Art Exhibit

Art invites a sacred encounter. Artistic creations can be symbols of something eternal and innate. As we recover our rootedness in both nature and spirit, we seek the sources of symbols that empower greater fulfillment in living. They are the wellspring of imagination. Art becomes a vehicle for expressing experience that is beyond words.

All the work in this exhibition connects to The Once & Future Goddess. Each work of art extends from the mystery of creation which has not vanished. These female symbols unite the unconscious and the conscious. The creative process magnetizes all dimensions of our humanity to come into awareness, so we may be vulnerable, suffer, trust, and undergo alteration. The artistic act requires a return to the self, growing self-awareness, and courage.

The passion of these artists is to discover the essence of life through internal circuits that lead to broader pathways in the world. This is the art and soul of creativity, a perpetual continuation of the transformation of art into life and life into art. As we each search for the soul of our creativity, we celebrate the sacredness of women and the divine feminine spirit.

I feel that "serious" contemporary art has, in accord with our increasingly secularized society, come to generally disregard the sacred and spiritual as subject matter. My artwork, rooted fundamentally in my personal spiritual practice and experiences, intentionally seeks to move beyond the intellectual and conceptual frameworks usually employed to evaluate reality and even "objects of beauty" in our hyper-cerebral 21st century culture.

I believe it is no accident that the great artistic achievements of ancient civilizations the world over have as their subject matter and apparent inspiration the gods, religious literature and divine myths of their respective societies’ traditions. Additionally, the feeling of awe and serenity one might experience within an ancient temple or medieval cathedral is not the result of the specific dogma espoused therein; it is, instead, the natural response of the human spirit to its own creative engagement with the transcendent. I believe we still hunger for art to reflect this bridging of the sacred and mundane and, as an artist, my personal need to engage the non-intellectual realms finds its form in my sculptural work.

The Messenger is a nearly nine-foot tall bronze weighing over 1100 pounds. He is a “Green Man,” his heart-cave cracked open and emanating fire, which crackles across his shoulders and crown. Allan took inspiration for the piece from Victor Frankl’s statement: “That which would give light must endure burning.” In 2017 The Messenger was a featured work of art at the Burning Man festival.

Due to his father’s career as an importer of spiritual iconography, Gabriel Allan was surrounded by sculptural images from the world's religions throughout his childhood. At the age of fifteen, after an introduction to stone sculpture in a school art class, he began working in a variety of mediums including soapstone, wood, clay, wax and, eventually, bronze. Choosing not to attend Art School or pursue an artistic career professionally, Mr. Allan instead attended the University of Virginia, receiving a B. A, degree in Religious Studies (with a concentration in Buddhism and Chinese language) in January of 2005. During college he continued to work as a sculptor independently and under the mentorship of Robert Bricker, who gave him space and materials at Bronzecraft Foundry in Waynesboro, VA. During this time he began working on his monumental sculpture, "The Messenger". The renowned contemporary artist Cy Twombly upon discovering this work in progress during a visit to Bronzecraft foundry, asked to meet with Mr. Allan personally and upon his request, was furnished with a portfolio of photos of "The Messenger". Mr. Twonbly expressed great interest and admiration of the work. Gabriel Allan studied and traveled in China and Tibet during 2004 and 2005. He engaged in monastic practice as a Buddhist while in residence at Upaya Zen Center in Santa Fe, NM in 2006 and the Insight Meditation Society in Barre, MA in 2007. The inspiration and subject matter of much of his artistic work is rooted in his studies of the world's wisdom traditions and his personal spiritual practices and experiences. His artwork is currently on display at Shidoni foundry and galleries in Tesuque, NM.

"For the past forty years Cristina Biaggi has been involved in activism and her artwork has reflected her activities. She creates large sculptural works, abstract collages, and figurative works ,as well as portraits of people and their animal companions. See her website: www.cristinabiaggi.com . In talking about her creative process, Dr. Biaggi says, “as an artist, I enjoy transitioning between realistic work and abstract work. Creating my bronze portraits requires a total immersion in contemplating and rendering the physical, psychological and spiritual aspects of my subjects-a process where I must concentrate on capturing the minute details of a face and the soul beyond it.

Cristina Biaggi, Ph.D. has achieved significant recognition for her varied contributions in the field of feminist art and Goddess Studies. Her works are a reflection and an extension of her lifelong interest in art, archaeology, women studies, literature and classics acquired at Vassar, The university of Utah, Harvard and New York University.

