Ancient Arrow Site

Chamber One


Ancient Arrow 

Chamber 1: Listening


I am listening for a sound beyond sound

that stalks the nightland of my dreams,

entering rooms of fossil-light

so ancient they are swarmed by truth.


I am listening for a sound beyond us

that travels the spine’s

invisible ladder to the orphic library.

Where rebel books revel in the unremitting light.

Printed in gray, tiny words with quicksand depth

embroidered with such care they

render spirit a ghost, and God,

a telescope turned backwards upon itself

dreaming us awake.


Never-blooming thoughts surround me

like a regatta of crewless ships.

I listen leopard-like,

canting off the quarantine of bodies

sickened by the monsoon of still hearts.

There is certain magic

in the heartbeat which crowds the sound I seek,

but it is still underneath the beating I wish to go.

Underneath the sound of all things

huddled against the tracking dishes

that turn their heads to the sound of stars.


I am listening for a sound unwound,

so vacant it stares straight with the purity to peer

into the black madness of time

sowing visions that oscillate in our wombs

bearing radiant forms as the substrate of our form.


When I look to the compass needle

I see a blade of humility

bent to a force waylaid like wild rain

channeled in sewer pipes.

Running underground

in concrete canals that quiver,


laughing up at us as though we were lost

in the sky-world with no channel for our ride.


I am listening for a sound

in your voice,

past the scrub terrain of your door

where my ear is listening on the other side.

Beneath your heart where words go awkward

and light consumes the delicate construction of mingled lives.

I can only listen for the sound I know is there,

glittering in that unpronounceable, stateless state

quarried of limbs so innocent

they mend the flesh of hearts.


What follows is an excerpt from Christopher P. Lock’s paper on Chamber One, Ancient Arrow. The full paper can be downloaded from the art section.

Interpretation and Meanings
This painting shows the transforming Genetic Mind (GM ) and a new humanity cocooned in a brown border, casing, sheath or skin. Humanity is: a) breaking away from the old, heavy, worn-out, “fundamental misconceptions” (G GM ) of the GM below it that no longer assist the higher evolutionary development of humanity, for humanity has, in this painting, evolved on; and b) cocooned in a new more highly evolved, less dense, sheath of GM that is itself nourished directly by First Source (FS) — the deep “universal blue” background or backdrop for the painting (Part 1; Lock 2003). A source of this nourishment is via the streak of light in the top right of the painting that represents what the WingMakers and Lyricus philosophy calls the Underivative Information Structures (UIS) with its attendant Source Intelligence (SI) red frequency (Part 1; Lock 2003) charging the transforming GM.

The UIS are not physical structures, but a primary field of vibration or quantum primacy across all dimensions of space. An adjacent philosophy and website to the WingMakers is Lyricus. In the WingMakers philosophy Lyricus is regarded as a subset of the WingMakers with most of its members from the WingMakers or Central Race. The Lyricus material states that Lyricus exports these non-material genetic “templates of life” (UIS). James, the translator of the original WingMakers and Lyricus material, says they are:

…sub-quantum and represent the primary blueprint for living systems and inorganic matter. It is UIS that gives rise to the quantum fields that interpenetrate planets, stars, galaxies, and the universe at large. It is the communication field of life that connects the nonlocal and the local, the individual and the collective, the one and the infinite (James, Lyricus: “Templates of Life”).

As mentioned in the “Templates of Life” when discussing the master templates that “interface between each field of vibration”, the UIS, master templates, and energetic systems arising from it “are constantly in an interactive process of communication.” This communication “informs the evolutionary design of a species, organism, or material object — whether organic or inorganic”
(James “Templ. of Life”).

We see, on close examination of the light blue streak “charging” or infusing the new GM, a thread of red SI weaving or spiraling through it confirming this is the UIS. We know this because the “interactive process” cited above “of the energetic systems” is: …monitored by a frequency of UIS that is called Source Intelligence or the Universal Spirit Intelligence. This frequency absorbs, filters, and processes the communication between the fields of vibration and distills them into packets of information suitable for utilization by First Source.

This is the manner in which the interactions between all dimensions of existence are brought into coherence and applicability to the formation of new worlds, species, and dimensional constructs. This is the conduit in which the multiverse evolves and all life within it advances into higher dimensional expressions (James, “Templ. of Life”).

This is a perfect description of what we are seeing in the upper right hand corner of Chamber 1 Painting in which red SI (Part 1; Lock 2003) is absorbing, filtering and processing the communication between the new GM – the brown outer casing, cocoon or sheath — and humanity, and distilling this “into packets of information suitable for utilization by First Source.” FS is the deep cosmic blue (Part 1; Lock 2003) behind the UIS streak. At intervals all along the spiraling
length of the UIS we see them sending smaller streaks or feelers of energy or “packets of information” into the vast FS blue ocean of cosmic consciousness that constitutes the backdrop of the painting. According to the WingMakers’ philosophy it is via this UIS conduit that the GM and humanity evolve, and it is by which, or how, we can observe the transforming of the GM and humanity occurring within the painting. A whiter edge to the GM casing can be seen where the UIS and GM meet. This inflowing energy via UIS enables the old, heavy portion of the brown GM full of  misconceptions to fall away, and for humanity, the GM, and thereby Earth, to advance into a higher level of expression.
These Underivative Information Structures (UIS) depicted as the light blue streak entwined with a frequency of SI in the painting provide:

…the structure behind the quantum fields and energetic systems that yield form and the living systems that support form. The soul carrier is an outcome of the master template that is energetically distributed to life-bearing planets upon the multiverse vehicle of UIS. This template, which creates and interacts with the morphogenetic field of the soul, defines the soul carriers’ limits of functionality and expression – but only in the flow of time (James “Templ. of Life”).

So this vehicular light blue streak with its SI thread that we see in the top right hand corner of the painting, structures, for the WingMakers, the energy systems and quantum fields that create the living system. We see too, that the UIS is intimately related to human beings or HIs, as soul carriers, and “creates and interacts with” the/our “morphogenic field of soul.”

This in turn implies that the soul is represented by a sympathetic color at the core of humanity, which will make it the light blue nucleus of the cell-like cocoon in Chamber 1 Painting. Confirming this suggestion is James’ statement, “The soul is attuned to UIS and operates therein because this is the vibratory field that is native to its essence” (“The Presence of Soul”). Color is nothing more than a vibratory frequency or field, so if the UIS and soul have the same vibratory
frequency they will certainly have the same vibratory coloration: i.e. a light blue.

Chamber Two


Ancient Arrow 

Chamber 2: Temptress Vision


A temptress vision has encircled me like a

willful shadow of a slumbering dream.

Is it the powerful light of purpose?

If I squint with all my strength I may see it.

