into spiritual discovery
Aquarian gnostics amidst the starfields of eternity
Lights sacred destination revealed
We are stardust
We are golden
Billion year old carbon
We are caught up in the Devil's bargain
2008 - Typhoon Kujira
Mixed Media on Canvas / 120cm x 180cm - 48 inches x 72 inches
Here we see the eye of a whale, symbol of the great mother of the oceans, transforming into a giant typhoon off the Japanese coastline. This is an obvious observation pertaining to the law of karma. While the Japanese people and culture represent one aspect of the beauty of human development, their blind spot regarding the consensus of the vast majority of humanity to cease whaling can only lead to trouble from the ocean. In the lower left of the painting is the image of the Daibutsu (Big Buddha) in Kamakura. This Buddha, the Amida (Infinite Light) Nyorai is one of the oldest savior figures in Japanese Buddhism.
2008 - Polynesian Welcome
2008 - Aloha Moon
2008 - Alien Intruders
(Alien Intruders Corporate Control & the Two Party Puppet Political System)
Size 90cm x 180cm/ Mixed Media on Canvas
2007 - Rainbow Serpent Dreaming
Rainbow Serpent Dreaming of Peace and the Snakes of Eden's Nuclear Nightmare (aka The Snake Painting)
Mixed Media on Canvas - 240cm x 190cm- 96 inches x 75 inches
Australia: ancient, sacred land of the Dreamtime.
Rainbow Serpent creates in her image - Deep, Powerful and mysterious. After aeons of time comes the sky god people, exploitative, short sighted and failing to understand the true wealth of the great southern continent. The dark beast has risen.
2006 - Arcturian Timewave
Mixed Media on Canvas (oils. acrylics, pen and ink, colour pencils, gold leaf) / 240cm x 180cm / 94 inches x 70 inches
Waves of Love, Waves of Light, Waves of Energy, Waves of Bliss, Waves of Consciousness.
In this painting images from The Last 13 Baktun Wave movements (a time period of aproximately 396 years, 144,000 days exactly) of the Mesoamerican Calendar, beginning in 3113 BC and ending in 2112 AD, are being surfed by the Divine Feminine incarnation of an Acturian Warrior.
The original vision for this painting was gifted to me in 1993. At the time i had no idea that Jose Arguelles had written "Surfers of the Zuvuya" some 6 years previous to that, during a time of enormous personal agony for him, in this incarnation.
This painting is dedicated to Jose Arguelles, timeless Galactic Surfer and Wizard of the New Time on Earth.
"Surfs Up !!!!!!!", Uncle Joe 13 Zuvuya.
2006 - Temple of Nirvana
2006 - Early Seventies
2006 - Dreamtime Surfers
2006 - Dolphin DNA
2006 - Deep
2005 - Shaman's Flight
2005 - Fountain of Youth
2005 - Boomers
2005 - Tantric Mandala
Mixed Media on Canvas
180cm x 120cm
70 inches x 47 inches
2005 - Nectar
Mixed Media / 240 cm x 170 cm / 94 inches x 67 inches
2005 – Feather
Mixed media on Canvas / 120cm X 90cm/ 47" X 35"
Planetary politics in the early 21st Century
2005 – Bridgekeepers
Mixed Media - 180 cm x 120 cm
2004 - Golden Sunrise
2004 - God of Wealth
2004 - Beau Wave Buddha
2004 - Balinese Blessings
2004 - Visions
2004 - Rick Griffin
2004 - Indonesian Afternoon
2003 - 13 Moon Calendar Animal Totems
(Mayan Zodiac Totem Animals)
82" x 92" (208 x 234cm) / Mixed Media on Canvas (Colour pencil, pen and ink)
The sacred 13 moon calendar has been in use for over 5000 years on this planet and followed by such legendary cultures as the Incan, Druids, Essene, Mayan, Polynesian and Egyptian.
This form of the 13 moon calendar is based on the Dreamspell calendar and uses as its totems the animals from the Mayan Zodiac. The essence of each of these spirits most closely resonates with the theme and feel of each of the 13 moons we all pass through each year on this planet as we journey around our Sun.
2002 - Dolphin Mandala
48" x 60" (122 x 152cm) / Oil and Tempera on Canvas
After 37 years of surfing the planets oceans and thousands of increasingly intimate contacts with the Sirians (Dolphins) I continue to be amazed by, in awe of, and opened to a deep reverence for these original and awesome soul surfers.
For me they are the teachers of love, joy, play fullness, curiosity, group consciousness, the sacredness of life, courage, flow and the pure beauty and mystery of the divine creation.
What unfolded during the first contact with these beings at South Golden Beach (near Byron Bay) upon completion of this painting is beyond anything I could put into words and would stretch most people's credibility and faith beyond anything they could presently conceive of.
To attempt to convey to you this experience would only detract from the sacredness which occurred within that infinite and eternal time frame.
