spirits, Magic
Taylor Ellwood
The relationship between sacred kingship and ...

One of the books I’m reading lately is King, Warrior, Magician, Lover by Robert Moore and Doug Gillette. It’s a fascinating book that explores the archetypes of the mature and sacred masculine. This is currently part of the spiritual work that I’m engaged in as I explore my own relationship with masculinity and heal the ancestoral and contemporary wounds that I’m becoming aware of as it relates to how masculinity is treated and perceived in modern times.

One of the aspects I’m exploring in particular is related to sacred kingship and the land. I am in the process of exploring the new city and surrounding areas that I live in. While I’ve lived here for a year, I didn’t have much opportunity until recently to really begin exploring the area and developing a relationship with the land. I find it fitting and useful that part of the process has also involved cultivating a relationship with the land, particularly on the basis of the relationship has with their home and how that relationship plays out in sacromagical work one does in connecting with the land.

Painting

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Self-Evocation 2011

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Here's my latest painting. It's a self-Evocation painting. I do these occasionally and I use them to paint an internal landscape of my consciousness. This one is actually quite nice and feels much more peaceful compared to some of the other ones.

A self-evocation is really a snapshot of time, a way to connect with a particular moment of my life. I've used the paintings occasionally to interact with younger versions of myself. In a sense the paintings act as a temporal powerspot. It's not the only method I use for accessing past versions of myself, but it is a useful method to use, and one that provides something to focus on to help you reach that past point of existence.

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I paint to forget

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I paint to forget sometimes, on a conscious level the desires, the wants, the needs, etc. I have. The paintings are sigils usually, though in someways I don't really think of them as that so much as mindscapes, which allow me to express what's going on in my mind and then let it go. I paint to forget, but also to free my mind. Once something is expressed, if you have a place to direct any further attention or energy toward that expression, you can can then remove the desire from conscious thought. It becomes part of the background. And once its part of the background, that desire can then work because it's not being pushed into the future by the conscious mind.

It's a reason to paint. Funny thing about painting for me. It's the one creative skill, where I'll never make it a product to sell. It's a magical work for me, but more than that it's something I need to keep for myself, as an outlet I use for both my magical expression and artistic/creative expression divorced from any form of compensation (beyond my satisfaction). I don't paint often, but I love to do it. The state of no-mind, the rustle of the brush, the colors that I use, and the shapes that come forth, all of it created in a place that is the secret part of my soul, and even when shared, it's still a place only I'm really intimate with.