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This is a Rights Restricted Document

It has been designed for the exclusive use of presentation of artist


Victoria Moore’s Mythic Women to The Grand Master, the Museum
Curator and any other internal parties as they
deem appropriate for review and consideration of
the Masonic Grand Lodge and Museum
in Philadelphia Pennsylvania.

Two print versions will exist.


No additional prints or distribution
is anticipated by either party without
written permissions.

November 2009.

©2009 Victoria Moore | All rights reserved to the artist. or appropriate party
Articles
3 The Illuminated Works
Fine Art Magazine

20 A Matter of Spirit
Mature Living Magazine

42 Gaming Lifestyle & Showgirls Influences


High Roller Life Magazine

80 ELectrifying Power Art


Manhattan Arts International Magazine

90 Commissioning A Portrait
High Roller Life Magazine

Ltd. Editions
edition size is 300
In the cases where there is a ‘standard’ and ‘petite’ size offered, this edition size total includes the
combined total of both dimensions available. Editions are reproduced on canvas.
Editions ‘in the round’ require a paper option due to the limited access to round stretcher bars.

The artist reserves the right to print a total of 15 from within in the numbered edition in
any dimensions or color adjustment as might be required for a custom installation or application.
Paintings
mythic women Feminine Mysteries creative musings graphique femme
The Goddess Isis 5 My Secret Garden 36 Visionary Vinyards: Sultry 79
Dance of the Seven Veils 6 Bed of Roses 37 Francis Ford Coppola 60 Right There 80
Mystical Vision 7 Sweet Treats 38 It’s a Wrap 61 Coming Home 81
Mystery School of Sophia 11 Inquiring Minds 39 Inner Walls 61 Sensuous Silk 82
Consulting the Oracle 14 Power Lounging 40 Unassuming Beauty 62 Sleeping Beauty 82
Themis: Blind Justice 16 Easy Listening 40 The Invitation 62 Latoya’s Look 83
Cleopatra: Daughter of Romantic Read 41 Objects of Affection I 63 Muscle Bound 83
the Nile 19 Finishing Touch 43 Objects of Affection II 63 Madonna: Leather 84
Anticipation 44 Morning Rounds 64 Madonna: Lace 84
otherworlds Swept Away 45 Roaring Thunder 64 Her Hardwear 85
Presence of Angels II 20 Steamy Vision 46 Latina Aura 65 Beth as Eve 85
Presence of Angels I 21 Let It Rain 47 Memories 86
Surrender 22 aquatic wonders Voyeuristic Tendencies 87
Evidence 25 dreamscapes Crystal Jelly 67 Auspicious Arrival 88
Manifestation 26 Ethereal Dreams 48 Jelly Fish Series I 68 Sanctuary 88
Crossing Guard 29 Pillow Talk 51 Jelly Fish Series II 68 Changing My Image 89
Kindred Spirits 30 Warm Nights 52 Gossimer 69
Dreamscape 52 Undulation 69 portraiture
Slumber 53 Communion 70 Lance’s Armor 90
down the
Abstract Beauty 53 Tickling Her Fancy 70 Commissioner Robb Pitts 91
rabbit hole
Sweet Dreams 54 Mermaid’s Ecstasy 71 Nora Gunther 92
Between Two Worlds 33
Crystaline Couple 72 Ulysees Glee 92
Invocation at Stonecreek 34
victoria’s angels Overhead 73 Midnight in the Garden 93
Blossoming Beauty 35
Angels Engaged 55 Cresting 73 Parke’s Study 93
Ethereal Elegance 56 Dance of the Dolphins I 74
Radiant Passion 57 Dance of the Dolphins II 75 misc. images
Wings of Desire 58 Merman & Mermaid 76 Self Portrait Title Page
Spirit In Motion 59 Sensuous Waves 77 Lean On Me Dedication
Rainbow Lotus Back Cover
To begin from the void of blank canvas and create substance always elevates me. Capturing an image or a concept and suspending it in your
mind is a provocative endeavor. When the spark of a moment has passed and the memory is all that remains, to breathe life into it again
visually invokes the balancing of opposing forces; discipline and the creative spirit. The canvas transforms, becoming a permanent record
and timeless home for that expressive energy.

The Mysteries of life reveal themselves through the creative process. Exploration takes place not only on the canvas,
it becomes a journey within. My hand is guided by the mind’s eye as I explore the fluidity of fantasy and reality,
personal journeys and the inherently spiritual nature of our inner and outer worlds.
Raised more with esoteric teachings and philosophies than influences of organized
religions, I was very much a blank canvas when I had a near-death experience at
the age of 22. The profound experience and the visual residue continue to
demand attention. It inspired my search beyond physical realities as
I delved into the sublime realm of the metaphysical.

Plunging into ethereal worlds often reveals equally delightful discoveries as


submerging oneself into physical indulgences. As a child of the San Francisco
free-to-be-me sixties and seventies, the influence of culture movements and
the emergence of the Divine Feminine began to weave throughout my work.
As a human explorer, my hope is to continue the journey with a sense of
wonder into the ever deeper Mysteries. As an artist, I hope to discover
new ways to illuminate them.

I have included concepts about the evolution of works that seemed appropriate
for your introduction, I have presented articles about relative bodies of work.
Some were edited to avoid repetition of historical information.

Namasté.

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“The Illuminated Works of Victoria Moore”
by Jamie Forbes
Fine Art Magazine

of Myth & Mysteries…

In her research and contemplation of the teachings of the ancient philosophers over the past two decades, Victoria Moore’s work has
evolved along the path of her personal spiritual beliefs, which were intensified after a near-death experience in her early twenties. She has
created an expanding series that explores iconic symbolism and its concealed knowledge embracing ancient mythical teachings in a modern
interpretation. Victoria’s paintings relay universal and sacred wisdom that have been passed down throughout the ages and believes that the
symbolism associated with mythic journeys illuminates nature and human imagination.

Moore, whose strongest influence comes from The Mystery Schools, continues to explore the divine feminine with her latest work The
Mystery School of Sophia. She executes this philosophic imagery exquisitely in her Mythic Women series. “The revelation of truth is a multi-
layer process, whether hidden by a cloak or veil,” says Victoria, who considers and executes these thoughts in the paintings: The Goddess
Isis, Mystical Visions, Dance of the Seven Veils and Themis: Blind Justice. Each image presented in this expanding series establishes a modern
painters’ interpretation of ancient doctrines and infuses a fresh perspective in the miraculous layers of human exploration.

The Pillars are the foundation for the knowledge that is found in most esoteric traditions, represent dualistic ideals in Moore’s work. They
are not only used as a reference to both strength and support, but further represent the balance of beauty and strength, severity and
mercy, feminine and masculine, black and white, active and passive. Moore says, “In the research of these works I have discovered great
truths. Within them have learned that we must all find and follow our own path to personal understandings. While I have enjoyed the other
bodies of my work, this series is nearest to my heart. As I look back on these paintings, either they mature or I do. It seems I gain a broader
understanding of their meanings over time. Wherever this passion takes me with this series, I have come to appreciate that there is a
deeper meaning to the progression and a statement that will most certainly outlive me.”

“If ‘myth’ is defined as having an imaginary and unverifiable existence, then I hope my legacy leaves not only evidence
that these concepts move beyond myth, but that in the 20th century, they are still relevant, intriguing and
will continue to enlighten and inspire generations to come.”

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Seizing Moments
Victoria didn’t realize when she began her creative quest, Breathing life into these iconic women is an annual
that most of the mythologies of classical nations were ritual I look forward to. They have become a
originally rituals of secret societies. Esoteric philosophies vehicle for me explore aspects of diverse cultures,
were often taught by secret organizations. Moore takes philosophies and religons in a way that reveals
her viewers on an “exoteric” visual journey. Her deep relevance in modern times. Most elements have
soul searching has taken on its own energy, leading her been researched for their relevance such as the
further into her journey with each painting. Her aim is Mystery School of Sophia which includes 79 plus
to take you on a path of discovery. Her work will inspire symbols that emerged in relevent documents.
you to explore the thread of truth within divine teachings
that runs through the entire Mythic Women series. It is evident now this has become a life-long series
of work as it now has moved well into the second
Stylistically, she often blends old school with new, the past decade. The source material research for the
with the present in an attempt to convey her message elements is a part of the process I love, as it always
through her artwork. Victoria’s work has gained opens unexpected doors. While on staff at Lawrence
international recognition, awards and the attention Livermore Labs as a technical illustrator I had access
of the late Dept. Director Don Lopez, who selected to some of the most brilliant physicists in the world.
twoworks from her ‘Holes in the Sky’ series for the When I had a near-death experience at the age
permanent collection of The Smithsonian National of 22 I had not ever been exposed to organized
Air & Space Museum. She is a member of the religions, so I went to them to help understand the
Women’s Caucus for the Arts, and a founding member very real, substantive out-of-body experience.
of the National Museum of Women In The Arts. and Their answers led me to a lifetime of spiritual
she is a past State Ambassador volunteer for the research. In the process, I stumbled on many
Portrait Society of America. cultures, religions and philosophies.
These paintings are a result of those
very personal explorations.

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The Goddesses Isis

The Egyptian goddess Isis played an important role in the development of modern religions, although her influence has been largely
forgotten. Isis, the Egyptian goddess of rebirth remains one of the most familiar images of empowered and utter femininity. The Goddess Isis
was the first daughter of Geb, God of the Earth, and Nut, the Goddess of the Over-arching Sky. Isis was born on the first day between the
first years of creation, and was adored by her human followers. Unlike the other Egyptian goddesses, the Goddess Isis spent time among
her people, teaching women how to grind corn and make bread, spin flax, weave cloth, and how to tame men enough to live with them.
Isis taught her people the skills of reading and agriculture and was worshipped as the goddess of medicine and wisdom.

More than any other of the ancient Egyptian goddesses, Isis embodied the characteristics of all the lesser goddesses that preceded her.
Isis became the model on which future generations of female deities in other cultures were to be based. 
As the personification of the
“complete female,” Isis was called “The One Who Is All,” Isis Panthea (“Isis the All Goddess”), and the “Lady of Ten-Thousand Names.”


The goddess Isis, a moon goddess, gave birth to Horus, the God of the Sun. Together, Isis and Horus created and sustained all life and
were the saviors of their people.

