Portrait of Evil


Way back in my early twenties, I often sketched out my feelings. I actually had no clue where they came from, and what they were.
If eerieness overcame me, the images were often odd and spooky, just like the image to the left.
From some of my works, I have derived many insights, and they occurred to me right away. Others, like the ghoulish-looking woman to the left, did not inspire my awareness. They were just romantic attempts at clarifying my spirits' needs, and my minds' emotional states.



Design Aspects of Meditation


Last year, I was using some of my early art work to illustrate some good days way back when. You can see some of the work on the cover of my publication, "Meeting Ananda Bodhi- Heavenly Enlightenment".

I also pulled the sketch book page of this eerie looking woman, and began to play with design effects in a graphic program. At this point, I had become familiar with the aura or shaping of aesthetics areas of the brain. These refinements to sensing are to be found in the pia mater, the folds of the blood-brain barrier surrounding the white matter of the brain.
The works that had truly given me recognition of, or an idea of sensing the shaping and functions of these many areas of aesthetic appreciation, was a book about the artist Judy Chicago.


The Dinner Party, A symbol of our heritage by Judy Chicago, Anchor Press/Doubleday, Garden City NY 1979


Art to the top left, "Portrait of Evil" Art to the right, computer generated graphic of the same work, entitled "Mara". artist, S.Risk

Once I got over the raw sense of obscenity I felt over the series of sculptured plates that Judy Chicago had arranged in an enormous banquet-style display, I began to sort through the reasons for works of this nature. As the sensing showed me that these items were carefully reproduced images from the aura of fossil history, I was very impressed.
Our bodies might not look well, when displayed upon a dinner table as if food, as Chicago displayed her design concepts; some of our parts seem to look too much like organs we would rather not think about for longer than a minute.
Judy Chicago had, I believed, perceived something of the aura of aesthetic sensing, not of internal organs, and had replicated events as sensed by people whose minds had visual clarity and a sense of magnificence. Here, then, were actual portraits in thought, which could be read like templates, through my own pia maters' bundles of aesthetics. Each of these functions had an aura that was living and changing; however, the "plates", china -painted to illustrate particular events, helped my mind to focus into memory.
I noticed that, in my sketching, I had made "Sophia"-like daisy shapes.

(page 112,The Heritage Floor, The Dinner Party:

"The nature of the traditional Goddess changed, considerably, in Greece and Rome;no longer was she a strong figure, but rather a somewhat impotent, evil, or limited character"

None of Judith Chicagos' shaping had much to do with womans' vulva; rather, the works seemed to have been preserved images of the aura, from, for example, fallen tree branches, or fossil flower relics1.
In Material Arts, an artist whose craft is used for fine art purposes will attempt to record actual events using pigments, pulp- in fact, amny types of naturally photonic record.

1e.g. Plate Seven after Page 160, The Dinner Party: "Mary Woolstonecraft", seems to have glazes or clay made from branches and a pressed windflower from a random array.

Investment Pathology


By comparison to the considerably sacred and brilliant collection of material, and archiving of concepts related to each Chicago work, my own sketch had simply slipped out from my unconscious self. It emerged as a memory of sensibilities that I had never actually seen:

At this point, I believed that I was noting a set of working aesthetics, but was this me? What was the enormous black bow?
I had often seen black in the aura, and it meant that someone was experiencing terrible pain. Bow shapes, though, reminded me of limited views of cerebellar formations- bundles of brain columns relating to the love nature.

From my sense of logic or recognition, I felt that I had recorded someone other than myself, suffering from cerebellar or parietal stroke. As a young person, I had had no recourse other than to equate all shaping coming from my creation with emotions or experience of my own. Maturity brought these images  into perspective.


The image now unfolded to me, and I saw myself experiencing an assault from someone very mentally ill.



Perhaps rendering the figure into a ceramic texture (Image 2, "Mara") had made my mind roll over and think more carefully.
 I expanded my sense of action from what I could see of the monster inhibition of pain stabbing through from the left to the right hemisphere, and I added to this a more clear concept of the set of colours and shapes I had sketched as if the aura of an evil woman.

Adding to the aura of the work with further colours, (above left, entitled "Investment Path")and also with some more shaping, gave me a clear view of a woman with an investment pathology. This offered to me some insight as to some of the health problems that I had suffered from, and also who had caused them, so long ago.


Asking a patient to draw out some of their feelings or ideas as if they are sensing themselves, can offer an aesthetic, be it an addled set of impressions from mental illness, that can be further interpreted by bending, editing and colouring the original image, via computer graphic effects used on a scan or photo of the original.



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copyright Northdays Image: Susan Risk 2004 - 2008