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Article #335 (Intercepted Email Transmission)

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  • Mathew Morrell
    Biographers have a tendency to gloss over the missing years by saying that this was merely an era in the young artist s life when he immersed himself in
    Message 1 of 1 , May 25, 2008
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      Biographers have a tendency to gloss over "the missing years" by saying that this was merely an era in the young artist's life when he immersed himself in mysticism and meditation, and worked jobs in the restaurant and construction industry; that he moved to Washington State merely for the purpose of living the simple life, as defined by the back-to-nature movement that he belonged to.  We're led to think in these purely sociological terms and, consequently, profoundly important components of "the missing years" continue to evade us, namely the supernatural components.  Interpreting the "missing years" from a purely materialistic vantage point is rather like trying to study a landscape using a microscope; it provides the researcher with a very narrow vision.    

      The seer on the other hand, ordained with clairvoyant vision, knows that "the missing years" were much more richly endowed with experiences than any biographer has yet given it credit for, and that these experiences were primarily spiritual.  The seer is capable of transcending the static, time-bound succession of historical events that give the illusion of continuity but draw us further from reality.  A true vision of "the missing years" can only begin to arise when we redirect our consciousness toward a non-static comprehension of time.  Otherwise we're left with hallow, meaningless impressions that suggest that "the missing years" were motivated by forces entering his soul from the social-political sphere.  Socio-political interpretations of "the missing years" obscure the true apocalyptic forces that imbue William during this period—forces saturating his canvases in the spirit of terrible wickedness and Cosmic Evil.  Angelic powers operated directly through his will during "the missing years," impelling him on an unconscious level to experience certain events, encounter certain people, learn certain truths, for the purpose of fulfilling a mission established in previous life times.

      After five years in Washington he returned home and created The Pentakotic Gateway Series, which was a series of twenty-five giant paintings reminiscent of Hieronymus Bosch.  The series leave biographers scratching their heads when they compare them to the amateurish canvases he painted at The Art Institute; his school work simply can't compare to the genius of "Road to Hades" or "Astral Nerve Storm" or "Christ's Astral Body in Hell."  How did Jennings suddenly gain the genius to create The Pentakotic Gateway if all he did in Washington was work menial labor, gently meditate, and attend new age retreats in Yelm?  Where we would expect to see William making incremental progress toward The Pentakotic Gateway we see a void instead.    

      Only the seer is capable of solving the riddle.  This is because the seer can interpret the "the missing years" more broadly than researchers limited to the intellectual Mind Soul.  Through the illuminated astral eyes of atma, the Life Spirit, the seer has the ability to read the psychic impressions that outward events leave upon the Akashic Ether.  This is the infinitely subtle, ever-moving, astral nimbus that surrounds the Earth like an invisible sheath:  recording all cosmological events.  Through the Akashic Ether it is it possible to see William Bayber Jennings—the great horror artist of our time—initiated by dark Ahrimanic Powers.


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