Isis became the most powerful of the gods and goddesses in the ancient world. Ra, the God of the Sun, originally had the greatest power.
But Ra was uncaring, and the people of the world suffered greatly during his reign. 
Isis was called the Mother of Life, but she was also
known as the Crone of Death. Her immense powers earned her the titles of “The Giver of Life” and “Goddess of Magic.” Isis was the
Goddess of the Earth in ancient Egypt and loved her brother Osiris. When they married, Osiris became the first King of Earth.
Their brother Set, immensely jealous of their powers, murdered Osiris so he could usurp the throne. 


There are many variations of the Isis myth... in some, the goddess consumed the dismembered parts of her husband and brought Osiris
back to life, reincarnating him as her son Horus. In one of the most beautiful renditions, Isis turns into a sparrowhawk and hovers over the
body of Osiris, fanning life back into him with her long wings.
Regardless of the differences, each version speaks of the power over life and
death that the goddess Isis symbolizes the deep mysteries of the feminine ability to create and to bring life from that which is lifeless.


The festivities surrounding the flooding of the Nile each year, originally named “The Night of the Tear-Drop” in remembrance of the extent
of the Isis’ lamentation of the death of Osiris, her tears so plentiful they caused the Nile to overflow, is now celebrated annually by Egyptian
Muslims and is called “The Night of the Drop.” 
She was worshipped throughout the Greco-Roman world. During the fourth century
when Christianity was making its foothold in the Roman Empire, her worshippers founded the first Madonna cults in order to keep
her influence alive. 



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Some early Christians called themselves Pastophori, meaning
the shepherds or servants of Isis. which may be where
the word “pastors” originated. The influence of Isis is still
seen in the Christian ikons of the faithful wife and loving
mother.
Indeed, the ancient images of Isis nursing the infant
Horus inspired the style of portraits of mother and child for
centuries, including those of the “Madonna and Child.”

Her role as a guide to the Underworld was often portrayed
with winged arms outstretched in a protective position.
The image of the wings of Isis was incorporated into
the Egyptian throne on which the pharaohs would
sit, the wings of Isis protecting them as in the
‘Egyptian Room’ from the photos included.

The Goddess Isis has many gifts to share with modern women.
She embodies the strengths of the feminine, the capacity to
feel deeply about relationships, the act of creation, and the
source of sustenance and protection. It is also the Goddess Isis
who shows us how we can use our personal gifts to create
the life we desire rather than simply opposing that which we
do not like.

The myths of Isis and Osiris caution us about
the need for occasional renewal and reconnection in our
relationships. She was the friend of slaves, sinners, artisans, and
the downtrodden, as well as listening associated with Osiris,
lord of the underworld (Duat), and was considered his wife.

Goddess Isis
60 x 36” | oil on masonite
ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”
dance of the Seven Veils
Modern day mystics see the Dance of the Seven Veils and the story of
Inanna’s descent as a metaphor for enlightenment, shedding “veils” of
illusion on the path to deeper spirituality of self-realization. These “seven
veils” are, in order, Dreams, Reason, Passion, Bliss, Courage, Compassion,
and Knowledge. Some have claimed that it has its roots in an ancient
myth about the Sumerian goddess Inanna or the Babylonian goddess
Ishtar. In this myth, the goddess descends into the underworld and must
pass through seven gates on her journey, at each of which she must
surrender a piece of jewelry or a symbol of her royalty. The number
seven was significant to the ancients, as it is the number of heavenly
bodies visible to the naked eye without a telescope: Sun, Moon, Mercury,
Venus, Mars, Saturn and Jupiter. Therefore, there are seven major gods
in many ancient religions, and the number seven appears in many myths
and classification systems.

It is not a traditional Middle Eastern dance, but more probably a Western


invention steeped in Orientalist misconceptions, although some believe it
to have associations to ancient Eastern religions. In the modern Western
world, The Dance of the Seven Veils is often associated with striptease,
although some belly dancers perform more artistic interpretations.

Women through the years have performed memorable and often


scandalous versions of the dance. In The Dance of the Seven Veils, the
dancer begins the dance wearing seven veils and removes them one
by one as she dances, often, but not always, ending the dance nude or
nearly so. As each of her veils drops, she comes to an epiphany about life.

dance of Seven Veils


60 x 36” | oil on masonite w/texture
ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”
Mystical Vision
Science today seems to be pointing beyond itself or at least beyond its
materialistic boundaries to what we might call a ‘meta-science’ which
admits the possibility that consciousness may be primary. And in many
religious traditions, there has been a re-awakening to the esoteric
wisdom hidden within the outer forms, an esoteric wisdom
which by its very nature participates in the mystical.

In the mid-eighties, Dr. Annie Besant spoke of a ‘wave of mysticism passing


over the world’ where many people express a hunger, an inner yearning,
for a genuine spiritual experience. Not satisfied with the answers which
either science or religion has to offer, many have sought out teachers,
gurus, psychics of varying degrees of reliability, anyone who
seems to promise fulfilment of an inner need.

At the same time, the religious philosopher, Hans Jonas, suggests


there exists a historical sequence of development that leads from
objectification, as he alls it, to interiorization. In his view, one generation’s
conceptual structure becomes the next generation’s guide to inner
transformation. This is to say that our ideas, our beliefs, all that constitutes
our basic world-view must become known experience in such a
manner as to bring about a radical change in our lives.

Such a sequential development, however, is not only a development from


generation to generation, but must occur within us in a kind of continual
pattern of assimilation. Every great teacher, for example, has recognized
the need to translate objective theory into practical experience.

Mystical Vision
60 x 36” | oil on masonite w/texture
ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”
Explorations of Science & Mysticism
Essentially the experience which we may call mystical is the experience of our interconnectedness. Dr Gillian Ross discovered the mystic
vision is an ‘experience of the heart’, and to quote Dr Ross further, ‘Mysticism and compassion are inseparable.’ The vision that transforms
becomes indeed transformative. Because we are the world, to put the matter simply, the vision that transforms us transforms the world.
Do we not all have experiences that speak to us of something greater than the sum of these various impressions? Authentic mystical
experience implies a complete transcendence of any separate self sense and therefore an awakening to an awareness of non-duality. No
one can deny the transformative nature of such awareness.

As Dr Neuman suggested, the true development of consciousness occurs through archetypal encounters which give a mystical stamp to
the inner development of every person. Further, he proposed, it is possible to see the major phases of the life cycle in terms of the growth
of mystical consciousness. Three major stages may be identified as early or source mysticism, associated with childhood, a zenith mysticism
identified with maturity, and a last stage or death mysticism characteristic of the individual who has truly ‘died’ to the separated self, the one
we often describe as liberated. Representationally, the cloak she wears protects and hides the Truth while the magnification of the fabric of
life symbolizes the looking closer at it, through the refined crystal. The light within, the spark of Divinity to light the way.

Mysticism extends back into that unknown sphere or the realm of the unconscious before the emergence of any sense of a separate ‘I’.
Zenith mysticism is experienced in those transcendent moments when the ‘I’ is not present, while death or immortality mysticism is the
realization of the One without a second and is indeed the experience of the extinguishing of any sense of a separate self. Perceived as
simultaneously present within us, these stages constitute the totality of our experiences of pure Being.

The mark of authenticity of the mystic vision, however, lies neither in some clearly demarcated progression in the growth of consciousness
nor in some collective listing of characteristics of the mystical experience, but rather in the transformative impact which even a partial
experience of the unitive state has upon our ordinary lives.

All too often, visionary experiences end up being used in the service of ego-centered goals; the mystic vision not only results in an inner
sense of renewal and peace, but even more profoundly in an outpouring of love and compassion for the suffering of the world.

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Quite simply, the authentic mystical experience tends to manifest in ordinary life as ethical behavior founded on a genuine realization,
far more substantial than theory, that all life is one. Annie Besant, referred to this essential transformative nature of the experience:
That is the splendor of the mystic life, this power of service which only this inner form of realization can possibly give to any one of us.
We are climbing towards it as we begin to understand something of its possibilities, as we live a little of the truth we know.... If you would
become a mystic... never pretend to believe a truth which you are not willing to act out in the world... for truth is only truth when you have
learned to live it.

Mystic vision, may be said to constitute an in-break of the creative-sacred into our lives, in our immediate, existential, situation in such
a manner as to cause an out-break of genuine and unconditional love for all beings. We begin to understand why the mystical vision
authenticates itself by the transformation that occurs in that ‘personal nature’ because we now better understand the underlying unity
of existence. We know ourselves as part of a greater whole in which the personal self no longer clamors for attention.
The whole manner of our seeing, how we look at the world, is changing.

Our Human Destiny, It May Be Said, Is To Know.


To know fully and wholly, not simply to theorize, to have opinions, to conjecture, to believe, but really to know is to be the mystic. To know
is to encounter reality at every moment of time, in every place in space. Out of that encounter, which is truly the mystic experience, arises
naturally a new way of living, a way of living that is both simple and beautiful, a way that is one of commitment to the cosmos, to our fellow
human beings, to life itself, a commitment of the personal self to the One Self seated in the heart of all beings.

One’s action is one’s presence in the world and one’s presence in the world is action in accord with the ethic of love, compassion, harmony.
Out of our encounter with reality, with the vision of oneness, we fulfill the challenge given by Krishna to Arjuna, when the Divine spoke
to the human, saying ‘Be thou the efficient cause.’ Out of the vision, the experience, the moment that we call mystical, arises a new being,
a transformed being, whose very life is love and compassion. Krishna to Arjuna, when the Divine spoke to the human, saying ‘Be thou the
efficient cause.. Out of the vision, the experience, the moment that we call mystical, arises a new being, a transformed being, whose very life
is love and compassion.

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The Mystery School of Sophia
The concept and historical references to Sophia echo into centuries past. She is the personification of the Divine Feminine and is
referenced as the feminine companion to God. She symbolizes the womb of creation, bringing forth all life from the sacred marriage of
opposing energies: spirit & matter, heaven & earth, intellect & intuition. Also considered the ‘Goddess of Wisdom,’ according to the Book
of Proverbs, “Wisdom has built her house; she has hewn it out of Seven Pillars.” The Greek religious temples and philosophical academies
were supported by pillars carved in the likeness of women, as the priestesses of the Great Goddess were also the original “pillars of
the church.” Known as the Seven Pillars of Wisdom: Arithmetic, Geometry, Astronomy, Grammar, Rhetoric, Dialectic,and Music. These
correspond to the seven gifts of the Holy Spirit: Wisdom, Understanding, Counsel, Fortitude, Knowledge, Piety, and Fear of the Lord.