Always must it be inside of me

like a pilot fi sh inseparable from its host.

It fearlessly drinks my essence.

Such a bitter taste I muse.

Spit it out upon your table of perfection.

Compare this grain of sand with your galaxy.

This spire of sorrow with your deepest eye.

If my callous mind can see you,

there are no interventions.

No pathway away.



I am a lock-picker.

A tunnel-digger.

A fence-cutter of the wicked watchers.

A traveler that has sought

the mystery that eludes all but the outlaws.

The wild-eyed, unrelenting fools of purpose

that remain outside the laboratory of wingless flight.


You are the eternal Watcher

who lives behind the veil of form and comprehension,

drawing forth the wisdom of time

from the well of planets.

You cast your spell and entrain all that I am.

Am I just a fragment of your world?

A memory hidden by time?

A finger of your hand driven by a mind

unfamiliar with skin.

Touch yourself and you sense me.

Visions wild with love.

Splendor that beckons like a secret whisper of gladness

spread on the winds by an infinite voice.

The sound of all things unified.

I am part of that voice.

Part of that sound.

Part of that secret whisper of gladness.


This limitation must end in lucid flesh.

The dream of sparks ascending

quickening the cast of hope.

Avoid the brand of passivity

the signs complain.

Shun manipulation before you are stained.

Spurn all formula and write new equations

in the language of sand.

Heed no other,

nor listen to the seduction of holy symbols

standing before the windows of truth.

Define from a foreign tongue.


These are the battered keys

that have led me to unlocked doors.

Doors that collapse at a mere breath

and behind which

lay more pieces to collect for the Holy Menagerie.

The never-ending puzzle.


All the stars in the sky

recall the purpose of your hallowed light.

Burn a hole through the layers.

Peel all the mockery away.

Enjoin the powers

to answer this call:

Bring the luminous vision

hidden behind the whirling particles

of the Mapmaker.

Let it enter me

like a shaft of light that enters

a cave’s deepest measure.

Ancient fires still burn in these depths.

Who tends them?

What eyes are watching?


Waiting for time’s flower to bloom.

To submerge in the relentless subtlety

that moves beyond my reach

with a jaguar’s stealth.

To dream of elder ways

that leap over time

and leave behind the puzzle of our making.


O’ temptress vision

you steal my hunger for human light.

If there is anything left to hollow

let it be me.

If there is anything left to cage

let it run free.

If there is anything left to dream

let it be our union.


The use of symbols in the WingMakers art is a significant component to defining the narrative of a work of art. Let me cite one example: the mandorla. Mandorlas are one of the most ancient symbols for humanity. In geometry, they are known as a Venn diagram, specifically, that part that overlaps and shows the relationship between two finite sets (circles). In religious iconography, the mandorla is often used to represent ascension from the physical to the spiritual realms. It defines that rarified space between the physical and spiritual, and is often considered the vehicle of transportation between worlds.

The word mandorla stems from Italian, meaning almond. This is a reference to its shape. However, the symbol itself holds many different meanings, among the most popular are:

  • Lens or the eye
  • Sacred moments that transcend time/space (i.e., ascension)
  • Cosmos
  • Human aura

As you can see, they have a wide range of interpretations. In their use within the WingMakers materials, mandorlas have a very dominant role in the symbology of the art, and are used to express a portal-like interchange between dimensions. Chamber 2 of the Ancient Arrow site was the first mandorla to be shown, but the theme remains present in nearly all of the art.

Often mandorlas are depicted in concentric color bands, signifying the higher dimensions of consciousness as one goes inward (also known as the seventh direction). Mandorlas are the point of transformation, but they are also a “lens” into the quantum state or stillpoint.

Chamber Three


Ancient Arrow 

Chamber 3: Bandages of the Beast


There were many random omens.

Sending olive branches with thorns was

only one of your repertoire.

You offered me a book

where all the answers lay encoded in

some strange dialect.

Symbols undulating like serpents restless for food.


If I was windborne as a lambent seed you

would still the air

and I would fall into the thicket.

If I yearned for sweet water

you would pass me the bitter cup.

If I was an injured fawn you would flush me

from the cloister, corner me against cold stone,

and admire my fear.


Everywhere I steer I seek the one look of love;

yet love humbles itself like a mannequin

changing its clothes to accommodate the dressmaker.

Underneath there are bandages of the beast.

Underneath there is the tourniquet of deliverance.

But beneath the shell there is emptiness, so defiant

it is clothed in finery that neither

dressmaker nor beast can touch.


You have mistaken my search as my soul.

Raking through it for clumps of wisdom,

you have found only what I have lost to you.

Held like rootless dreams

I will vanish in your touch.


If you pass your rake over this emptiness

you will feel clumps of my spirit.

You will find me like tiny pieces of mirror broken

apart yet still collected in one spot.

Still staring ever skyward.

Still reflecting one mosaic image.

Still the accompanist of myself.

Chamber Four


Ancient Arrow 

Chamber 4: One Day


One day,

out of this fleshy cocoon

I will rise like a golden bird of silent wing

graceful as the smoke of a fallen flame.

I will dream no more of places

Hidden—secreted away in heaven’s cleft

where the foot leaves no print.


One day,

I will walk in gardens holding hands

with my creation and creator.

We will touch one another

like lovers torn by death

to say goodbye.

We will lay in one another’s arms

until we awaken as one

invisible to the other.


One day,

I will isolate the part of me

that is always present.

I will dance with it

like moonlight on water.

I will hold it to myself in a longful embrace

that beats perfection

in the hymn of the Songkeeper.


One day,

when I curl away inside myself

I will dream of you

this flesh-covered-bone of animal.

I will yearn to know your life again.

I will reach out to you

as you now reach out to me.

Such magic!

Glory to covet the unknown!

That which is

is always reaching for the self

that cheats appearances.

Who dreams itself awake and asleep.

Who knows both sides of the canvas

are painted, awaiting the other

to meld anew.


Chamber 4 depicts the guardian, but in this instance, the guardian is the Sovereign Integral consciousness. The painting’s narrative is the I AM WE ARE construct.

Chamber Five


Ancient Arrow 

Chamber 5: Life Carriers


Life carriers spawn in the primal waters

of a giant embryo.

Their progeny will settle in human dust.

Pieces of clay

with tiny thoughts of flight.

Knife-points veiled in turbid cloaks

that shun the light of a tranquil star.


In the remote wilds the life carriers

emerge and perch upon

the shoulders of gray stones.

They signal their desires to fly,

but their homes are suited

for the comforts of rain and earth.

The sky must wait.

(The dirt companion smiles.)


Circles break.

Barriers overrun.

Life carriers deny their ancient pull

from the ground.

Wings sprout like golden hair

sinuous with nature’s artifice.

Ragged feet are left behind.