2001 – Teachers
39" x 58" (99 x 147cm) / Mixed media on Paper
Australia - the driest continent on earth in the process of rapid environmental disintegration through the ignorance of not understanding the importance of living in Harmony with Nature. Our first step in this understanding of the Oneness of Nature is to realign our Consciousness with the Divine Creation through adopting a Thirteen Moon Calendar.
"But ask now the beasts,
And they shall teach thee,
And the fowls of the air,
And they shall teach thee,
Or speak to the earth,
And it shall teach thee."
2001 - Jewelled Flower of Convergence
The Jewelled Flower of Convergence(Blossoms Within your Heart of Light) a Galactic View of Planet Earth's Religions
72" x 94" (183 x 239cm) / Mixed media on canvas (Colour pencil, pen and ink)
"All religions, arts and sciences are branches of the same tree. All of these aspirations are directed toward enobling man's life, lifting it from the sphere of mere physical existence and leading the individual towards freedom." Albert Einstein
The Vision for this Painting came into my Consciousness during my 4th journey to the sacred island of Bali (which many claim to be the Heart Chakra of Planet Earth) in1977. This was the year of the Blue Planetary Storm in The Dreamspell Calendar. As the tone of the year was 10 (planetary) it gave the creative power to perfect manifestation and had the action of producing. As the seal of the year is the basis of Life Destiny, with the Power of the Solar Tribe, that year was Cauac (Blue Storm). Blue Storm Catalyzes and emphasizes Self Generation. With the passing of time How True all of this has proven to be for me personally. As an instrument of God the Prophetic work of the Visionary Jose Arguelles never ceases to amaze me.
2001 – Huna
48 x 80" (122x 203cm) / Mixed media on Canvas (Colour pencil and Ink)
Having spent a large part of the decade of the eighties in Aotearoa (New Zealand) I became involved with the Polynesian approach to spiritual life. This totem is a self portrait. It follows the traditional Huna belief that each being on earth has a central rational self as well as a spirit symbolising one's animal nature below. Above and beyond the rational self lies one's great ancestor protector being who is all trustworthy and wise. This being has a perfectly unified male and female nature. This painting is simply a reflection of that belief system as it relates to my life.
Image inspired by traditional polynesian totem pole as show in the wonderful book "Huna" by William R. Glover.
2000 - Dreamspell Calendar - The Galactic Mandala
96 x 72" (244 x 183cm) / Colour pencil on Canvas
Based on the Dreamspell Calendar as outlined by Jose Arguelles in "The Mayan Factor". This painting is a fusion of science, mythology and art.
The original idea was to create a mandala that reflected god's consciousness as mirrored in the heavens for the period 2000-2012. (Terrance McKenna called 2012 the "transcendental object at the end of time" and also "the strange attractor" because we are being drawn inexorably to this point in time.)
Consequently each of the colours were specifically chosen to symbolise signs of the zodiac and in fact it is a precise planetary ephemeris for the above mentioned period. One is able to read the location of any planet in any sign for this period. Consequently an enormous amount of time was required to calculate and position the central colours. On top of this I overlaid the Dreamspell Calendar entailing the Tzolkin, Haab, Galactic Seasons, Castles and 13 Moon Calendar.
1999 - Rainbow Tribe
39" x 58" (99 x 147cm) / Colour pencil on Paper
This painting is the result of a fascination with an old photograph of Aboriginals from central Australia. ( Lawlor, R, 1991, "Voices of the First Day - Awakening in the Aboriginal Dreaming", Inner Traditions, Rochester, Vermont). I was so inspired by the photograph that I found it impossible not to channel my own version of this reality. It reflects the electromagnetic spectrum of the rainbow serpent and the belief in the Creator beings bringing to life the landscape and residing in the Dreamtime.
1999 – Initiation
39" x 58" (99 x 147cm) / Colour pencil on Paper
This painting is the result of a powerful experience which signalled my entry into a new realm of existence. I was blessed with the visitation of interdimensional beings who challenged and encouraged my sense of personal self. It involved many cross cultural and cross species realities.
1999 - Earth Goddess
81 x 94" (206 x 239cm) / Colour pencil on Canvas
This painting came into manifestation over a three year period and entailed over 1000 hours of work. It was the result of a deep personal sadness over the state of the world's ecology and man's inability to perceive the interconnectedness of all life on earth.
Indeed during this period I was to also come to the personal realisation that all things are connected through time. I began to witness other paintings originating from other areas of the planet that also had the world as viewed from space in the heart of beings. From this I understood that certain revelations are released in waves of energy at specific times and that those humans who can resonate with the same frequency therefore gain access to the information stored within the light codes of their DNA and consequently become the first to manifest these new visions.
Many of the animal images were taken from the book, "Vanishing Species" by Suzanna Kingsmill and published by Discovery Books, Canada.
1998 - View Goddess
The View of the 13 Moon Goddess from Western Man's Cave Window
58 x 92" (147 x 234cm) / Mixed Media on Canvas (Oils, Pen and Ink)
This painting was inspired by the need for the European races, who think of themselves as “modern man”, to come to the realization that in terms of their calendar they are in fact living in a cave. They blindly follow the Gregorian calendar, revised in the medieval times from the Julian calendar which originated in Rome, and was used by the conquering Romans in their newly acquired lands to subjugate and alienate the Tribal Peoples following Moon based calendars.