As the viewer, I have placed you at the location of the Seventh pillar. This painting encompass no less than 79 icons and symbols related to
Sophia and The Mysteries. Appearing as a dove, Sophia was identified with the Holy Spirit in The Gospels. In the most simplistic of terms
does this space allow for explaining the symbology. She holds the caduceus: the winged staff entwined with two serpents. The serpent is an
ancient symbol of duality. It is considered both masculine and feminine, solar and lunar, medicinal and poisonous, preserver and destroyer,
spiritual and sensual. In addition, the synthesis of opposing energies is represented by the Rosy Cross, from which emerges the sheaf of
grain, representing the ultimate revelation of the Mysteries.

On the left of Sophia, the feminine energies are symbolized by the moon and the pool of water. The moon governs the tidal cycles and is
associated with the waters of creation. The moon also symbolizes the material realm. As the moon reflects the light of the sun, matter is the
reflection of spirit. In addition, the moon illuminates the invisible world which corresponds to the feminine gift of intuition. To the right of
Sophia, the masculine energies are represented by the sun and the element of fire. The sun generates heat and light which sustains all life.
The sun also symbolizes the spiritual realm. As the sun generates light, the spiritual realm is composed of pure light. In addition,
the sun illuminates the visible world which corresponds to the masculine characteristic of intellect.

In ancient times, the seven stars of the Pleiades marked the point of the vernal equinox which occurred in the constellation of Taurus.
The two males reclining near the feet of Sophia represent the sacred king and his deputy who each ruled for one half of the year. This
corresponds to the Ancient Poetic Theme: the God of the Waxing Year constantly striving against the God of the Waning Year for the love
of the Triple Goddess. One male sits near the point of the winter solstice, known as the Gate of the Gods, where the soul ascends upon
the solar path to the heavenly realm of spirit. The other male sits near the point of the summer solstice, known as the Gate of Men, where
the soul descends upon the lunar path to the physical realm of matter. Both of these cycles harmoniously complement each other as the
eternally revolving Wheel of Life, or Zodiac.

10
The stars around the moon and beneath of dove are five-ointed
pentacles. These are associated with the goddess Venus, as her
planet forms a five-pointed star within the circle of the zodiac
every eight years. Around the head of Sophia are six-pointed
stars which symbolize the union of masculine and feminine
energies. To her right is a lily which is her sacred flower and
symbolizes both purity and innocence. To her left is a lotus,
the Eastern counterpart to the lily, which also represents
enlightenment. Near the lotus is a crown which symbolizes
divinity, sovereignty, power, and royalty. Finally, in her
right hand she holds a book, the universal
symbol of knowledge and wisdom.

Sophia is also the embodiment of the Many-Named Lunar


Goddess, crowned with a halo of twelve stars, which correspond
to the twelve months, or moons, of the solar year. Upon
her forehead, she wears the symbol of the triple moon. This
corresponds to the three visible lunar phases of the Triple
Goddess: the Virgin (Waxing Moon), the Mother (Full Moon),
and the Crone (Waning Moon).

Furthermore, her triple aspect is represented by her three


daughters Faith, Hope, and Charity. According to the ancients,
the Earth is encircled by seven heavens or spheres. Above them
is the eighth sphere of the fixed stars. Also, behind the eighth
sphere is the heavenly light of the Divine which shines through
the crystal sphere and appears as stars. The All-Seeing Eye
symbolizes illumination and was originally an emblem of Maat,
the Egyptian goddess of justice.

The Mystery School of Sophia


48 x 30” | oil on canvas
ltd. edition of 300 | standard 38.25 x 24” | petite 28.75 x 18”
The Book Sophia Offers The Initiate

Ouroboros is the ancient serpent seen in the act of eating its own tail, symbolizing the eternal cycle of birth and death and rebirth. Its
current name comes from the Greek for “tail-eater,” for it is ever devouring itself, but it can be found in many mythologies over a vast
span of time, from the Hindu to the Norse and even the Egyptian. Even as far back as the ancient Egyptian culture, the serpent already
symbolized what it has come to mean through the ages - the essential unity of the universe, the eternal oneness that is at the core of
all being. Through its union with itself we see the ubiquitous processes of creation and destruction, the endless repetitive patterns
of the universe. Thus Ouroboros is the integration of opposites into the completeness of all reality, the realization that there
are no others, only the One.

Carl Jung described the serpent this way: Here the symbol of Ouroboros represents the continuity of life as a persistent process in the
universe. The perpetuation of life necessitates three characteristics: the biological processes that sustain it, the instinctual drive to satisfy
those processes, and the physical ability to actualize that drive. Where we are mistaken, I think, is in believing that “life” as we think of it
is something separate from the other processes that the universe has unfolded in its glorious history. We tend to think in terms of
needs and their satisfaction when in reality the universe flows in a pattern that behaves a certain way, true to its integrity.

The process we refer to as life is simply a continuation of these myriad universal processes that stem from each other and feed each
other in an unimaginably interconnected web of action, reaction and interaction. As sentient beings we seem to know ourselves, if only in
a superficial, limited way, and in that sense it appears that we have stepped out of the pattern established by history. But exactly what that
knowledge means may ultimately be unknowable to us. And what we may do with it is one of the great hopes and mysteries of the human
condition. In any case, it is this continuity that is symbolized by the Ouroboros - from atoms to the stars to humankind, the cosmic path is
continuous and clear.

Sophia: The Mother of Faith, Hope & Charity

She brings meaning to human experience with her gift of understanding “the bigger picture.” Only when you stand back, gaining some
emotional distance, can you see that even the most traumatic experiences can be the birthplace of your most treasured strengths.
It is only in times of great stress that heroic feats are truly appreciated. Faith, hope, and charity are Sofia’s gifts to us...
gifts that can overcome the despair, confusion, and suffering that frame human life. Sophia reminds you that clear
vision and understanding line the path that leads to the discovery of the meaning of your life.
Sophia’s Daughters: Faith, Hope & Charity are the Three Cornerstone Virtues.

12
The Mystery School of Sophia’ Symbols & Iconography

1. The 12 levels of the Archangelic plane 29. Element Earth 55. Bee’s Three
2. Hagia Sophia Dome Windows 30. Element Air 56. Antakytheara Mechinism
3. Sun (Solar) Masculine Day Forces 31. Element Fire 57. The Byss Or the Abyss
4. Moon (Lunar) Feminine Night Forces 32. Element Water 58. Male Left
5. Beams of Light Into Minds of Initiates 33. Upper Universe Ceiling Constellation 59. Male Right
6. Owl Wisdom 34. Lower Universe WIth hole & ripple 60. The Ripple Effect
7. Angelic Child Often seen w/Sophia 35. Milky way 61. Zodiac Wheel of Life
8. All Seeing Eye Feminine Expression 36. Urn For fire 62. Cosmic Egg
9. Dove Holy Spirit 37. Smoke from Fire Smudging: 63. Goose Laid Cosmic Egg
10. Ascending Angel Lighting the way Up Fragrance of Prayer 64. Nest
11. Decending Angel Lighting the way Down 38 12 Stars Around the Lunar Moon 65. Solar & Lunar Crown
12. Cross of Light Dove carries in claws 39. Faith, Hope & Charity Sophia’s Daughters 66. 12 Starred Halo for Sophia
13. 6 Stars Below Cross of Light 40. Faith Cross 67. Rainbow Light from halo
14. Pyramid Knowledge Center 41. Hope Heart on Faith, Hope & Charity
15. Rosey Cross 42. Charity Anchor 68. Winged Ceduceus with Lapis
16. Eye in Heart 43. Chalice Sophia’s stone in the top
17. Wheat Shaft w/equal length bars making the cross 69. Dual Snakes
18. Infinity 44. Chalice Christ’s 70. Sword Warrior
19. Lunar phases w/Christian cross w/a < to the left 71. Philosopher’s Stone
20. Pillar of Wisdom 1 Arithmetic 45. Crown Traditional Style 72. ‘Y’ on her dress Fem. Yanni
21. Pillar of Wisdom 2 Astronomy 46. Eagle On Crown 73. Book of Wisdom
22. Pillar of Wisdom 3 Grammer 47. Palm Leaf On Crown 74. Osobusus On Cover of Book
23. Pillar of Wisdom 4 Rhetoric 48. Lapis The ultimate in purification 75. Gold Pages Edges Book
24. Pillar of Wisdom 5 Dialectic 49. Flowers The “Sophia” flower in pot 76. 4 Squared Metal corners on t
25. Pillar of Wisdom 6 Music 50. Vessel Surrounded w/Eastern & Book of Wisdom
26. Pillar of Wisdom 7 Geometry (out of frame) Western Flower Blossoms 77. Sophia’s Veil Hides Truths
27. Initiate at Pillar 7 You, the Viewer 51. Green Tablet 78. Eye of Horus Bracelet
28. Staircase: Degrees of Enlightenment 52. Crystals Transmit/Communication 79. Sophia: Goddess of Wisdom,
Steps or Stages of Alchemical Purification 53. Lily Western Spiritual Traditions Virgin of the World
54. Lotus Eastern Spiritual Traditions

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Consulting the Oracle
30 x 48” | oil on canvas | ltd. edition of 300 | standard 38.25 x 24” | petite 28.75 x 18”

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consulting the oracle
“Know Thyself.” This famous Greek maxim is attributed to any number of ancient Greek philosophers, including the great Socrates.
It was originally the admonition “Gnothi se auton” inscribed on the Sun god Apollo’s Oracle of Delphi temple in ancient Greece.
Note: There are at least five different major versions (with several variations of each version) of exactly how the Oracle of Delphi came into
being. Delphi is perhaps best-known for the oracle at the sanctuary that became dedicated to Apollo during the classical period.
The priestess of the oracle at Delphi was known as the Pythia. Apollo spoke through his oracles, who had to be older women of
a blameless life chosen from among the peasants of the area. When Apollo slew Python, its body fell into the earthly fissure,
according to legend, and fumes arose from its decomposing body. Intoxicated by the vapors, the sibyl/oracle would fall into
a trance, allowing Apollo to possess her spirit. It was in this state she prophesied.