The earth, replaced with vivid sky.

Gravity shines its menacing stare

to hold them

with assertive hands.


Homeless cages

are left to rot.

To sink behind the groundless sky.

Earthen faces have dropped their smiles

and lost their smell of fresh dirt.

The dream of flight

has invaded somber walls—

life carriers have bounded

to the other side.

There they meet the next rung

of the endless ladder,

and trade their wings for wisdom’s eye.


Chamber 5 is a good example of how the poem defines the painting’s narrative. The life carries are related to the Underivative Information Structure (UIS) that are used to “seed” new worlds with lifeforms that have the potential to form complex brain systems that can ultimately contain and express the Sovereign Integral consciousness.

Chamber Six


Ancient Arrow 

Chamber 6: Of This Place


Her heart ran

in the wilds of deserted plains.

Sun-etched land barren of clouds

and singing water.

If she listened closely

her hand would call

and signal its thoughts upon her brow.

But in this place

she could only offer her arms to the sky

like a tree its branches

and a flower its leaves.

In this dusty basin,

silence gathered like smoke

clearing the mind of the scoundrel.

The infidel of thoughts.

Blots of yellow leaves and white bark

could be seen hiding in pools of life

surrounded by red rock spires.

Clustered sand monuments held together

by some other life form.

She wasn’t sure.

Perhaps one life is the same as another

only tilted sideways.

Caught from underneath

by some invisible hand that animates

even the coldest stone of this place.


A smile emerged and perched upon her face

drinking the sun’s clear ways.

She could spear

a million miles of air in a glance

and send the window of her flesh

into the cloudless sky.

Upon this ocean a hawk sailed ever closer.

She watched the silver speck

spiral overhead dreaming through its eyes.

Feeling the winds gild her wings

in the softest fold of time.

A tree of pine sent its sky roots

deep within the air to weep its sweetness.

She entered,

gliding through branches

to every needle in their factory of air.


So strange to feel the pull of earth in flight,

but she knew the antagonism well

in the splendor of this place.

She knew it had settled deep,

lodged like permanent ink

in the heart of her.

Under skin, muscle, bone

it fought the single path.

What madness calls her away?

What dream is stronger than this?

What heart beats more pure?


Of this place,

it is so hard to know which is host

and which is guest.

Which is welcome, which is pest.

Which is found and which is lost.

Which is profit, which is cost.


She gave her prayers

to the skypeople and waited for a cloud —

her signal to leave.

She should return home

before dusk settles in and the golden

eyes peer out against the black code.

In a single breath she held the ancient ways

that never left.

She turned them inside out

and then outside in.

Again and again.

Waiting for her signals in the sky.

If not a cloud…

then perhaps a shooting star.

(Besides, it was too dark for clouds anymore.)


When the first star fell she held her breath

afraid she would miss its spectral flight.

She wondered with whom she shared

its final light.

What other eyes were heaven bound

in that secret moment?

Was this their signal home as well?

And what was it they found

buried so deep in a whisper of light

that none can tell?


She waited with solemn eyes

for more stars to fall,

to gently sweep her away

from the magnets of this place.

If she listened to her hand

it would scratch a sign in the sand for another

to take her place.

It would touch the land

in honor of its grace and wisdom,

and become a tree, rock, hawk, or flower.


Christopher P. Lock’s paper on Chamber Six, Ancient Arrow can be downloaded from the art section. It is an excellent resource to understand the symbolism expressed in this painting. Below is a small excerpt.

Interpretation and Meanings

This painting illustrates the orchestrated living energies comprising the WingMakers’ cosmology. It shows the relationships between the secret root, the Wholeness Navigator, the multidimensional universe with its foundational building blocks and: the Sovereign Entity, Entity, Sovereign Integral, Sovereign Integral Network, All That Is, Source Intelligence, First Source, and Source Reality.

Starting at the bottom of the picture: Large roots, representing the Wholeness Navigator (WN) that all human life is embedded with, extend down over a patterned band. They converge where all roots, including secret roots become one in the painting. This is at the center of the base/foot of the red woman or Sovereign Entity (SE) and the field of blue First Source (FS) behind her (Fig. 1). Strong, the WN roots represent strong “core wisdom,” and the ever-unfolding perception of wholeness within the Human Instrument (HI). They pull the red, possibly Anasazi, woman, or HI, into alignment with the Madonna-like Sovereign Integral (SvIg) or Entity (E) consciousness. She, the HI, thus sees herself “as an extension of entity consciousness”.

The widened base of the SE (red woman) shows her standing as a sturdy tree growing from the firm foundation roots representing the WN (Fig. 3). In myth roots always represent ‘foundation’ (Jobes 1347). Analysis of the yellow patterned band at the bottom reveals these strong WN roots entwined on it also show that the “culture of the multidimensional universe is rooted in unity.”

The patterned band has three vertical stripes of blue, red and green. These show the triune composite primary colors of light – a metaphor for spirit — and the visual world.  Philosophy note 3 indicates they might also symbolize the HI’s three attributes of ‘mind,’ ‘emotions’ and ‘body’ reading; “the entity is like a beam of white light, and as it passes into the genetic density of the human instrument, it separates into a broad spectrum of experience.”

The characteristics of the primary colors and the shapes they equate with was pioneered and realized in the early 20th century at the Bauhaus; and by the paintings and theories of such masters of abstract art as: Kandinsky, Klee, Mondrian, and Itten. The primary colors relating to the primary shapes (Bayer, Gropius; Read), and their symbolism (Jobes, Dictionary of Mythology, Folklore and Symbols) relevant to Chamber Painting 6 are: Blue, circle – peace, eternity, spirit, heaven, abode of Gods, (228); Yellow, triangle – movement, energy, divine power, spirit, supreme wisdom, home (1704); Red, square – balance (order), action, energy, death, consciousness, body of man, earth, matter/stone (1327).

The entire picture stands upon the patterned, yellow/gold band. Abstractly showing the unity of all manifested existence, the band contains Creation’s primal building blocks originating from spirit. In this painting yellow is representative of the realms of spirit. Chevalier and Gheerbrant (CG) in The Penguin Dictionary of Symbols note that yellow is “the vehicle of divine immortality” and “the color of the gods” (1137). It is from spirit or First Source (FS) that form (the squares) and energy (the triangles) originate (P1, P3). The deep blue upper and lower band edges suggest FS (see below).

Chamber Seven


Ancient Arrow 

Chamber 7: Union


You are not here.

In this moment all that exists is here.

But you are not.

There are so many footprints

leading to my door.

Let us enter, they say.

We cannot sleep in the desert

it is too cold.

Our tears will dry too fast.

Our ears will hurt from the silence.

Let us in.