She is the author of Habitations of the Goddess (1995), In the Footsteps of the Goddess (2000), The Rule of Mars (2005), and Activism into Art into Activism into Art (2018). The human form is the central element in much of my art. Again, in the 21st century, the use of such a classical object for artistic expression is considered "traditional" at best and, at worst, "quaint." However, we have forgotten that it is not simply narcissism which led so many of our classical counterparts to create works with the human form as their subject. The human body is not just "pretty" or "arousing" but is, in fact, the ultimately accessible spiritual image.

Stacy Boorn has been an ordained Lutheran pastor for 30 years (so far)and serves as Pastor, Priestess of Ritual and Visionary Leader of a feminist/Goddess congregation – Ebenezer/herchurch in San Francisco, www.herchurch.org. Stacy recognized this call and vocational pursuit during her early childhood Sunday School days. Around the same time she became interested in photography, her family's business in Schenectady, New York. Stacy works at dismantling patriarchy by supporting Goddess spirituality.

The Wyrd Sisters is an aquatint I made in honor of the Fates as they were known in Britain a thousand years ago. Wyrd (later weird) means "destiny," and old sources understand her (and her triune form) as divine. By Shakespeare's time they retain some of this valence, especially in their prophetic foreknowing, but have undergone the same demonization as the witches.

Womb Healing was undertaken for the transformation of emotional pain that lodged itself in the second chakra. It visualizes clearing and opening the flow within and between the fire of the heart and the waters of the womb. After painting this, I learned that Taoist mysticism envisions just this flow between Kan (Water) and Li (Fire), in alchemical meditations.

Our Reproductive Rights was first a drawing, then a painting, made for a poster that goes beyond the framework of abortion rights to a much broader call for women's self-determination. If I was to retitle it now, it would read Procreative Rights instead of Reproductive, a naming that centers the female power of Lifegiver: "It is a woman's decision whether she will bear a child from her breath, blood and bone."

The Deasophy Scroll is a composite of seven paintings: Auset / Isis was the inspiration for the High Priestess arcana of the Tarot, with the double pillars in their Egyptian form as lotus and papyrus. The winged goddess wears her sacred red knotted belt and holds the ankh and sistrum, with the Nile in full flood and her star Sirius in the heavens. Ayyyhyt, Great Mother of the Sakhå people in Yakutia, Siberia, under the Tree of Life atop the World Mountain, with the Waters of Life. Nammu/Tiamat, the Grandmother of the Waters in ancient Iraq, she who created humans from the clay. Atabeyra, Great Mother of the Tainos in Puerto Rico and Haiti, from a painting on a conga drum for Matlå Feliciano. Gajalakshmi, the Hindu goddess of fortune with her elephants, seated on a lotus in the Waters, bestowing divine essence. Norns of the Rune Tree, shows the Norse Fates seated under the Tree of Mystery, on which they inscribe fateful glyphs, and beside the Well of Urö, she who sums up all who have ever lived. Höutü Guo Huang, "Yellow Land Earth Queen," who created humans from the yellow clay, is also called Höutü Niångniång, "Deep Earth Goddess" or Dimü, "Mother Earth.”

Before I was a scholar, I was an artist, already as a child. We sat and drew, colored, water-colored together. I thought everybody did. My art envisions the flow of energy, of life force, of consciousness, and its transformations. And it looks deeply into culture, the various manifestations of woman around the world, the commonalities and the recognizable cultural fragrances and styles, the sacred stories. So my drawings and paintings have spiritual dimensions, but also historical context, aiming to restoring cultural memory (and consciousness) of women of many world traditions.

Reflected back to us in a work of art it represents tangibly the ineffable and mysterious experience of living. It has the power to communicate to us the singular beauty of being, the powerful presence that we miss when looking in passing at ourselves or each other. Of course, all of reality, when viewed with intention contains this same seed of spiritual presence and depth. However humans identify powerfully with the human form, and our minds and hearts most easily move into the depths when "the form" as art is creatively represented as the vehicle of transcendence.

Barbara C. Daughter works primarily in acrylics, preferring large-scale “magical realism” paintings of imaginal, inspirational and mythical women. She brings years of proficiency as a professional make-up artist to her Intentional Creativity art and classes. Since she was a child, she has created with her hands, from fiber arts to jewelry-making. She has studied with Shiloh Sophia, internationally-renowned artist and founder of Intentional Creativity™, but has no other formal art training. She blends her passions for our natural world, Mother Earth, and women’s lived and imagined experiences to the canvas, intending to transform herself and the viewer in the process