While in a trance the Pythia “raved” - probably a form of ecstatic speech - and her ravings were “translated” by the priests of the temple
into elegant hexameters. People consulted the Delphic oracle on everything from important matters of public policy to personal affairs.
The Seven Sages of Greece (c. 620 BC–550 BC) was the title given by Greek tradition to seven wise ancient Greek men who were
philosophers, statesmen and law-givers. The Seven Sages are known for their practical wisdom which “consisted of pithy and
memorable dicta.” The best were put up on the wall of the temple at Delphi as dedications to the god Apollo.
Plato provides the earliest list of the so-called Seven Sages; although Simonides, a century earlier,
sets out to answer Pittacus and Cleobulus as though striving for a place on the list.


The standard list is:
 Solon, Miden Agan - “Nothing in excess”: Chilon of Sparta - “Know thyself ”; Thales of Miletus - “To bring surety brings
ruin”: Bias of Priene - “Too many workers spoil the work”; Cleobulus of Lindos - “Moderation is the chief good”; Solon of Athens -
“Nothing in excess”; Pittacus of Mitylene - “Know thine opportunity”; Periander of Corinth - “Forethought in all things”

Modern science proves the myth of the ‘trances.’ The Temple of Apollo at Delphi sits on crisscrossing geological faults, according to a team
of scientists led by archaeologist John Hale of the University of Louisville and geologist Jelle Zeilinga de Boer of Wesleyan University
in Connecticut. In re-embracing the ancients’ view that intoxicants emanated from water bubbling from a rock fissure beneath the
temple, Hale said, the team is challenging a century of research that held “that the priests and oracle were deceiving the public
and inventing stories” to boost the shrine’s importance. Instead, it appears the ancients were right. And so it proved. It seems
most of the time, the priestess was conscious, clever and chatty, but on occasion she flipped out, and things got nasty.
The bad trips, including a death reported by Plutarch, had led past Delphi administrators to swap out the young
maidens they used to put in the seat for more levelheaded matrons.

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Themis: Blind Justice
Themis built the Oracle at Delphi and was herself oracular. According to
another legend, Themis received the Oracle at Delphi from Gaia and later
gave it to Phoebe. When Themis is disregarded, Nemesis brings just and
wrathful retribution. Themis is an ancient Greek goddess. She is described as
“of good counsel,” and is the embodiment of divine order, law, and custom.
Themis means “law of nature” rather than human ordinance, literally
“that which is put in place.”

To the ancient Greeks she was originally the organizer of the “communal
affairs of humans, particularly assemblies.” The ability of the goddess Themis
to foresee the future enabled her to become one of the Oracles of Delphi,
which in turn led to her establishment as the Goddess of Divine Justice.

Themis and Dike were both Greek goddesses associated with Justice.
The role of Themis was the embodiment of order. Sometimes she is called the
mother of Dike. Themis was also a goddess of prophecy and of oaths.
She is sometimes associated with the Earth goddess, her mother Gaia.

Themis is untranslatable. A gift of the gods and a mark of civilized existence,


sometimes it means right custom, proper procedure, social order, and
sometimes merely the will of the gods. Finley adds, “There was themis -
custom, tradition, folk-ways, mores, whatever we may call it, the enormous
power of ‘it is (or is not) done’. The world of Odysseus had a highly
developed sense of what was fitting and proper.”

Themis: Blind Justice


60 x 32” | oil on masonite | ltd. edition of 300 | standard 40 x 24” | Petite 30 x 18”
Themis presided over the proper relation between man and woman, the basis of the rightly ordered family. Themis was present at
Delos to witness the birth of Apollo. According to Ovid, it was Themis rather than Zeus who told Deucalion to throw the bones of
“his Mother” over his shoulder to create a new race of humankind after the Deluge.

A Roman equivalent of one aspect of Hellenic Themis, as the personification of the divine rightness of law, was Iustitia (Anglicized as Justitia).
Her origins are in civic abstractions of a Roman mind-set, rather than archaic mythology, so drawing comparisons is not fruitful.
Portrayed as an impassive woman, holding scales and a double-edged sword (sometimes a cornucopia), and since the 1500s
usually shown blindfolded, the sculpted figure outside a courthouse is Iustitia or Lady Justice, not Themis.

Themis judged whether the dead went to Tartarus or the Elysian Fields and is depicted as blindfolded so as to be impartial. When people
were assigned to Tartarus, the Erinyes took them. When alive, those who thwarted Themis, were visited by Nemesis, the personification
or goddess of divine retribution. Themis was the first deity of prophecy and in charge of the Delphic oracle, until she gave it to Apollo.

Themis was the Titan Goddess of divine law and order - the traditional rules of conduct first established by the gods. She was also a
prophetic goddess who presided over the most ancient oracles. In this role, she was the divine voice who first instructed mankind in the
primal laws of justice and morality, such as the precepts of piety, the rules of hospitality, good governance, conduct of assembly, and pious
offerings to the gods. In Greek, the word themis referred to divine law, those rules of conduct long established by custom. Unlike the
word nomos, the term was not usually used to describe laws of human decree.

Followers of Zeus claimed that it was with him that Themis produced the Three Fates. Nona (Clotho), spun the thread of life,
Decima (Lachesis), measured the thread of life. Morta (Atropos) - was the cutter of the thread of life.

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Cleopatra VII: Daughter of the Nile
Though Cleopatra bore the ancient Egyptian title of Pharaoh, the
Ptolemaic dynasty was Hellenistic, having been founded 300 years earlier.
As such, Cleopatra’s language was the Greek spoken by the Hellenic
aristocracy, though she was reputed to be the first ruler of the dynasty
to learn Egyptian. She also adopted common Egyptian beliefs and deities.
Her patron goddess was Isis, and thus during her reign it was believed
that she was the re-incarnation and embodiment of the
‘Goddess of Wisdom.’ In most depictions, Cleopatra is
put forward as a great beauty and her successive conquests
of the world’s most powerful men is taken to be
proof of her aesthetic and sexual appeal.

The ancient sources, particularly the Roman ones, are in general


agreement that Cleopatra killed herself by inducing an Egyptian
cobra to bite her. The oldest source is Strabo, who was alive
at the time of the event, and might even have been in Alexandria.
He says that there are two stories: that she applied
a toxic ointment, or that she was bitten by an asp.

Cassius Dio also spoke of Cleopatra’s allure:


“For she was a woman of surpassing beauty, and at that time,
when she was in the prime of her youth, she was most striking; she also
possessed a most charming voice and knowledge of how to make herself
agreeable to every one. Being brilliant to look upon and to listen to,
with the power to subjugate every one and she reposed in her beauty all
her claims to the throne.” These accounts influenced later
cultural depictions of Cleopatra, which typically present
her using her charms to influence the most
powerful men in the Western world.

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Cleopatra: Daughter of the Nile
24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30”

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A Matter of Spirit
By Johnny BlueStar: Mature Living Magazine

Victoria is currently exhibiting at Palm Springs Celebrity Art. As she explains, her influences extend somewhat beyond both art school and
the history of art… somewhere-beyond infinity. “I cannot recall a time in my life that drawing and painting were not beckoning me.
The first paid commission came at age fifteen and the first one-woman show in the San Francisco Bay Area introduced thirty works was at

Presence of Angels II
36 x 60” | oil on masonite w/texture & foil | ltd. edition of 300 | standard 17 x 40” | petite 12 x 28”

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Presence of Angels I
36 x 60” | oil on masonite w/texture & foil | ltd. edition of 300 | standard 17 x 40” | petite 12 x 28”

the age of twenty-two. While studying fine art techniques in various disciplines, I slowly acquired consistent collectors. A near-death
experience the following year began my journey in looking past the surface of nearly everything in my life. As I was growing on both
spiritual and creative levels, it has been interesting to watch my artistic growth and life experiences reflected on canvas. I was 23 years old
(1979) and bad been dealing with a medical health issue for over 18 months, often going to an emergency room by ambulance. The staff
there had come to know me, and my emergency status fairly me well. Most had left the ER to get med’s and my charts, etc. While laying on
the table, it felt like I ‘snapped’ out of my body and was suddenly looking over the scene below me from a comer of the room, which now
seemed to not have a ceiling, as it felt very ‘open’ from above and behind ‘me’ ... very bright white & warm, but slightly out of focus. “

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A Near-Death Event Catapults Artist to New Focus in Work.
I did not recognize for quite some time, that the person on the ER table was me. It felt like I was just an observer of someone
else’s emergency situation. I kept looking around the room, trying to understand why I was viewing this, but also having this
feeling of a presence ‘behind’ me. It felt very much like I bad a physical body. I experienced the feeling of sitting Indian style, egs
crossed under me with both elbows resting on my knees, and my bead resting in my hands, very casually watching what was
going on below, somewhat ambivalent and detached.

I would get the feeling of being drawn by the other energies! As if there were personalities or beings beckoning from behind
me and I kept looking over my shoulder to acknowledge them. I’d smile and feel comforted by their presence but would return
my focus then to the scene below. This happened a number of times, and each time the draw to go to them was stronger.
Suddenly the body on the table then went into total distress with convulsions, and it took my attention back to the scene
below. I concentrated on it, and remember thinking. ‘’Wow, they are REALLY in trouble down there” Only then did I realize that
it was me lying on the table.

Now the conscious mental processes started... How could I be there and here? Why was I not afraid or feeling pain? What
could I do or say to prove to the people in that room later that I was “out here”? Who was beckoning me from ‘behind me”.
What was behind me? I looked over my shoulder again, and saw vague forms of energy bodies emerging from a cylinder/tunnel
type shape of intense bright light... and I wanted to go just see who or what ‘it’ or ‘they’ were, but I kept being drawn back to
viewing the scene below. It seemed like this continued 3-4 times.

The last time I refocused on my body on the table, I kept thinking how amazing it was to feel the ‘body’ I was experiencing
in this different dimension... I tried to control it as well. Changing my position, moving to another part of the room to get
a different perspective, the energy bodies always seemed to be behind me no matter where I went. I looked around the
room, trying to find something to conclusively prove later that I had seen the room from this vantage point... a dust ball, or
ANYTHING left lying on the tops of the cabinets to validate my experience. As I watch the ER staff return and start managing
the convulsing body on the table. I saw them hold me down and insert the IV’s. The room took a few big spins and I woke up
hours later in an Intensive Care Unit.