And so I gather them all up,

swing wide my door,

and step aside as they enter

hoping they will lay in peace beside my fire.


You were not among them.

I looked everywhere for your face

and saw only mimicry.

The blind eye buried behind brain

searching for your heart.

An antenna so alert

there is a peculiar nearness of you

flying inside my body.

I can hold this like a tiny bird in my hands;

fragile, vulnerable, waiting

for my move to decide its fate.


You are not here.

I wish I could reach your skin,

remove the camouflage

tearing it away like black paper

held before the sun as a shield.

Unbundle you from your other lives

and distill you in my now.

You are my last love,

my final embrace of this world

and all the others that drop their prints at my door

are dimmed by your approaching steps.


I can see you will be here soon.

There is victory in my heart

and something invisible yet massive wants to speak.

Reminding me of you and your coming.

Quick, I plead, give me your lips.

Give me your womanly tenderness

that understands everything

so I may lose myself in you

and forget my loss.


If you were here, I would tell you this secret.

But you would need to be staring up at the stars

when I told you, held within my arms

feeling the earth rise up beneath you like a holy bed.

You would need our union to be your ears.

Chamber Eight


Ancient Arrow 

Chamber 8: Another Mind Open


There was a fire where smoke gathered

and danced like rivers without gravity

to the rattle of drums.


Sometimes I would look inside the smoke

but it curled away and covered itself

with a cloak so opaque I could only cry.

It became the mask of its consumption.

The dream of its new life.

The victorious skin always changing

yet everlasting.

There was a fire last night

that proclaimed news of a newer testament

that drinks tears, lies, vile words, even

the deep fears that linger underneath the turncoat.


I usually lurch away when it calls.

To me, it burns too cold

like a skinwalker lost in a body

devoured by time.

Sometimes I would dream it alive

and it would blaze—vibrant sun—

more durable than a grave.


In times of stillness

it would speak like a codicil of some lidless dream

that words could not preserve.

“The time has come to lift your gaze

from the fire’s brightness

and cast shadows of your own.”

The words would echo into oblivion

like stars lost in the swell of the sun’s awakening.


In these flames I see my

consumption fit and proper.

In its smoke

I am stored away like so many jars

in a broom closet.

Waiting to flee.

Drawing my feet to oppose the floor.

Struggling to reach the door inside these jars

of sealed air.


Stories escape the writer’s hand

and pursue me as though I alone held their vigil.

Their very soul.

When indeed these stories have never been told.

They have never found words

to hold though they ceaselessly try.


Fires blind nature.

They invest their life in her death.

But the end is always beginning

toward another end.

And the dreams of the untold

are always pursuing another mouth,

another hand,

another mind open.


Sometimes I look to the errant expression of hope,

and ask it to bring its flames deeper into my heart.

To burn a clear sense of purpose.

To burn away the fool’s crevice

and enshroud me in its skin of smoke.


Sometimes I offer myself to these flames

and know they listen.

Devising my world.

Reality coalesces around their finery

like a tower of glass enclothes a shell of steel.


Sometimes I feel the flames send me

words, notes, tones.


Products of another kind.

Tiny crucibles of earth that burn so brightly

they can blind the sun’s creatures of whimsy.


And sometimes, without even thinking,

I peek into these flames

when the smoke peels away for an instant.

There, behind the mask,

is my future.

Our future.

The future.

The present in another world.

Calling out for another mouth,

another hand,

another mind open.


The concentric circles in blue and white are a symbol of our solar system. The one-eyed “creature” represents our ability to form the single-eye perspective, which is the ability to remain unmoved by the programming that lurks in our unconscious and conscious mind.

Chamber Nine


Ancient Arrow 

Chamber 9: Of Luminous Things


Of luminous things

I have so little experience

that I often think myself small.

Yet when I think of you

and your luminous ways

my being swells with hope and prayers

that you will permit the flames to grow.


In mercy, we are torn apart

into separate worlds

to find ourselves over and over

a thousand times aching for the other half.

To dream of nothing but the One between us.


Of luminous things I have squandered none

nor have I held them to my heart and asked them

to dissolve into me.

Yet when I think of you, I desire only this.

And if you disrobed your Self and watched it

watch you, you would see me as clearly as I am.

Not small and unworthy.

Unafraid of fear.

Not uncertain like empty space.

But luminous

like white light before the prism.


In my thoughts I hold your heart

sculpting away the needless

for the essence.

And when I find it

I will hold it to my heart and ask it

to dissolve into me.

I will know of luminous things

that hurtle through time

bringing us the uncharted, unfathomable

desire we have never spoken.

Words are not curious enough to say their names.

Only love can weep their identity,

and I am so perfectly defenseless

to its music.


Chamber Ten


Ancient Arrow 

Chamber 10: Downstream


Open me.

Take me from here to there.

Let the wind blow

my hair and the earth’s skin touch me.


Open me like broken bottles

that bear no drink

yet think themselves worthy of the trash man.

Open me to the clans from which I sprout.

Are they colors separated, cast apart

like memories of drunkenness?

Open me to Africa, Asia, America, Australia.

Open me like a package

of mystery left on your doorstep

in the sweetness of laughter.


Open me to the crudely made lens of love

that screams to be of human hands

and lips.

Open me to the glance

that comforts strangers like the tender overture

of a mourning dove.


Is the wisdom of horses mine

to harness?

Is the muscle of wolves

lawless or the healer of sheep?

Is the black opal of the eye

the missing link we all seek?


Open me to the authors of this beaten path

and let them flavor it anew.

Bring them flecks of the rumored and rotten

slum that waits downstream.

Show them the waste of their watch.

The shallow virility that exterminates.

The ignominy that exceeds examination.


Open me to the idols of the idle.

Let me stare open mouthed at the herdsmen

who turn innocence into fear.

Is the plan of the sniper to uncivilize

the nerveless patch of skin

that grows unyielding to pain?


Open me to the stains

of this land that original sin cannot explain.

Let these symptoms go

like dead, yellow leaves fumbling

in swift, guiltless currents downstream.


Downstream where the slum

lies in waiting.

Downstream where the idols’ headstones

are half-buried in muddy rain.

Downstream where animal tracks

are never seen.

Downstream where

the lens of love is cleaned with red tissue.

Downstream where the herdsmen

herd their flock and beat the drums

promising a new river that never comes.


Downstream there lives

a part of me that is sealed like a paper envelope

with thick tape.

It watches the river like the underside of a bridge

waiting to fall if the seal is broken.

To plunge into the current when I am opened

by some unforgiving hand unseen.

To be drawn downstream

in the gravity of a thousand minds

who simply lost their way.

A thousand minds that twisted the river

away from earth’s sweetness

into the mine shaft of men’s greed.


So it must be.

So it must be.


