Memories Asunder

Memories Asunder was the title I gave to an original art calendar I created in New Zealand in 2004. I was inspired by my travels to the locations featured in The Lord Of The Rings films and the strange, dissociative alchemy this journey seemed to ignite. To find out more about this project, see my Middle-earth gallery. For now, the goal is emphasize the strange disconnection in the landscape which, in spite of the title I gave this project, I’d totally overlooked at the time.

In late 2012, I came across Gary Osborn’s book, Axis of God – the theory of the tilted Earth Axis and its influence of conflict, separation between eternity and linear time. This is when many things started making sense, that had been largely unconscious until then. For example, several photographs I took in New Zealand have compositions that suggest this information, though I had no idea about it. I had, however, come into contact with similar ideas before: in the book Innuendoes (see gallery), a rainbow bridge exists between life and the afterlife, with spirits on both sides waiting to reconnect. My early childhood experiments were often about accessing this bridge via Egyptian symbolism, which had left a lasting impression. I had also discovered Norse mythology in my teens. So it was a matter of slowly piecing the puzzle together.

“As the symbolism and conceptions behind the Raising of the Djed, the Crucifixion and Ma’at all appear to suggest, all this points to a long-forgotten human desire to raise the Earth’s axis back to its rightful position so that we are re-connected again to God.”

“As mentioned, it appears that the ‘Raising of the Djed’ (axis mundi) was the same theme that had been written into the Gospels as the device of the tilted (carried) and then ‘raised up Cross’ on which Jesus was crucified and from which he was then able to enter the Heavenly Kingdom. It is a fact that the powerbrokers of the Church chose some Gospels over others which they omitted and also altered the Gospels they chose to suit their own ends, and so the irony here is that it is also possible that the Church adopted the ‘believed’ IDEAL, favourable conditions associated with an upright axis, that was believed could take us away from all the misery associated with Earth changes involving earthquakes, floods etc., while at the same time suppressing any mention that the Earth is actually tilted and suppressing anything associated with the original messianic mythos related to the universal ‘resurrection god’, who in his own resurrection also returns the axis to a vertical position so as to bring an end to these global calamities and for the reasons given above. These powerbrokers had to omit this element because it would reveal that the Earth is indeed tilted and not perfect.” 

“From my research into these references and the cross-referencing of significant data relating to them, one is compelled to look into the possibility that long ago something dramatic happened to the Earth which caused it to tilt – almost causing the death of the human race and everything on the Earth. All this would explain why the angle of 23.5 degrees is referenced in sources that express both themes – i.e., illumination and enlightenment, and also death – meaning the near death of the human race due to the catastrophe that had once befallen the Earth, and could again, or so it was/is believed. The theme of decay, war, conflict and ruin, (imbalance) in which this angle can also be found repeatedly, appears to be associated with the symbolic “death” of the human race as a whole, in that man’s present condition is that his direct line with the Creator has been “severed” by the tilt of the Earth, and so only those who have become enlightened and have been able to attain that link and maintain it by remaining balanced and centred in mind and body, can pass on through the “Hall of Judgement” as was once believed and make it into heaven, and so perhaps reverse this situation for all by presenting themselves as an example.” (Gary Osborn: Axis of God)

1. Memories Asunder/2004. Ink, pencil, watercolour, oil pastels, charcoal; calendar layout in QuarkXPress.

2 & 3. The Garden Under The Graveyard Bridge/2006. Photos taken in the historical Symonds Street Cemetery, Auckland.

4. Ma’at/2010. Ancient Egyptian mural painting techniques.

Unfortunately, the context in which I attended the painting lessons was influenced by a latent racist agenda and by sexist viewpoints. They taught a version of imposing “rational order” from on high, on the so-called “lower reality”… the usual formula for justifying oppression. Such upper class privilege-bias goes unquestioned by modern day philosophy teachers, who see the ideal without its channel. But that doesn’t preclude us from taking different approaches to studying Egypt and relating to its “mysteries.” Something to point out is that this image of Ma’at, apart from looking distinctly Native American, resembles modern magazine covers (celebrity worship). However, the Egyptian role of Ma’at and the English pronunciation of the name point to “my heart” as opposed to idolatry. It might seem an ambitious leap to make there, but the English language is international nowadays, a lingua franca, so it creates a key to another time when globalization was in full swing (another example would be the name Thoth = Thought). So the path to attaining this ideal is not in the image, but in one’s heart…