Surrender
36 x 48” | oil on masonite | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”

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As this was the late 70’s... there had not been much written on the subject of NDE or OBE, so it took much effort to research. Raymond
Moody was one of the few pioneers at the time, and I was working closely with the physicists at Lawrence Livermore Labs and NASA
(as a visual artist contractor when I was having all these health problems) so I ran right to them for answers or explanations. These
scientists so surprised me with their varied observations, explanations and interpretations that it has sent me on a lifetime of research
into the subject. I have continued to work with recreating the OBE through meditation, and have had some success. My experience led
me to he in communication with Betty Eadie (Embraced By The Light author) and was invited to spend some time whether at her
home in Seattle to discuss our experiences in depth. The painting “Presence of Angels 1 & II” were a result of that conversation.
These paintings are large (5 feet wide) and reflect her experience of the angels as being ‘larger than life’.

These experiences have directly influenced some of my work. For instance, a painting called “Surrender” is an attempt to present the feeling
of peace and transcendence of an OBE. I added candles in the foreground not only to reflect my own tools in the process, but also for
those who could relate to it more from a meditative effort, without the benefit of knowing a NDE. The painting “Manifestation” was also
a result of my experience and then reflecting a concept I felt impressed to understand from my experience. That energy transforms to
matter and, through some sort of spiritual transformation, drifts out to impact the physical world and then has the ability to transform
back to non-matter (ethereal at some level) and to continue this cyclic pattern... but with some guidance or influence so to speak.

I was raised without a strong religious influence or foundation, which I feel has helped me to accept the experience without trying to make
it fit into some religious doctrine. Both of my parents were cutting-edge type science/research oriented. I had always had precognitive
dreams as a child, and a psychic sensitivity, that until much research into these matters, never had understood or had validated.
My intuition and ability to ‘connect’ with others in mind-spirit seems above normal, whether as a result of this NDE/OBE
experience I am not sure... but it is very real.

It is truly a life altering experience like no other. Those that have been ‘on the other side’ all seem to have a major shift in the attachment
to this earth/physicality those others do not possess. I no longer have a fear of death, and those alone causes one to live life differently
than most. My approach to life allows the opportunity for more serendipity and less attachment to the physical. With the lack of available
literature or resources of the time, it has led me to some wonderful people who have helped me to understand my experience. Now that
the subjects has tons of books and references of case studies, it does seem that there are some common elements to the experience, but
individually, there seem to be many nuances, and those with strong ties to a particular religious doctrine, seem to have experiences that fit
more to their belief systems of their life experiences.

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Having gained the skill to paint anything I could see or visualize
in a fairly photo-realistic manner. At a point when I was feeling
personally fractured and trying to get back to basics in my life,
this too showed dramaticIy in the work and I began breaking
down the elements. A new style emerged during this time
with hold free line work. This style gained recognition from
New York to San Francisco, and attracted recognition from
Manhattan Art Magazine and new collectors in Tokyo.

Collaborating with photographers and directing shoots with


a specific eye for the subjects of my paintings is a pleasure.
Regional and international private collectors maintained
their interest, making it difficult for me to hold a body of
work available for shows, so I was not yet on the gallery
radars. I continue my studies under specific artists
where I explored techniques and materials, contributing
greatly to my skill level. I owe much to the amazing
mentors and teachers who have come into my life.
I endeavor to be a worthy student.

Evidence
30 x 40” | watercolor & oil on masonite w/texture
ltd. edition of 300 | standard 24 x 30“ | petite 18 x 24”
This in an in-production shot. available spring 2010

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Manifestation
A form in which a being manifests itself or is thought to manifest itself, esp. the material or bodily form of a spirit. The act of manifesting
or disclosing, or the state of being manifested; discovery to the eye or to the understanding; also, that which manifests; exhibition; display;
revelation; as, the manifestation of god’s power in creation. the secret manner in which acts of mercy ought to be performed, requires this
public manifestation of them at the great day.

This brings us to the more Metaphysical and Mystical and implores us to look at the vertical/Spiritual interaction dynamic of this Illusion
which we are experiencing. I am not going to go into a detailed discussions of the different planes of existence, suffice it to say that on
the highest levels we are all One. The energy of consciousness is projected outward (downward vibrationally) from the Source. It passes
through the level of Cosmic or Christ Consciousness as One emanation. We are all one in Christ Consciousness. It then is projected into
the next level which is the Archangelic plane. The emanation becomes 12 different vibrational manifestations on the Archangelic plane.
These are the 12 tribes of human kind.

The science of manifesting your ultimate dream life and destiny starts with understanding one basic principle...that you are a Manifesting
Magnet and can attract anything. It also holds the belief that the future is not written in stone and you have the free will to create anything
you want at anytime. If your attitude is positive and you believe it is possible to do so, then the door is open for you to manifest any
destiny you desire. There is something very important to this equation that allows you to manifest any future outcome. This is maintaining
a state of “possibility consciousness”. Scientifically speaking it’s the bioelectric amplitude of the frequency at which your bodymind vibrates
at. There are of course very “random” cosmic interactions from the Universe that will raise and lower your vibration, yet its the general
foundation of your being that determines how effortless things manifest for you.

The experiences you manifest are also a play of energy between your Manifesting Vibration, your level of expanded consciousness, and
how well you can emotionally receive the experience of your life in this moment. Ultimately, you are the main architect of your reality, and
by learning just a few of these ancient manifesting secrets. Your Spiritual Intelligence uses the fine subtle energy that emanates from Spirit
to create your desires. Your subconscious mind cannot detect these subtle energies so it doesn’t even notice that change is happening.
Knowing how to manifest your destiny originates from the belief that you are the master of your mind, and that your thoughts create your
life. So What Do You Want to Create?

Manifestation
36 x 48” | oil on Masonite | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”

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The Crossing Guard
“Quantum physics has now proven that everything we see is an illusion, that the physical world is an illusion.
Everything is made up of interacting energy. Energy interacts on a subatomic level to form energy fields which physicists call subatomic
particles. These subatomic energy fields interact to form atomic energy fields, atoms, which interact to form molecules. Everything in the
physical world is made up of interacting atomic and molecular energy fields. There is no such thing as separation in the physical world.
Energy is interacting to form a gigantic, dynamic pattern of rhythmically repeating energy interactions. In other words, a dance of energy.

We are all part of a gigantic dance of energy. This Universe is one gigantic pattern of dancing energy patterns.”

In order to fully understand what an out of body experience (OBE) is, it must be understood as one of many related spiritual spectrum
phenomena. An OBE can be defined as an experience in which a person seems to perceive the world from a location outside the
physical body. Some of the earliest research is still widely used as the gold standard in the study of OBE. Much of the
ground-breaking research in OBE paralleled that in NDE in the mid-to late ‘70’s and early 80’s. Robert Monroe,
who founded the Monroe Institute of Applied Science had his first OBE in 1958.

The experience was profound enough to him that he spent the rest of his life trying to scientifically figure out what happened to him.
His formal conclusion was similar to what we typically observe in NDEs – that although there are significant differences
in cultural upbringing, religious beliefs, and experiencers there were striking similarities in the basic elements of
separation of consciousness from the body.

The person sees his or her own physical body from the point of view of the “double.” While out of body, astral projection,
and lucid dreaming all share the common element of the consciousness separating from the body. The consciousness separates from the
body and is free to roam the earth plane. Astral projection is usually associated with inter-dimensional travel where places may sound like
dreams since there are no earthly points of reference. Aethers are generally thought of as energy layers around the earth where
different types of spirits reside depending on lessons they need to learn.

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Crossing Guard
40 x 30” | watercolor, resin & oil on masonite | ltd. edition of 300 | standard 30 x 24” | petite 24 x 18”

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Kindred Spirits
Kindred Spirits is many things. It is a band of people who recognize that there is more to life than meets the eye;
that there is a difference between temporal matter and eternal spirit; that there are Beings greater and grander than us
who have been elevated to the levels for which we strive and who will assist us in our lessons if we let them. It is my heart.
Kindred Spirits as a concept is non-sectarian in that it supports the journey of others where ever they are along the way.
I must begin from where I am and so must you. We can travel in contact with each other.

We can help each other by sharing what we have learned along our way and by making offerings to each other that will
assist in making our journey the most effective, the most beneficial and the most joyous.

“We are all kindred spirits in terms of our humanity, in terms of our relationship to the horizontal human experience.
We are all kindred spirits with more connection than differences without even taking the vertical -
the Spiritual relationship - into consideration.”

You are together because you resonate on the same wave lengths, you fit together vibrationally, in such a way that together
you form a powerful energy field that helps both of you access the Higher Vibrational Energy of Love, Joy, Light, and Truth -
in a way that would be very difficult for either one of you to do by yourself. You are coming together to touch the face
of God. You are uniting your energies to help you access the Love of the Holy Mother Source Energy.
You are not the source of each other’s Love. You are helping each other to
access the love that is the Source.”

Kindred Spirits
36 x 48” | oil on masonite | ltd. edition of 300 | standard 30 x 24” | petite 16 x 20”

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Down the Rabbit Hole
The process or interpreting Tori Amos as a young ‘Alice’ in ‘Between Two Worlds’, involved creating a new myths for modern women.
A more empowered ‘Alice’...
18 artists are selcted by invitatoin to interpret Tori Amos for a calendar to benifit
RAINN, The Rape, Abuse And Incest National Network. I was chosen to participate in
the ninth annual edition. It was an honor to be selected for the cover.

Exclusively for Tori’s calendar image I replaced


the checkerboard floor with a keyboard I
painted on a seperate canvas.

Between Two Worlds


30 x 40” oil on canvas | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”

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Invocation of the Dragonflies

Some life experiences demand acknowledgement in my


work somehow, and this was one. I had recently moved
to what I had later found out to be historical American
Indian tribal land along “Stonecreek” that not only had
large quartz crystals pushing their way out of the rich soil,
it often served up crystal arrowheads and other remanats
of earlier civilizations. My new neighbor invited me poolside
for tea, and when she asked me if I knew how to invoke the
dragonflies to land on you, I knew we had the softness of
spirit to become the best of friends.