Open me to the kindness

of a child’s delicate hand when it reaches out to be held.

Let it comfort me

when my bridge falls and the swift, guiltless currents

pull me downstream

where all things forgiven are lost.

Where all things lost are forgiven.


Chamber 10 in the Ancient Arrow series is focused on frequencies. These are color frequencies that represent a mandorla (see chamber 2 notes) and within the light blue you will see formations that represent the emergent UIS (Underivative Information Struture). The earthy browns give way to the greens and reds, but it the blue frequencies that hold and influence the eye in this piece.

Chamber Eleven


Ancient Arrow 

Chamber 11: Circle


I have found the ancient mirror

that leads me.

I have seen its ruthless eyes

that always stare,

burrowing their way to the crown I wear.

I have sensed the holy fire

like a blazing cocoon

that offers no judgments

amidst its power strewn.

I have felt the innocent light.

Of clarity in flight over native land

where we are birthed apart

from one command.


I have touched the gentle eye

that outlasts me.

The huge patience upon my brow.

I have offered all my earthly wisdom

for the symptoms of its tongue;

to drop its seeds into the fields that I plow.

I have seen destiny’s path

gathering its flock

for the journey of endless spaces.

I have watched futures fall with eyelids closed

and the gnawing tears of torn places.

I have seen the Tribe of Light

return the clock to the black pocket

where all divisions occur.

Where weeds secure the humble land

of fires unlit, yet pure.


I have heard the masters of masters speak

to every cell of my body;

cutting new pathways in flesh

like fear’s executioner.

I have watched the galaxies twirl

like star wheels that spiral to the thought

of a holy vision.

I have felt my spirit follow

the one sound that is free.


I have vanished before.

I have taken this body to an inner place

where none can see.

Only feelings can hear the sound of this space.

This sacred place alone

has brought me here to recover the thread.

To see the weaving dance that calls my name

in a thousand sounds.

That draws my spirit

in a single, perfectly round,



Chamber 11 represents the creation frequency at a very primordial, collective consciousness level. It is a fractal image.

Chamber Twelve


Ancient Arrow 

Chamber 12: WingMakers


I am destined to sit on the riverbank

awaiting words from the naked trees

and brittle flowers that have lost their nectar.

A thousand unblinking eyes

stare out across the water

from the other side.

Their mute voices seek rewards of another kind.

Their demure smiles leave me hollow.


Am I a perpetual stranger to myself?

(The thought brands me numb.)


Am I an orphan trailing pale shadows

that lead to a contemptuous mirror?

Where are these gossamer wings that my

destiny foretold?

I am waiting for the river to deliver them to me;

to lodge them on the embankment

at my feet.


My feet are shackles from another time.

My head, a window long closed

to another place.

Yet, there are places

that salvage the exquisite tongue

and assemble her wild light

like singing birds the sun.

I have seen these places among the stillness

of the other side.

Calling like a lover’s kiss

to know again what I have known before;

to reach into the Harvest

and leave my welcome.


These thoughts are folded so neatly

they stare like glass eyes fondling the past.

I listen for their guidance

but serpentine fields are my pathway.

When I look into the dark winds

of the virtual heart

I can hear its voice saying:

“Why are you trapped with wings?”

And I feel like a grand vision inscribed in sand

awaiting an endless wind.


Will these wings take me

beneath the deepest camouflage?

Will they unmask the secret measures

and faithful dwellings of time?

Will they search out the infinite spaces

for the one who can define me?


Wings are forgotten by all who travel with their feet.

Lines have been drawn so many times

that we seldom see the crossing

of our loss though we feel the loss of our crossing.

We sense the undertow of clouds.

The gravity of sky.

The painless endeavor of hope’s silent prayers.

But our wings shorn of flight

leave us like newborn rivers that babble over rocks

yearning for the depths of a silent sea.


I have found myself suddenly old.

Like the blackbirds that pour

from the horizon line,

my life has soared over this river searching for my wings.

There is no other key for me to turn.

There is no other legend for me to face.

Talking to flowers and gnarled trees

will only move me a step away —

when I really want to press my face

against the windowpane

and watch the WingMakers craft my wings.


Chamber 12 is focused on the depiction of the Sovereign Integral Network.

Chamber Thirteen


Ancient Arrow 

Chamber 13: Nameless Boy


Beyond the frontier

where borders blur into unknown thoughts

there is a nameless boy—

a drop of pure human light.

Through narrow cracks in the splintered fence

I watch his innocence with envy,

searching for the right meaning of his movements.

The twilight of his smile

nourishes my heart

like crumbs of God’s light.

A longing in my mouth to speak,

to weep,

and gather this child into my arms

and encipher his nature into mine.

Through the exchange of eyes

glances, purloined and routed into blindness,

our language annulled.

I can only grope towards him

with antenna thoughts

that dance in praise of his youthful beauty.


I am waiting for stones to bloom.

For venomous skies to wander into oblivion.

For tracks to emerge like dust in a beam of light.


Life’s clever poison

is closing the gate.

The cracks are mended ñ the vision expunged.

And the nameless boy dissolves,

for there was no earth inside him.


Chamber 13 is best understood through its companion poem. 

Chamber Fourteen


Ancient Arrow 

Chamber 14: Empyrean


He walked a higher ground

like a soul untethered to human flesh.

Darkness implored

demanded his searching stop

and match the drifting gait of others.

But his pathway unwound like a ball of string

sent upward

only to fall in a sentence of light.

Collisions with fate would unrail him

and send him the wishes of obscurity.

The lightning of desire.

The curse of empty dreams.

The witness to unspeakable horrors.


He would laugh at the absurdity,

yet aware of the dark ripples

that touched him.

Humanity was a creaseless sheet of blank paper

waiting to be colored and crumpled

into pieces of prey for the beast-hunter.

Why did they wait?

The palette was for their taking.

The “distance” betrayed them.

The shallow grave of the deep heart

killed their faith.


He knew,

yet could not form the words.

Nor draw the map.

The ancient casts of the empyrean

withstood definition.

Paradise lost to the soundless blanket

of the clearest thought,

of the loneliest mind.


Chamber 14 is pure color abstraction. From out of the high frequency violet color a winged bird emerges, still in its abstract form. The rest of the painting is supportive of that form, as if it is giving birth to the winged creature. 

Chamber Fifteen


Ancient Arrow 

Chamber 15: Secret Language


Night in bed,

eyes closed, ears open,

listening to the secret life outside my window.

The liturgy of the nocturnal.

Sounds and rhythms of

swift-footed crickets

giving testimony to the trees that overlook

the native church like great archways

carved of Roman hands.


The intricate language of tiny animals

sweeping through the night air

unfaltering they hold me spellbound.

How can I sleep without an interpreter?

If only I knew what they were saying.