Rose Wognum Frances’ artwork has been shown internationally since 1970 in numerous museums and galleries, including the American Craft Museum, NYC, New York, and the Corcoran Gallery and Smithsonian Institution in Washington, D.C. She has been a professor at Florida International University (1975-1985), New College of California (1988-2001), and California Institute of Integral Studies (1993-2010), where from 1994-1998 she served as head of the Women’s Spirituality Program. Rose has been a studio artist in the San Francisco Bay Area since 1985. During that time, she has presented lectures and seminars at Antioch University West, San Francisco City College, Stanford University, the Graduate Theological Union, and various international conferences

I create two and three dimensional art inspired by these prehistoric, female symbols. I use materials that are organic, etched metals, marble, granite, rock, pigment, lime, cement, pigment and clay. I consider my art to be a dialogue, a spiritual expression in which the physical and psychological properties have an everlasting archetypal presence. My palette and texture suggest that she has been excavated from the earth, an integral part of my story. These Goddess-like images are repeated onto a canvas of copper and earth tone hues, aged by time, in an attempt to consume and captive her physically demanding space and our memories. This is where I search for a deeper understanding in its purest form, a passionate effort to discover the essence of life, a perpetual continuation of the transformation of art into life and life into art.

My interest and fascination for the sculpted symbol took me to Italy and the islands of Malta in the 90's, where hundreds of sculptures and etchings have been found depicting the female. The plethora of her ancient images exemplify a place that created a language through the art of symbol making. By weaving together the evidence that the female image, in any form, has always been alive in artist's consciousness. These symbols continue to reappear in contemporary art and impact our spiritual consciousness. They have an enduring psychological effect and hold significance from the earliest aesthetic expression by humans to the present day. www.tgrame.com

My experience as an immigrant, mother, administrator, community activist, and spiritual seeker provides the framework for my creative endeavors, which include writing as well as visual art. My extensive career has focused on cross-cultural understanding through artistic projects. Over the years, I have created many iconic silkscreen posters for community cultural events as well as political and social causes. In 2010, I made a departure from my 2-D poster work into large-scale 3-D sculptural installations using a variety of materials. My current mandala work is an artistic integration of self-expression and community involvement. I have created over 17 mandalas to date; they range in size from 3 feet to 12 feet and cover a variety of subjects. I am interested in exploring ways in which this medium can be used to provide healing and centering to oneself and to the community at large.

Nancy Hom is a San Francisco-based artist, writer, curator and community organizer. Whether through her silkscreen posters, poetry, illustrations, installations, or curatorial work, Nancy’s 44-year career has fostered cross-cultural understanding through community-based work. For nine years, she served as executive director of Kearny Street Workshop, an Asian American arts organization in San Francisco, and is a consultant to small arts organizations as well as a practicing artist. She has received several prestigious awards for her work as an artist and as a director, including the Joan Mitchell Foundation Painters and Sculptors Grant (2012), the San Francisco Foundation Community Leadership Award (2013) and an Individual Artist Grant from the San Francisco Arts Commission (2015). She is a Gerbode Fellow (1998) and a KQED Local Hero (2003). With grant support from the San Francisco Arts Commission and the California Arts Council, the Asian Pacific Islander Cultural Center will mount a major retrospective of her work in 2019.

Shah Noor Hussein (MA) is a multidisciplinary artist & scholar who crafts environments that cultivate creativity & storytelling in communities through the mediums of writing, photography, videography and arts education. Noor collaborates on projects that speak to the diverse issues facing black, brown, queer & marginalized communities to empower their narratives through playful, magical & healing modalities. Noor's recent book, Gazing at Gods is a continuation of a three year multidisciplinary art & scholarship project, Black GRRRL Healing, which produced a zine, two short films, three symposiums, four residencies, five publications, a workshop series & a masters portfolio on the intersection of queer black feminism & healing justice. Shah Noor currently serves as a guest lecturer, freelance writer and aspiring doctoral student conducting work that (re)centers marginalized voices in dialogues on alternative epistemologies and cultural reproduction.

1980-2000 FIELDWORK: Twenty years of photographic fieldwork throughout East Asia, North Africa, and Europe now constitutes The Goddess, Sites, and Artifacts Collection of 8,000 ArchaeoMythology images.

Some decades later, this collection is not only unique in the world of photography, but also spotlights female ancient history, origins of the dark mother, and sacred iconography unlike any other existing medium. Facilitating this photographic endeavor has been one of the highest honors of my life's work and I am deeply humbled

Eahr Joan is an author and archivist of open access Re-Genesis Encyclopedia,* alumna and adjunct faculty at California Institute of Integral Studies, and Reference Librarian at Laurance S. Rockefeller Library. Credentials include MA in Philosophy and Religion (WSE '00), and 12 years of supervised research at London's British Museum Library, and 30-40 photographic fieldwork trips throughout North Africa, Europe, and East Asia. Curator and director of the 8000 GSA slide collection: Goddess, Sites and Artifacts (1980-2000.)