It didn’t take long to step down my energy to a level of


stillness that can attract them to land. With practice it
became a wonderful excuse to break from the activity of the
studio and reconnect with nature. Four dragonflies were the
most that ever simultaneously land on mes. We can learn to
commune with nature in some pretty amazing ways.

invocation at stonecreek
36 x 48” | oil on canvas | ltd. edition of 300
standard 24 x 36” | petite 18 x 24”

Blossoming Beauty
48 x 36” triptych | oil on masonite

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My Secret Garden
Literary works from my youth and my late teens converge for me in this painting.
Author, Frances Hodgson Burnett, was a practitioner of Christian Science due to
the premature death of her son as well as personal illness wwhe she wrote The
Secret Garden in 1909. As a result, her now classic children’s read is a wonderful
book about friendship, determination, and perseverence. while it espouses the
concepts of New Thought and theosophy as well as ideas about the healing
powers of the mind. The Secret Garden has steadily risen to prominence,
and is now arguably Burnett’s best-known work. The book is often noted
as one of the best children’s books of the twentieth century.

My Secret Garden: Women’s Sexual Fantasies by Nancy Friday was released in


when I was 17 as a collection of women’s fantasies through letters and taped and
personal interviews. At the time, I was a common-law wife living in a state where
that was legal, and very much a young adult in search of answers to the topics of
the day... sexual freedom and women’s liberation.

Nancy Friday had organized these narratives into “rooms”. The book revealed that
women fantasize, just as men do, and that the content of the fantasies can be as
transgressive, or not, as men’s. The book refuted many previously accepted notions
of female sexuality.

The garden, as the central symbol is a site of both the near-destruction and the
subsequent regeneration. Paradise contains the promise of eternal life.

My Secret Garden
40 x 21” | watercolor, resin & oil on masonite
ltd. edition of 300 | standard 24 x 12”
Feminine Mysteries
Modern Classics

Whether the approach to a painting is with loose


brushwork and a spontaneos expression with paint, or
a tight meticulous technique, the female form
continues to intrigue and inspire me.

The casual elegance of a woman comfortable and at


easebecomes sensual to the observer as she indulges
herselfin simple pleasures. Chocolate, wine and cheese or
listening to music are stolen moents. Curling up with
a romantic read or lounging in the comfort of
a favorite saronge can become an invitation.

This series began as an exercise to lossen up my hand,


which due to the technical illusstrator training seems
to impulsively want to pull out every detail of an image.
What I am finding is that with painting, as in life, softening
the focus and and becoming less concerned about the
details, you can find a richer eperience in the process.

Bed of Roses
40 x 30” | oil on canvas w/light texture
ltd. edition of 300 | standard 36 x 28” | petite 24 x 18”

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Sweet Treats
30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24”
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Inquiring Minds
30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24”
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Power Lounging
30 x 40” | oil on canvas | ltd. edition of 300
standard 24 x 30” | petite 18 x 24”

Easy Listening
30 x 40” | oil on canvas | ltd. edition of 300
standard 24 x 30” | petite 18 x 24”

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Romantic Read
30 x 40” | oil on canvas | ltd. edition of 300 | standard 24 x 30” | petite 18 x 24”
41
Gaming Lifestyle & Casino Showgirls
Growing Up on Gambling Strips & In Players Clubs Pays Off
For Artist Victoria Moore.
By Sonja Vass: High Roller LIfe Magazine

When your father likes to gamble and wins like a racehorse, you find yourself growing up in gambling hot spots. I always had my little
art box and sketchbooks ready to go on a moments notice, because winners’ stay in the game, and the games can run late. From big
name theme casinos to private games and players’ lounges, he and my mother worked a system that paid off for our family. As far back
as I can recall, I would sit and sketch while my father drew hands at Blackjack tables. Reno, Tahoe and the Las Vegas “Strips” were magical
wonderlands for a child of the 60’s. The sea of lights and dizzying sounds were mesmerizing, but most inspiring was the exotic nature of the
clubs and the lifestyle. Their adult playgrounds infused my childhood fantasy worlds on paper. I would sit on the strips sketching people and
practicing architectural perspective drawing glistening clubs as they faded off into the horizon.

At sundown, when the clubs vibrant colors intensified and the energy really started crackling, neon lights turned the night into a
kaleidoscope. Faces lit up and jewelry sparkled. Rooms came to life in a swirl of dice, cards, chips and money changing hands. The range
of emotions found in a gaming club was artistically challenging. Roulette Wheels and Craps tables beckoned with frantic highs and wild
gestures. I’d try to capture the essence of the room or the concentration of a dealer, from the disappointed loser to the ecstatic big
winners, these character studies influenced me towards figurative work and portraiture.

In the days when these were adult towns, families were not so catered to as they are today, I had to entertain myself. It felt safe
to wander the streets and clubs as I pleased. It was wildly curious to spend so much time in an endless sea of adults feverously throwing
money around. Eroticism and sensuality were pervasive themes in these environments and they captured my artistic eye.
The showgirls and their exotic costumes were most often my subjects. With their curvaceous lines, glistening clothes and fluid movements,
costumed casino hostesses with trays of cigarettes or drinks looked like pin-up girls come to life. As a young girl, I would easily talk my way
into dressing rooms and sketch the girls making up for a show.
continued on page 45

42
Finishing Touches
Inspired by the introspective reflections
women experience in applying those
“finishing touches” before they present
themselves before their lovers,
their peers, associates or in
public exhibition at the
fashion extravaganzas
or on the runways.

Often a time of reflection and self-critique,


it is an experience all women repeat
time and again throughout
their lives.

Finshing Touch
60 x 36” | resin & oil on masonite w/texture
ltd. edition of 300 | standard 40 x 24” | petite 30 x 18”
Anticipation
24 x 48” | oil on masonite
ltd. edition of 300 | standard 18 x 36” | petite 12 x 24”

44
My parents were well-educated life adventurers with
wanderlust. He was a military cryptographer and pilot who
had gambled all over the world. She was an outgoing broadcast
personality, researcher and musician. Gambling junkets were
monthly events, and almost every holiday trip we took involved a
gambling stop, including Mexico for games occasionally.
The border-towns of Tijuana and Juárez were vibrant with
inviting colors and textures. Colorful markets on dusty streets,
bullfights and cantina card games seemed worlds away from
San Francisco. The differences intrigued me and sparked my
interest in other cultures that appear in my work today.

Club designs were pure fantasy that enhanced my architectural


rendering skills. From elevated hotel rooms I would draw cloud
formations and expansive horizons which have continued to
emerge in various series throughout my life. It wasn’t just the
casinos, they took in the horse races and I loved to watch the
ponies run. The excitement at the gate and sinuous lines of
a horse reaching for the finish line inspired me and I became
proficient in drawing them. At fifteen, their gambling d
estinations started paying off for me when my first paid
portrait came from a breeder who saw me sketching and
commissioned a painting of his prize palomino, or a jockey
would tip me for my random sketch I’d offer them.

continued on page 46

Swept Away
30 x 24” | watercolor, oil on masonite
ltd. edition of 300 | standard 24 x 18”

45
It was easier to draw than paint while traveling and I eventually
became a skilled technical illustrator and designer in the
high-tech world of the Silicon Valley corporate giants.
A near-death experience in my early 20’s infused more
abstract and surreal elements into my work and propelled
me on both spiritual and creative levels while living the
free-to-be-me lifestyle of 1970’s San Francisco.

By the mid-80’s I migrated to the west coast of Florida to


concentrate on painting. While the subject remained beautiful
women in elegant settings and draping fabrics, I began breaking
down the elements and a new style emerged with bold free
line-work. This work gained recognition in New York and
attracted recognition from Manhattan Arts Magazine.

In the 90’s, private collectors maintained their interest making
it difficult for me to hold a substantial body of work long
enough for solo shows, so I’ve yet to really hit the gallery radar
screens so I have begun working in series more recently.
The direct influence gambling has had on my artistic
development is without question. Some might think it was
not an environment for a child to be so exposed to, but it
was fertile grounds for figure studies and portraiture.
While my work is widely considered Fantasy & Pin-up,
I am also a member of the Portrait Society of America as well.

Steamy Vision
36 x 24” | watercolor, resin & oil on canvas
ltd. edition of 300 | standard 28 x 16”
I cannot recall a time in my life that drawing and
painting beautiful women did not beckon me. Whether
I was wandering the clubs, the streets, or bidding time in some
hotel room, I was always consumed with lines and c
olor on paper. I continue my studies now under specific artists
and I feel I have a few bodies of serious work
behind me. As an emerging artist, I pray the
audience enjoys watching the transitions.

I have come to appreciate how gambling infused the richness
of my childhood and were a major influence in developing my
creative abilities. For my parents, gambling was part of their
lifestyle. These gaming weekends which were an adventure for
my parents, held wonderful opportunities for me creatively,
and winnings often supplemented my artistic education. In my
early twenties, when an artist was relocating, they bought out
his entire studio as a surprise for my birthday.

While I still love the sights and sounds of the casinos, my
favorite gamble is stepping before a blank canvas. It feels like
shooting craps some days with the excitement of not really
knowing which direction each painting ultimately will take.

Let It Rain
48 x 30” | oil on canvas
ltd. edition of 300 | standard 48 x 30” | petite 30 x 18.75”
Ethereal Dreams
30 x 40” | oil on masonite | ltd. edition of 300 | standard 28 x 38” | petite 18 x 24”

48
Dreamscapes
Notes F romDreamlamd
Sigmund Freud noted as the Father of modern
Psychology, believed that the function of dreaming
was to allow the release of repressed instinctual
impulses in a way that would preserve the ability to
sleep, and that the instigating force causing dreams
to occur was always a repressed thought or wish.
Though Freud was an avid student of neurobiology,
at the time when his suppositions were created
scientists were unaware of certain aspects of the
nervous system that today make Freudís theory
unlikely. Dreams are in fact not always subconscious
or repressed thoughts, but often just the mindless
ramblings of the brain and nervous system.