I could sleep again.

Chamber Sixteen


Ancient Arrow 

Chamber 16: Signals to Her Heart


Out where the ocean beats its calm thunder

against grainy shores of quartz and sand,

she strolls, hands pocketed in a flowing gown

of pearl-like luminance.

I can see her with hair the color of sky’s deepest night

when it whispers to the sun’s widow

to masquerade as the sickle’s light.


This is she.

The one who knows me as I am

though untouched is my skin.

The world from which she steps

pounces from mystery,

announces her calm beauty

like a willow tree bent to still waters.


In this unhurt place she takes her body

to the shoreline listening for sounds beneath the waves

that tell her what to do.

How great is her dream?

Will it take her across the sea?

Does she hear my heart’s voice

before the translation?


She scoops some sand

with her sculpted hands and

like an hourglass the particles fall

having borrowed time

for a chance to touch her beauty.

Her lips move with prayers of grace as she tells

the wind her story;

even the clouds gather overhead to listen.

Her gestures multiply me

with the sign of infinity,

disentangled from all calculations,

adorning her face with a poetry of tears.


I am summoned by her voice

so clear it startles me.

I watch her because I can.

I know her because she is me.

I desire her because she is not me.


In all my movement, in the vast search

for something that will complete me,

I have found her

on this shoreline,

her faint footprints,

signatures of perfection

that embarrass time with their fleeting nature.

I am like the cave behind her

watching from darkness,

hollowed from tortured waves

into a vault that yearns to say

what she cannot resist.

A language so pure it releases itself

from my mouth like long-held captives

finally ushered to their home.


She turns her head and looks

past me as if I were a ghost unseen,

yet I know she sees my deepest light.

I know the ocean is no boundary to her love.

She is waiting

for the final path to my heart to become clear.

And I am waiting

for something deep inside

to take my empty hands

and fill them with her face

so I can know the rehearsals were numbered,

and all the splinters

were signals to her heart.

Chamber Seventeen


Ancient Arrow 

Chamber 17: Memories Unbound


I have this memory

of lying atop a scaffold of tree limbs

staring out to the black, summer blanket

that warms the night air.

I can smell cedar burning in the distance

and hear muted voices praying in song and drum.

I cannot lift my body or turn my head.

I am conscious of bone and muscle

but they are not conscious of me.

They are dreaming while I am caught

in a web of exemptible time.


My mind is restless to move on.

To leave this starlit grave site and dance with

my people around huge fires

crackling with nervous light.

To join hand with hand to the rhythm of drums

pounding their soft thunder

in monotone commandments to live.


I can only stare up at the sky

watching, listening, waiting

for something to come and set me free

from this mournful site.

To gather me up in arms of mercy

into the oblivion of Heaven’s pod.

I listen for the sound of my breath

but only the music of my people can be heard.

I look for the movement of my hands

but only wisps of clouds

and crescent light move

against raven’s wings.


Sometimes when this memory peeks through

my skin it purges the shoreward view.

It imposes on the known predicament

with a turbulent bliss

that bleeds defiance to the order.

There is certain danger in the heritable ways

of my people who send me the chatoyant skin

humbled and circumscribed.

My white appetite leached of earthly rations.

Misplaced to the darshan of the devil,

the very same that

maneuvered my people to reservations ñ

the ward of the damned.

(At least I have no memories of a reservation).


Perhaps it is better

to lay upon this mattress of sticks

with my wardrobe of feathers and skins

chanting in the wind.

Perhaps it would be better still

to be set atop the cry shed and burned

so prodigal memories would have

no home to return to.


I have this memory

of escaping the pale hand

of my master that feeds me

scraps of lies and moldy bread.

My skin yearns for lightness,

but it is the rope that obliges.


I have this memory

of holding yellow fingers,

large and round, dripping with ancient legacies.

Of seeing the rounded belly of Buddha

smiling underneath a pastoral face

in temples that lean against a tempest sky.

I have this memory

of dreaming to fly.

Stretching out wings that are newly attached

with string-like permanence

only to fall in the blunted arms of obscurity.


I have this memory

of seeing my face in a mirror

that reflects a stranger’s mind and soul.

Knowing it to be mine, I looked away

afraid it would become me alone.

I am patchwork memories searching for a nucleus.

I am lost words echoing in still canyons.

I am a light wave that found itself

darting to earth unsheathed

seeking cover in human skin.


Below is an excerpt from Christopher P. Lock’s paper on Chamber Seventeen from the Ancient Arrow series. It can be download in its entirety from the art section. It is an excellent resource to understand the symbolism expressed in this painting.

Interpretation and Meanings

This painting illustrates the transformation of the individual and the “dagger of light that renders your self-importance a decisive death”, slays vanity; and births, according to the myth, certain biogenetic and/or metaphysical energy changes when this illustrated transformation of the individual is experienced.

It also contains abundant visual mythographic and spiritual clues and images that illustrate the WingMakers’ mythological philosophy.

In this painting the dagger/sword, of course, brings not physical death but the mythical death of one’s negative ego, or “self-importance”, in order to experience “the fragment of creator within”.

This “Dagger of Light” is as long as many a sword; and the dagger, knife and sword, although obviously having diverse meanings in diverse cultures, are nevertheless often credited with common meanings. To briefly illustrate: In Jobes’ Dictionary of Mythology, Folklore and Symbols the dagger is the Christian symbol of martyrdom and the knife their symbol of spirit (1519); in Aztec mythology 1,600 earth gods sprang from the knife of Citlalinicue (937); and for Central American Indians the swordfish symbolizes ‘beginning’ or ‘birth’ (Jobes 1519).

The dagger/sword in “Dagger of Light” is blunted showing “justice tempered with mercy” (Jobes 1519).

The gold sword—this one is yellow/gold—according to Ad de Vries stands for “purification” (453). Yellow is “the vehicle of divine immortality” and “the color of the gods”—the very carrier or transporter of transformation.

In the author’s “Chamber 6 Paper” it was shown the WingMakers use yellow to represent spirit, all aspects of Source/Creator, and especially Source Reality (SR). In Chamber Painting 17 it clearly represents or brings “the fragment of creator within.” Swords are light. Chevalier and Gheerbrant (CG) mention that the sacred Japanese sword is said to have originated in lightning (959).

Figure 1 shows the sacred golden/yellow sword of the Japanese deity Fudo Myoo with a dorje handle. The dorje is a sacred object that in Buddhist mythology emits bolts of lightning that dispel darkness, bringing sudden illumination and revelatory insight. The sacred sword of Fudo Myoo (pronounced Myoh) is born from the dorje itself—as a flash of lightning—and is thus a sword born of, and bringing, light; illumination and insight; the dispeller of darkness.