* ReGenesis Encyclopedia: Synthesis of the Spiritual Dark-Motherline, Integral Research, Labyrinth Learning, and Eco-thea-logy.

Jeannette Kiel is an ecofeminist-activist-artist, scholar, and an adjunct professor in the Women and Gender Studies Program at Sacramento City College. Jeannette believes that all forms of injustice are interconnected to nature and that these must be addressed to create real change and transformation for peace to thrive in our world. Jeannette earned a Ph.D. in Women's Spirituality from the California Institute of Integral Studies in San Francisco, an MA in Women’s Studies from San Diego State University.

Diane Martin graduated with her M.A. (1999) in the Women’s Spirituality program at CIIS; and her PhD in Humanities at CIIS in 2013. Her studies focused on the trauma of loss, grief, and healing from a feminist depth psychology perspective. Diane is a writer, photographer and artist; certified WRAP® facilitator who teaches wellness programs. She completed her certification with the Mental Health Association of San Francisco. Concurrently at City College of S.F., she completed a certificate in Community Mental Health; and interned at the Mission Mental Health S.F. Department of Public Health. Diane is a grief counselor-educator who has a passion for mentoring others in their journey to wellness, with a specialized interest in women’s mythology and in expressive arts (EXA) as a spiritual pathway for healing to empowerment and wholeness.

Known to many as the “Matisse of Japan,” Mayumi has since 1969 to the present Mayumi exhibited her work in over 40 one-woman shows throughout the world. Her artwork is also part of the permanent collections of the Museum of Modern Art - New York, The Museum of Fine Arts - Boston, Yale University Art Gallery - New Haven, Library of Congress - Washington D.C. and many others. In addition to her work as an artist, Mayumi has spent many years of her life as a “global activist” participating in anti-nuclear campaigns worldwide. She founded Plutonium Free Future in 1992. On behalf of her organization, Mayumi lectured and held workshops on Nuclear Patriarchy to Solar Communities at the United Nations NGO Forum and the Women of Vision Conference in Washington DC. In 1999 she launched the WASH (World Atomic Safety Holiday) Campaign and is currently working to raise awareness among the citizens of Hawai’i about the use of Depleted Uranium at the Pohakuloa military base.

Feeling a deep connection with the mother earth, Mayumi has always enjoyed growing her own medicinal herbs and vegetables. In 2000 she started Ginger Hill, a farm and retreat center on the Big Island of Hawai’i. The artistically landscaped 5-acre property is home to a number of workshops and retreats ranging from traditional Hawai’ian Hula to medicinal cooking.

Marni Ashirah creates visual art shivitim (meditation pieces) for practicing presence with the divine. She draws from Hebrew sacred literature, as well as the mythologies and iconography of the ancient Levant. A Kohenet (Hebrew Priestess), her priestess name, Isha Chachmat Lev (Wise-Hearted Woman), is inspired by Sh'mot/Exodus 35:25, in which "all the women that were wise-hearted" created the mishkan (dwelling-place) which would be the portable temple for Shekhinah (Holy Presence) during their wanderings. As this name suggests, she connects to the women who created and sanctified all batim/houses/shrines throughout her lineage. She rejects all scripture that supports empire and patriarchy, seeking to heal such destruction through earth-based, feminist spiritual practice and through the communal wrestling with these texts that is the culture of her ancestors. In this work, she draws on Gestalt group practices. Her creative work also includes Torah translations and visual art for decor, shivitim, siddurim, haggadot, ritual, and personal use. Her art can be found at www.marniashirah.com.

Marni Ashirah is a member of Kehunah (www.kehunah.com), a collective of people who have received ordination as a Kohenet (Hebrew Priestess) and who are committed to work that dismantles oppression in all its forms and uplifts collective liberation. She is a graduate of Smith College (BA Art); California Institute of Integral Studies (MA Integral Counseling Psychology, with a focus in Gestalt); and the Kohenet Hebrew Priestess Institute. She has worked in the fields of business, design, counseling, and ritual, and currently works as a full-time artist. Of Ashkenazi and English-German ancestry, she grew up in the forests of New York and traveling to the plains of Kansas to visit family, and has since lived in New York City and Dublin, Ireland, but now makes her home in the Bay Area’s Ohlone-Chochenyo territory with her human and canine companions. She enjoys gardening, home-making, deep conversations, humor, singing and chanting, and greeting the evening star. Her work can be found at www.marniashirah.com.