Therefore, due to the lateralized remembrance


of dreams, the left hemisphere of the brain must
access the memories of the right brain when a
person is asked to describe a dream or even to
remember it. To access the memory banks of the
right hemisphere, the left hemisphere must use the
corpus callosum or anterior commissure. The left
hemisphere of the brain is involved primarily in the
encoding and recall of verbal, temporal sequential,

49
and language related memories. As a result, dream interpretation
becomes very difficult due to the fact that the left hemisphere is forced
to interpret what the right brain has created using a language the left
brain does not understand. This accounts for the often sporadic and
non-sequential order of dreams, for the right brain, which created the
dream, cannot establish sequences. Therefore, the left hemisphere must
try to put a dream in order when it is interpreting it. On rare occasions,
a person may experience a dream during non-REM sleep, a dream
created entirely by the left hemisphere of the brain.

These dreams are typically devoid of imagery, being more like a running
monologue and interestingly, it is during this type of dreaming
that one may talk in his/her sleep.

Dreaming has been seen in many forms since the beginning of time,
but this seemingly unexplainable event is simply explained by the
connections of neuron cells, which we call the nervous system. By
exploring such aspects as sleep stages and REM sleep, we can locate
where and when our dreams occur. Likewise, the anatomy of the
brain, and its firing during dream periods gives the scientist new insight
into the purposes which dreaming serves. These purposes have often
evaded humanity in the past due to the simple fact that one could
never remember their dreams, due to a now understood phenomenon
of unilateral communication between the two distinct hemispheres of
the brain. Perhaps Freud was correct in assuming that dreams were the
key to understanding suppressed or subconscious thought,
but perhaps dreams are just a jumble of left over thoughts
and images of our days, and the real subconscious thought
comes in the form of how we interpret them.

by Jennifer MIller

50
Pillow Talk
24 x 48” | oil on canvas | ltd. edition of 300 | standard 18 x 36” | petite 12 x 24”

51
Warm Nights
24 x 48” | oil on canvas
ltd. edition of 300
standard 18 x 36” | petite 12 x 24”

Dreamscape
30 x 48”
oil on convexo® canvas | ltd. edition of 300
standard 24 x 36” | petite 15 x 24”

52
Slumber
24 x 48” | oil on canvas
ltd. edition of 300
standard 18 x 36” | petite 12 x 24”

Abstract Beauty
14 x 18”
poured oil on canvas | ltd. edition of 300 | standard 11 x 14”

53
Sweet Dreams
36 x 48” | oil on canvas | ltd. edition of 300 | standard 28 x 36” | petite 18 x 24”

54
Victoria’s
Angels

55
One thing that struck me in the NDE was the encounter with
angelic beings. I did not see them in a traditional sense that
I have portrayed them here. In my experience they were more
like a fluttering energy with an internal radiance that moved
in a flame-like undulation. When Bettie Eadie, author of
“Embraced by the Light” were sharing our experiences in
her Seattle area home, the one thing that stunned us both
was an element she had not addressed inthat book, and
that was the common experience of their size. For us both,
they were comparatively and proportionally half again
the size of human beings.

While these four paintings are not portraying that aspect,


when I painted the Presence of Angels I & II, the
originals were specifically painted to be 1-to-1,
at the size they appeared to be.

Eternal Elegance
48 x 24” | oil on canvas w/texture
originals only available at this time. rights restricted:
all rights strictly reserved to the models, photographer and their contractors.
Radiant Passion
48 x 24” | oil on canvas w/texture
originals only available at this time. rights restricted:
all rights strictly reserved to the models, photographer and their contractors.
Wings Of Desire
24 x 48” | oil on canvas w/texture

originals only available at this time. rights restricted:


all rights strictly reserved to the models, photographer and their contractors.

58
Spirit In Motion
24 x 48” | oil on canvas w/texture

originals only available at this time. rights restricted:


all rights strictly reserved to the models, photographer and their contractors.

59
This imaage evolved when I was looking
for an engaged subject for a portrait
competition. While some might have seen
the full 2 page ad spread for Louis Vuitton,
a small fragment, maybe twenty percent
of the image, caught my attention.

Reinventing the situation and setting,


I removed a second person, his daughter,
from the shot and changed the crop of
the image which created more intimacy
with the subject.

The square proportion ads a bit of


the unexpected, like the man himself.
Inserting a view from Coppola Vineyards
personalized the piece to the subject in a
more meaningful way.

Credits for the Original source image:

Photographer: Annie Leibowitz


Advertiser: Louis Vuitton
Subjects: Francis Ford Coppola &
Sophia Coppola
Location: Brazil
Assoc: Fund-raiser/Awareness Ad
for . . .

Visionary Vineyards: Francis Ford Coppola


20 x 20” | oil on canvas

60
Creative Musings

Inner Walls
24” diameter | oil on convexo® canvas | commission

It’s A Wrap
24” diameter | oil on convexo® canvas | commission

61
Sometimes the call to the easel is for personal growth or
teaching. Other times it is for the shear joy of painting without
seeking a specific outcome wih the work where experimentaion
becomes the order of the day. Often it is the impetus to interpret
something or that spark of inspiration that you just follow,
not knowing where it will lead.

The Invitation
28 x 22” | Oil on Canvas
Unassuming Beauty Ltd. Edition of 300 | Standard 22 x 28”
Available Winter 2009 | this is an in-progress shot
28 x 22” | Oil on Canvas
Ltd. Edition of 300 | Standard 22 x 28” | Available Winter 2009
this is an in-progress shot

62
Object of Affection I
28 x 22” | Oil on Canvas
Ltd. Edition of 300 | Standard 22 x 28” Object of Affection II
Available Winter 2009 | this is an in-progress shot
28 x 22” | Oil on Canvas
Ltd. Edition of 300 | Standard 22 x 28”
Available Winter 2009 | this is an in-progress shot

63
Roaring Thunder
18 x 28” | oil on masonite | study

Morning Rounds
20 x 16” | AquaOil® on Canvas | Study
Latina Aura
24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30”

65
Aquatic Wonders
Seducing The Eye & Beguiling The Mind

The sea cast it’s spell on me growing up on the northern


California coast. Weekends chasing sunlight on the waves
and fog banks with a camera on the PCH often led to the
Monterey Bay Aquarium where I would hover around
thier magnificentjellyfish collection.

The lighting and reflective nature


of the internal aspects constitute an entire
universe of their own.

Dolphins
Snorkeling the gulf reefs and
sailing waters where dolphin pods play in the wake
of the boat also inspire me to delve into them with
a paint brush.

Mermaids:
It seems natural to this Pisces
to envision where the translucent might retreat,
when I portray these sensual creatures

66
The jellyfish are so unique and other-worldly
and the lighting is so fleating and fascinating
to capture as it lights them both internally
and externally. It is very easy to get lost
in the nuances and diversity of them.

Crystal Jelly
20 x 16” | watercolor, resin & oil on canvas
ltd. edition of 300 | standard 20 x 16“
Jelly Series 1
20 x 16” | watercolor, resin & oil on canvas | ltd. edition of 300 | standard 20 x 16“

jelly series II
20 x 16” | watercolor, resin & oil on canvas | ltd. edition of 300 | standard 20 x 16“

68
Golden Glow
36” diameter | oil on convexo® canvas
ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

Undulation
36” diameter | oil on convexo® canvas
ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

69
Tickling Her Fancy
36” diameter | oil on convexo® canvas
ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

Communion
36” diameter | oil on convexo® canvas
ltd. edition of 300 | standard 30 x 30“ | petite 18 x 18”

70
The enchanting mermaids from ancient myths and legends
have captured the imaginations of artists for centuries.
The lure of their elegiac beauty captivates the viewer while
the sea gently echoes their music and the breaking waves
keep time with the music while they cast their spell.

As with all mythical creatures, capturing their essence is the


best an artist can hope for. In the poetic words of
The Voice of the Silence, that gem of transcendental
wisdom given to the world by H.P. Blavatsky, dedicated by
her to the 'few real mystics' among us, we find the
summation of that transformation: Know that the stream
of superhuman knowledge and the Deva-wisdom thou
hast won, must, from thyself, the channel of Alaya,
be poured forth into another bed. Know...thou of the
Secret Path, its pure fresh waters must be used to
sweeter make the Ocean's bitter waves - that mighty
sea of sorrow formed of the tears of men...when once
thou hast become like the fix'd star in highest heaven, that
bright celestial orb must shine from out the spatial depths
for all--save itself; give light to all, but take from none.
Now bend thy head and listen well... Compassion speaks
and saith: 'Can there be bliss when all that lives must suffer?
Shalt thou be saved and hear the whole world cry?'

mermaids ecstacy
40 x 30”
watercolor, resin & oil on masonite
Ltd. Edition of 300 | Standard 30 x 24“ | Petite 24 x 18”

71
Crystaline Couple
16 x 20” | oil on canvas | ltd. edition of 300 | standard 16 x 20“

72
Cresting
24” | oil on convexo® canvas
ltd. edition of 300 | standard 24 x 24“

Overhead
24” | oil on convexo® canvas
ltd. edition of 300 | standard 24 x 24“

73
Dance of the Dolphins I
24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30”

74
Dance of the Dolphins II
24 x 40” | watercolor & oil on masonite | ltd. edition of 300 | standard 18 x 30”

75
Merman Mermaid
36 x 24” | watercolor, resin & oil on masonite 36 x 24” | watercolor, resin & oil on masonite
ltd. edition of 300 | standard 18 x 24” ltd. edition of 300 | standard 18 x 24”
76
Sensuous Waves
24 x 30” | oil on masonite
ltd. edition of 300 | standard 24 x 30”
77
78
Graphique Femme
captured moments

Bold brushwork with a clear intention.


Manhattan Arts Magazine gave the work
steamy reviews and tagged me as an
“Artist to watch” in the 90’s baed on
this style. Breaking free of the tight
exacting line work required in technical
illustration this exacting yet expressive
use of larger brushwork work was
achieved without the use of a
digital process.

This work is most often created in acrylic


with a limited pallet and fairly large chissel
brushes. The fluid intention of brush movements
is liberating as the materials are restricting. Acrylic
on illustration board is entirely unforgiving. Since
the white is the exposed board, you need
to unwaiveringly commit to each
brushstroke.