Vries has “a two edged sword protruding from a mouth as possibly meaning esoteric and exoteric knowledge”(453). It is often seen coming out of, or in, Christ’s mouth (Herder illus. 191). Perhaps here in Chamber Painting 17—where it is over and through, or behind a closed mouth—it represents silent acceptance of esoteric and exoteric knowledge, which, being red Source Intelligence (SI) knowledge, cannot be literally voiced.

This would certainly parallel Zen masters who having heard the Thunderous Silence (TS) maintain silence with respect to it (see later the author’s personal experience for its relevance to Chamber Painting 17).

St. Paul said the “sword of spirit…is the word, or the mouth, of God” (Eph. 6, 17; Tresidder 197).

While the sword also represents ‘power’ (Cooper 167), in the sword of Damocles legend it symbolized “the precarious nature of power” (Tresidder 198). Is not the concept of power for the individual, meaningless without the concept of self-importance?

There are Mandala tankas of five Tibetan Buddhas that show each Buddha representing transformation through the self-elimination of one of the five major human hindrances: ignorance, pride, hatred, envy and lust (Tantra 78). All five of these are pillar expressions of “self-importance”.

Chamber Eighteen


Ancient Arrow 

Chamber 18: Transparent Things


There it is then, my open wound,

eager for forgiveness.

It comes with age like brown spots

and silver hair.

Shouldn’t age bring more than

different colors to adorn the body?

I think it was meant to.

It just forgot.

Old age does that you know.

Too many things to remember here.

Both worlds demanding so much,

one to learn, one to remember.


Can’t we see each other

without wounds bearing grief?


There it is then, my hope for you

to find me and apply yourself

like a poultice to my wounds.

The rest of me is barren too.

Waiting for your arrival

with speed built of powerful engines

that groan loud from a piercing foot.

Downward pressure

never stopping even when floorboards are found.


If there was silence in these waters

my wound would dance open

and separate itself from all attackers.

Even this body.

It would look at you

in the orphaning light, diminished of features,

and lead you away to its place of sorrow.

It would ask you to lie down beside it

and wave goodbye

to the coiled currents that tug and pull

to separate us from ourselves.

It would hold your hands,

so masterful in their wisdom,

so mindful of their glory

that it would disappear inside.

In the future, someone,

a friend perhaps, would

read your palm and notice

a small line veering off in a ragged ambush.

Unchained from the rest

of your palm’s symmetry.

A lonely fragment, waving goodbye

to everything between us.


There it is then, my prayer for you

to close this wound

and draw the shades around us.

Deep, black solitude enfolding us,

the kind found only in caves

that have shut out light for the growing of delicate,

transparent things.

Chamber Nineteen


Ancient Arrow 

Chamber 19: Easy to Find


I have often looked inside my drawers

without knowing why.

Something called out.

Seek me and you shall find,

but when I obey

I’m confounded by memory’s fleeting ways.

Hands immerse and return awkwardly empty

like a runaway child

when no one came after them.


I know there is something I seek

that hides from me so I can’t think about what I lack.

It is, however, and this is the point,

too damn powerful to be silent and still.

Besides, I know I lack it because I miss it.


I miss it.

Whatever “it” is.

Whatever I need it to be, it is not that.

It can never be anything but what it is.

And so I search in drawers and closets absent of why,

driven like a machine whose switch has been thrown

just because it can.


I miss it.

I wish it could find me.

Maybe I need to stay put long enough for it to do so.

Now there’s a switch.

Let the powerful “it” seek me out.

But for how long must I wait?

And how will I recognize it should it find me?


There must be names

for this condition that end in


Damn, I hate that suffix.

It all starts with a sense of wonder

and ends in a sense of emptiness.

God, I wish you could find me here.

I’ll tuck myself in a little drawer

right out in the open.

I won’t bury myself under incidentals.

I’ll be right on top.

Easy to find.

Do you need me for anything?

I hope so because I need you for everything.

Chamber Twenty


Ancient Arrow 

Chamber 20: Bullets and Light


I am adrift tonight

as though a privilege denied

is the passageway

to keep body and soul together.

You have kept so much at bay

I wonder if your enchantment

is to tame passion.

Cornered by your savage artillery

you sling your bullets like schools of fish

darting to a feast,

and I surge ahead tired of being the food.

When I look back

I can see fragments of you

hiding in the underbrush,

stubborn remnants of your vanished heart.

I can still love them.

I can still hold their fragile nerves

clustered with a welder’s tongue

seething light as pure as any ever beheld.


Perhaps I drift away

because of the chasm I see.

Bullets and light.

How strange bedfellows can be.

But you will never confess

nor shed your doubt of me.

I will always remain an enigma hurling itself

like litter across your absolute path.

A sudden shaft of light

that begets a deep shadow

that temporarily blinds.


Hope-stirred eyes have always sought to steal

you from the simian nature

that collects at your feet

and pulls at you like derelict children.

My unearthly hunger drew me away from you,

even against my will, or at least my conscious will.

There was always something calculating

the distance between us.

Some cosmic abacus shuffling sums

of bullets and light

looking for the ledger’s balance,

but never quite locating its exact frequency.

Chamber Twenty-One


Ancient Arrow 

Chamber 21: Dream Wanderer


Intoxicated with children’s thoughts

I wonder,

why are souls so deep and men so blind?

How can souls be eclipsed

by such tiny minds?

Do we love the damp passageways of Hell?

Where every drop of pale water

that falls from the cavern walls

is unwashed music etched in silence…


My favored dreams have disappeared

astride the backs of eagles.

With wings sweeping downward, lifting upward,

they are carried away like finespun,

elegant seeds

on a crystalline wind.

Without them

I am divinely barren

like an empty vessel denied its purpose.

I can only stare into the silence

ever listening for heaven’s murmur.

Knowing that behind the darkening mist

angels are building shelters for human innocence.

Shelters torn from something dark

and gravely wounded.

Havens resistant to all disease.


I thought I was endowed

with a promised beauty

that would free the neglected dreams of a demigod.

That would untie their feeble knots

and release them into light’s caress.

But the glorious reins

that had once been mine,

tattered and stained with blood,

have slipped from my hands in disuse

as a web abandoned to a ghostly wind.

I can still reach them.

I can feel their shadow across my hands.

Their power, like an electric storm

wandering aimlessly without fuel,

soon to be exhausted.


This piece of paper

is torn from something dark

and gravely wounded.

It is the mirror I hold up to the blackened sky.

A devious sacrifice.


Leaping from star to star

my eyes weave a constellation.

My thoughts in search of the endless motherload.

My heart listening for the sound

of unstained children dreaming.

The dream wanderer looks back at me.

Calls my name in a whispered voice.

Beckons me with an outstretched wing.


“Fly! Your favored dreams await you!”