1998 – Sphinx
36 x 48" (91 x 122cm) / Colour pencil on Paper
You'd be smiling too if your face was used as the image for a sphinx in a highly evolved star system far from our galaxy. The facial image was drawn from a photograph of the beautiful Naomi Sims from the book, "The Women We Wanted to Look Like" by Brigid Keenan.
1998 - Pilgrimage
68 x 68" (173 x 173cm) / Mixed media on Canvas (Oils, Colour pencil, Photographs)
As part of my spiritual search I have made a number of extended trips to the Himalayas. During a year-long journey in 1980 I immersed myself in the sacred spiritual tradition of the pilgrimage. One of the most revered of pilgrimage sites in India is the sacred cave, Amarnath reached after a moderately long walk (70 miles return) through the mountains of Kashmir.
This painting is a reflection of my experiences as I undertook that journey. This walk passes through a land immersed in Islamic culture, as the Kashmiris are Muslim. As a consequence I have used as the etheric web of the painting in the form of the white dots a traditional Islamic pattern.
1997 - Totem
39" x 58" (99 x 147cm) - Colour pencil on Paper 1997
Very close to where I have resided for the last decade is one of Australia's oldest bora rings.
(This is a place used by the original inhabitants of Australia for all forms of ceremony.)
I was fortunate enough to be allowed to visit this spot and during this time I encountered many strange and inexplicable realities. Inevitably during the process of the creation of each of my paintings I have some form of personal involvement with messengers from the animal kingdom. Creatures shown here were part of this experience as was the spirit of the Aboriginal man.
1997 - New Birth Wave - the Light from Within
39" x 58" (99 x 147cm) / Pen and Ink on Paper
Having grown up on the eastern seaboard of Australia, I was naturally subjected to the energies of both traditional land based Aboriginal culture as well as the influence of Polynesian culture in the form of surfing. Therefore, unlike those in inland and outback Australia, I felt the influence upon the arrival of new forms of culture in the form of all things related to Oceania. This painting was intended to symbolise my particular slant on the Australian way of life as viewed from a surfer's perspective as it is intended to be the view from inside the heart of a wave. The wave also tied in with the local Aboriginal tribal belief that all new souls arrive through portals in the form of water tunnels.
The tiki symbolises the awesome power of the ocean as well as being intended to invoke respect for Pacific island cultures.
1997 - Rainbow Spiral
1996 - Egyptian Mysteries
53" x 43" (137 x 109cm) / Colour pencil on Paper
1996 – Cherubim
39" x 58" (99 x 147cm) / Colour pencil on Paper
In this painting I am attempting to portray the dignity of the original inhabitants of Australia. Although deeply rooted to the earth and acting as caretakers of the garden their consciousness is fully involved with realms beyond third dimensional consciousness. Indeed his consciousness is so vast his heart is actually the centre of our galaxy. I see the Cherubim as a symbol of man's role as caretaker of the earthly realms. The reason that I have chosen the Aboriginal for this role is because they were able to exist in perfect harmony with their environment and maintain and protect the original paradise in a pristine condition.
1995 - Blue Electric Eagle's Fallout
Savage Nobles (The Colonial Military Powers) in their Nuclear Paradise - 48" x 72" (122 x 183cm) / Colour pencil on Canvas 1995
This painting came into manifestation during the time of the last French nuclear tests on Mururoa atoll. Around the borders of this painting I have used the images of famous carvings from Polynesia, Micronesia and Melanesia. The central demonic creature is representative of the underground tests. It is also a reflection of my own immense personal anger at the situation in French Polynesia at the time. The cloud rising above the mountains behind the lagoon is in the shape of the cloud as photographed one hour after the Hiroshima tragedy.
1991-1994 - Bodhisattva Vow
Painting Size: 72 x 72" (183 x 183cm) / Rotring Rapidograph Pen on Canvas - Pointilism
This painting involved an enormous amount of painstaking work. In all it took over 1000 hours and evolved over a three year period which corresponded to a time in my life of deep emotional pain.
Each day it provided solace within a sea of agony. Each of the images became a reflection of the mental and emotional reality of my outer life. Slowly but surely the deep emotional wounds and sense of anger and injustice were transformed into a work of art.
Initially the painting wanted to be called "The Reinterpretation of Freud's theory according to Lord Buddha whilst on a recent field trip to Tibet under the influence of a Polynesian space time capsule". This may give you some idea of the turmoil existing within my mind at the time. Indeed the darkness felt so deep and huge at the time, that within the cups in the demon's hands, exist entire galaxies.
1982 - Varanasi Dreaming
1980 - Humanity’s Solar Eclipse
After Jesus Christ Superstar
1976 - Afternoon Stroll in the Light
Pen and Ink on Canvas / 193cms x 120cms / 76 inches x 47 inches
Based on a street scene in Rishikesh, India, c1976