Sultry
30 x 40”
acrylic on illustration board
79
‘Electrifyin Power-art“
by Sylvia M. Purcupile
Manhattan Arts International Magazine

Artist’s In The 1990’S


She’s full-lipped, bold and sexy: she knows what she wants;
pleasure, high-voltage passionate pleasure. She’s a hyper-
female, archetypal seductress, a 90’s icon of women’s
sexual power expressed in the vernacular of the
Madonna generation. She’s artist Victoria Moore’s
electric femme in stunning, high-impact black and
white acrylic. Ms. Moore’s direct and forceful style
mploys the barest of high-contrast essentials-there is
no modulated chiaroscuro to soften the message. Her
women, no nurturing goddesses, are self-absorbed and
indulgent connoisseurs of the sensational moment.

In Right There and Coming Home, crisp, fluid lines cascade


like black tongues of flame down tensely yielding forms
rapt in ecstasy-in the body-bliss of now.

Right There
30 x 40” | acrylic on illustration board
Her technique, suggestive of a photographic negative,
creates the impression of a quick take etched in the
white-hot heat of passion-snapshots of a fleeting moment,
a fantasy, a dream. The images are close up and powerfuL
Her works are frank, sophisticated and dramatic.
They explode with energy. Their striking clarity
lends itself to print making, so it is not surprising
that she has recently expanded into publishing.

Her first venture was Right There, published in a limited


edition of 225. She now has two more pieces in
production. Ms. Moore began her career in 1973
as a publication and technical illustrator and later s
hifted to graphic design. By 1985, 30 percent of
San Francisco’s top 100 companies were among
her clientele. Successful as she was, she
decided to move to Florida and direct her
talent toward the fine arts. She has recently
opened a studio in Sarasota.

In 1988, she represented Florida in a show of


women artists in New York, and in 1990, she
appeared in NY. Art Review and American Artist’s
“Leading Contemporary Artists in America.”

Coming Home
40 x 60” | acrylic on illustration board
Sleeping Beauty
24 x 18” | acrylic on illustration board

Sensuous Silk
52 x 24”
acrylic on illustration board
Muscle Bound
40 x 60” | acrylic on illustration board

Latoya’s Look
30 x 40” | acrylic on illustration board

83
Madonna: Leather Madonna: Lace
30 x 40” | acrylic on illustration board 30 x 40” | acrylic on illustration board

84
Her Hardwear Beth as Eve
30 x 40” | acrylic on illustration board 30 x 40” | acrylic on illustration board

85
Memories

NEED SOME TEXT RELATED TO TEHE MERGING OF


THE GRAPHIC STYLIZATIONS WITH REALISM

Memories
36 x 48” | oil on masonite
ltd. edition of 300 | standard 24 x 30” | petite 16 x 20”

86
Voyeuristic Tendencies
72 x 72”
diptych | oil & resin on masonite

89
Sanctuary
24 x 24” | acrylic on iIllustration board | study

Auspicious Arrival
30 x 40” | acrylic on illustration board
ltd. edition of 300 | standard 24 x 30” | petite 18 x 24”
Changing My Image
In most creative careers there are points where
styles, subjects and often mediums begin drifting
in and out of the work. Leaving California’s Silicon
Valley as a technical illustrator,and graphic designer,
I shifted my focus to fine arts in Florida. While
through the early years, I had found oil paints to be
very forgiving, allowing the flexability to correct or
make changes. I found myself painting with an, ‘I can
fix it later’ attitude. As a challenge I created
a body of work on a paper illustration board, which
is completely unforgiving, and acrylic paints, which
have a myriad of limitations by comparison.
The technique involved the white resulting from
the paper being left exposed. A stroke needed
100% commitment throughout.

 ne mistake at any point and a piece could be


O
ruined. I loved the challenge and tension that could
involve. This was created on masonite so I could
introduce oil paints back into the process for
a handful of paintings that involved both the
graphic and realistic styles. It also recognized the
change from the graphic ‘signature’ I had used for
years of the zig-zag ”VM” stoke with the dot. Even
though it was used as a background element, it was
the last painting in which it appeared

Changing My Image
36 x 48” | oil on masonite
ltd. edition of 300 | standard 24 x 30” | petite 16 x 20”
“Commissioning a Portrait”
HighRoller Life Magazine: September 2005

Lifestyle Portraits

It is a great privilege for any artist to be commissioned to paint a


portrait for posterity. Commissioning a portrait, for no other reason than
adoration, shows the highest regard for that person, which is often the
motivation behind political, judicial, military, academic, religious, corporate
and VIP portraits. Portraiture is experiencing a revival, especially with
the affluent and upwardly mobile. Understanding the process of this time
honored symbol of status and culture will help you enjoy the co-creative
process with a professional artist.

Your partner, child, pet or precious object can be savored forever in


an original work of art. Recognizing someone’s interests and efforts,
including your own, is probably not as expensive as you might think. You’ll
be supporting the arts in a very personal way where prices range from
quite modest to astronomical, usually based on talent, reputation and
popularity. . The new resurgence has seen the trend toward ‘Lifestyle’
portraits. Honoring an individuals’ passionate pursuit can serve as
inspiration for the visions we hold of our loved one or ourselves. An
unexpected element of my own career portrait is that I have found it
serves to remind me of who I am on those days when I am feeling Lance’s Armor
less than at the top of my game. 16 x 20” | oil on canvas

90
member
Portraiture asks a lot of the artist. As one of Portrait Society of America
the most historically significant branches of the State Ambassador 2006-2008
fine arts, it is also one of the most challenging Volunteer
to master. It is our charge to create a sensitive
and compelling work of art that portrays the
subject with authenticity. It is my passion to
capture the human spirit on canvas. It’s an
engaging, multi-dimensional experience for
both the subject and the artist.

As artists, we understand our energy infuses


the work to some degree, which is why
original works of art enhance a room in a way
prints and photographs cannot.
One sign of a truly skillful artist is their ability
to create an image strong enough to attract a
stranger to the painting.

In choosing a portrait style, whether it’s


traditional, romantic, formal, lifestyle career
oriented, not only is the content and concept
important, decisions made in the early stages
are crucial to the spirit of portraiture.

Atlanta, GA Fulton Co. Commissioner


Mr. Robb Pitts
36 x 48” | oil on canvas

91
Ulysees Glee
Superintenent of Schools. Washington, DC
36 x 48” | oil on convexo canvas
Nora
3o x 4o” | oil on canvas

92
Once a moment is gone, it cannot be recaptured, so the painting becomes more precious
with each passing day. While not traditional portrait styles, “My Secret Garden” reflects a
woman’s personal connection to her favorite childhood book, whereas “Lance’s Armor”
captures a moment in a young man’s life with a compelling image that is true to his spirit.

Regardless of the type of portrait you desire, first and foremost, pick an artist who’s style
you like. There area as many styles as there are artists. Establish your budget. Knowing
where and how the piece will be displayed will help you determine the size and shape.
Think about what you want to achieve visually. Let the artist be creative and provide
you with comprehensive sketches prior to starting the painting.

Some artists work solely from live sittings, others only photos, while most prefer both.
If you want to catch even the most fleeting moment, more are working from on-screen
digital images. Every element contributes to how a portrait tells it’s story, but the
true magic is in the skill of the artist to breathe life into a flat surface.
Midnight In The Garden
3o x 3o” | oil on masonite

Commissions
Most of them are not included in this compilation. It is my feeling that they are of a private
nature. Each project is a unique experience with a client and a distinctly personal work
created to suit the occasion, tastes and budget of the client.

When a client commissions a work, comps are provided as part of the process as
well as approval stages. A kill fee is available, as appropriate.

Parke’s Study
30 x 40” | oil on masonite

93
About the In-Progress Works Included
There is a tri-fold objective in presenting the current works in progress.
It is my experience that collectors, the general public and students
show an interest in the process an artist goes through to achieve their
objectives. For fans, I have only included works where the vision for
the completed work is evident. I trust my audience sees the direction
a pieces is going stylisticaly and that I will detail it to the appropriate
level of the desired clarity.

For the student, Certainly they are far enough along to be presented in
this portfolio, and trust me, there are many in the studio that are not
quite there yet. For the collector, a chance to see what is on the easles,
and view the process as worls evolve in the protfolio.

Pre-Release Pricing
If you see something you like in-progress, consideration is
given in pre-release pricing for both sale of the original
and the reservation of limited editions, Supporting the work in
this way with the artist and representatives, allows us to insure the
availability of the works to a wider audience.

94
Staying Focused On The Future
When left to my own devices I proceed as inspired and move
toward completion of a painting as it’s relevance unfolds.
Ultimately they take their own position for order of completion.
I can be on my own schedule ad needed, and as a military brat
that can be ridgidly projected. Somewhere along the way, after
the first blush of the concept or image hits the canvas, it’s ability
to capturing my attention again and move it towards completion
takes on a life of it’s own. Encouragement from a variety of
sources have also inspired me to bring a work back to the easle,
accelerating the lessons from the research of the work..
Ultimately, it’s a fairly organic process, some emerge,
some evolve and some transform you in the process.

With Deep Gratitude


I’d like to thank family and friends, fans and collectors,
publishers, publications, galleries, writers, models,
photographers, framers and reproduction
houses that encourage my creativity.

Your support is unwaivering and deeply appreciated.

Namaste.

95
Memberships
The Portrait Society of America State Ambassador
volunteer 2006, 07 & 08
The Academy of Fine Art Foundation
member: inception
National Assn. of Female Executives
NAFE: mid-90’s- early 2003
Women’s Caucus for the Arts
national & state level
National Museum of Women In The Arts
1995-07

Honors & Collections


National Air & Space Museum
2 Paintings: Holes in the Sky Series
“Illuminations”  & “Halo” were requested for
their permanent collection by Deputy Director
Don Lopez. One will reside at the National
Mall and the other at Udvar-Hazy NASM.
Presidential Commission 1986 Ronald Regan
American Biographical Institute 2000-04
Marquis Who’s Who of American Women
2001 - 02
Kensington Who’s Who 1998 - 04
International Who’s Who 2000
Who’s Who in America 2010

Inquiries
Please support those who invest their resources on artists behalf by contacting your local gallery
or regional representative. When you contact the studio you will be directed to the appropriate
resource to assist you with originals, limited editions,or licensing. Commissions considered.
96
For My Son
follow the light on your path.

Know Thy Self,


And You Will Never Lose Your Way.

Lean on Me
28 x 22” | oil on canvas | a work in progress | available spring 2010

97
photo portraits of artist by Herb Booth Studio

lifecast of artists’ hand by Leslie Ennis

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