The voice boomed like thunder swearing.

My wings trembled with forbidden power

as they searched the wind’s current

for signs of release.

Currents that would carry me

to the high branches of trees

suckling the sun in fields beyond my kingdom.


In a moment’s interlude

I unfolded my wings and vaulted skyward,

into the blue vestibule.

Sheer speed.

Rivers beneath were brown veins

swollen on earth’s legs,

or savage cuts that bled green.

The sun sliced holes in the clouds

with tender spears of crimson light.

The moon was rising in the eastern sky—

an oyster shell

pitted by time.

Lonely winds would rush by

searching for an outpost of stillness.

The earthen dungeon

peered up at me with contempt

like a nursemaid relieved of her duty.


I forgot the ground.

I canceled gravity.

Balanced against aboriginal hopes and fears

I became the shaman who dances

in the spirit waters of ancestors

plucking words and meanings from the cumbrous air.


I thought only of the dream wanderer…

the holy wind that rekindles

my exquisite longing for raw truth.

To seize it like medicine

in a sleepless fever hoping to be healed.

The halcyon spire!

The dusty places of purity.


These wings are torn

from something dark and gravely wounded.

They carry me to my favored dreams

and choke the inertia of indifference dead.

Their strength is perfectly matched

to my destination.

One more mile beyond these trees,

I would fall like a fumbled star

into the moat of a starving world.


My favored dreams will wander again.

In time they will soar to trees of a richer kingdom.

My wings will again follow their flight,

track their heartbeat

and build a quilt of a thousand dreams intermingled.

One more turn of the infinite circle.

The dream slate revivified.


even in the murky waters

and cloudy skies of the itinerant traveler.

The dream wanderer reveals

(with a flip of the hourglass of heaven),

as above

so below.

Create your world and let it go forward

entrusted to the one that is all.

The leavening will prevail.

It is the lesson I learned

with my wings outstretched beneath

the glaring sky.

It is the rawness I seek

untouched by another’s polish.

Chamber Twenty-Two


Ancient Arrow 

Chamber 22: In the Kindness of Sleep


I visited you last night when you

were sleeping with a child’s abandon.

Curled so casual in sheets

inlaid by your beauty.

I held my hand to your face

and touched as gently

as I know how

so you could linger with your dreams.

I heard soft murmurs that only angels make

when they listen to their home.

So I drew my hand away

uneasy that I might wake you

even as gentle as I was.


But you stayed with your dreams

and I watched as they found their way to you

in the kindness of sleep.

And I dreamed that I was an echo of your body

curled beside you like a fortune hunter

who finally found his gold.

I nearly wept at the sound of your breath,

but I stayed quiet as a winter lake, and bit my lip

to ensure I wouldn’t be detected.


I didn’t want to intrude

so I set my dream aside

and I gently pulled your hand from underneath

the covers to hold.

A hand whose entry into flesh

must have been the lure that brought me here.

And as I hold it

I remember why I came

to feel your pulse

and the beating of your heart in deep slumber.

And I remember why I came in the

kindness of sleep—

to hold your hand, touch your face

and listen to the soft breathing

of an angel,

curled so casual in sheets

inlaid by your beauty.

Chamber Twenty-Three


Ancient Arrow 

Chamber 23: Spiral


Inside there is something gnawing

with silken jaws and wax teeth.

It holds me still in pureness

like a circle whose middle

is my cage.


While you went away from me

I was ever tightening my circle.

A spiral cut in glass.

A flower’s bloom dropping petals.

A winnowed ball of yarn

spilling color.


I see the inside of your thigh

brilliant in its smoothness,

and I spiral ever closer to your edge.

Paper cut touching I burn

bleeding without pain.

How could I spill so easily

without knowing why?


When I hear your voice

there is no quenching this ache

to hold you.

Like one who draws near and then forgets

the story they came to tell,

I circle you waiting for thread’s tautness

to draw us ever closer

though I know not how.


The final luxury is the kiss

of your boundless heart.

The final beauty so pure

all else limps behind blissfully in your wake.

Drawing from your shadows

the light of saplings

lurking on the forest floor.


If I could unbutton you,

take your dress down

I would see a map of my universe.

A phantom limb, grown from

my body like wings sprouting from a chrysalis

reaches for you.

It is the hand of clarity

desperate for your skin

so powerfully bidden

as though a shimmering block of light

cut from black velvet,

stood before me.

And all I could do was to reach out

and touch it,

not knowing why,

but utterly unafraid.


Chamber 23 is related to Chamber 4 in the sense that it depicts the union of male and female frequencies in forming a Soverign Integral consciousness. The checkerboard floor defines the worlds of duality, while the paintings on the wall (and even the wall itself) depict the the coming singularity as it pertains to the Grand Portal.

Chamber Twenty-Four


Ancient Arrow 

Chamber 24: The Pure and Perfect


Someday the messengers will arrive

with stories of a nocturnal sun

despondent, burning implacably

in the deepest shade of a thousand shadows.

They will tell you of the

serene indifference of God.

They will draw you by the hand

through bruised alleyways

and prove the desperation of man

rejected from the beauty of an unearthly realm.

The news will arrive

as a tribute to the death of oracles.

Sparing words of purpose

the messengers will announce the

cold fury of realism’s cave.


Someday, the messengers will send their thoughts

through books that have no pulse.

You will be accused of weakness

that drowns you in servitude.

A queer rivalry will beset you

and your life will crawl like an awkward beast

that has no home.


And you, my dearest friends,

who are truth—who were all along,

will renew your devotion

to a powerful image in a distant mirror.

You will listen to these stories

and tear at your silent heart

with animal claws that are dulled

by the stone doors of time.

Where the unattested is confirmed

your vestige-soul is stored.

It will strengthen you

and cradle you in the light

of your own vision,

which will be hurled like lightning

through twilight’s dull corridor.


The messengers will cry

at the sound of your rejection.

They will scream: “Do you want to be a

lowly servant and lonely saint?”


Mutants of the light

are always tested with doubts

of a swollen isolation

and the promise of truth’s betrayal.

Listen without hearing.

Judge without pardon.

The grand parasite of falsehood

will prevail if you believe only your beliefs.


Someday, when all is clear to you—

when the winds have lifted all veils

and the golden auberge is the locus

of our souls—

you will be tested no more.

You will have reached destiny’s lodge

and the toilsome replica of God

is jettisoned for the pure and perfect.


Of the Ancient Arrow series, Chamber 24 is one of the most encoded of the chamber paintings. At a very high level, it is depicting the interaction of three beings:

  1. The red-face figure in the background is the shadow self
  2. The green figure in the middle is the human, 3-D consciousness
  3. The figure with violet-colored head is the heart-brain coherence

The painting is showing how these three identities interact.