Kanyon's visual descriptions are always based on nature and the natural world. Kanyon's lifelong artistic vision is to convey principal ideas of Native culture through visual means. Offering her voice and her art to remind our community that Indigenous perspectives and cultural continuity is ever present and prevalent. "I am a creative artist ever inspired by nature and the natural world. I make a difference in the lives of others by sharing my life experiences and knowledge about California Native Americans. I have the gift of communication, starting conversations around decolonization and indigenization, and challenging myself to utilize this gift to deliver powerfully effective messages for others. My personal mission is to contribute toward the goal of global education with emphasis on promoting understanding of the relationship between humanity and the natural world."

Kanyon Sayers-Roods (Mutsun Ohlone and Chumash) also goes by her given Native name, "Coyote Woman." She is an artist, poet, author, activist, student and teacher. The daughter of Ann-Marie Sayers, she was raised in Indian Canyon, trust land of her family. Her art has been featured at the De Young Museum, SOMArts Gallery, and in numerous Native gatherings and publications.

She is motivated to learn, teach, start conversations around decolonization and reindigenization, permaculture and to continue doing what she loves, Art.

Dedicated and active in the Native Community, Kanyon provides leadership, serving as an artist, poet, activist, student and teacher for up-and-coming scholars ready to challenge their creative paths and remind people what it means to decolonized.

I am a Visual Artist and Iya l’Orisha (Orisha Priestess) engaged in sacred art making practice with mixed media, digital media, clay, and altars for community ritual. I earned an MA in Philosophy & Religion, Women’s Spirituality at CIIS in 2001. Making Art for the Spirit, The Intersections of Feminist, Sacred, and Creative Practice, my thesis, presents artworks, research, and narrative of my creative process. I began learning Ifa spirituality from Yeye Luisah Teish in 1993, and received initiation for Sango in 2007. One of my priestess responsibilities is Akpon-ritual songs leader.http://www.gailwilliamsart.com/

Patrice Wynne is a social entrepreneur who believes that business can be a force for social transformation. Her spiritual values have been expressed in two socially responsible enterprises: GAIA Bookstore in Berkeley (1983-2000) and Abrazos San Miguel. She opened GAIA Bookstore a few years after graduating from the Women’s Spirituality program at San Francisco State University where she was mentored by Mara Keller. She lives in San Miguel de Allende in colonial Mexico since 2000 where her fair trade boutique and wholesale company supports 20 families, sustaining the textile and seamstressing traditions which this historic city used to be known for. Her creations are sold in museums and independent shops all over the world.

www.AbrazosSanMiguel.com

The most valuable tool I have acquired by photographing 600 CD covers and thousands of musician/actor/author promo photos is the Sacred Art of Seeing. A photographer well-versed in this rare art comes to honor each person by using a watchful eye and a compassionate heart, ready to receive the beauty in everyone, rather than outwardly transforming the person in order to fulfill the current public fantasy of what is considered attractive.

Beauty is not a Hollywood exclusive, nor does she reside only at the peak of Billboard’s top ten. The very act of being human was born of beauty, and even among life’s ugliest stories, Aphrodite hides in the recesses waiting for someone to recognize her.

Perhaps more than portrait photographers, we are curators of true life performance art framed in a variety of physical forms. Just like priceless art, each masterpiece must be handled with care, and shown in the best light without disguising or damaging the original.

"Each soul must be seen in its authenticity, and every genuine expression nurtured as a potentially perfect smile, or a momentary unveiling of someone’s deep dive toward their own transformation and refinement. Not everyone is fearless. Not everyone is confident. Not everyoe is happy with their physical self image. However, everyone is photogenic. If we photographers are patient and kind enough, fear will fall away and someone’s true essence will be revealed. A split second of pure being, undisturbed by fear and judgement, is all we photographers need if we are paying honorable attention. Chances are, though, it will feel so good that your subject will hang out there for a while. Why not? It feels good to unburden oneself from habitual low appraisal. The subject’s heart and soul come first. Then, the photographer’s art. Then, the photographer’s ego. To me, the order is non-negotiable.

Young's photographs have appeared in national and international publications too numerous to mention, including Us Magazine, Oprah Magazine, The New York Times, The SF Chronicle, The Washington Post, People Magazine, Rolling Stone, Guitar Player, and The Utne Reader. Her clients, also, too numerous to mention, include Warner Brothers, Columbia, Motown, Windham Hill, Narada, Virgin, Rounder, Red House, and Blix Street Records; Harper Collins, Fawcett, Doubleday, Henry Holt and Company Publishers, and many musicians and authors within the culture of women's spirituality.

Ji-Young was a resident artist at the Art Center of Redwood City and San Carlos in California. She won the 2nd place in Members’ Exhibit of Society of Western Artist and exhibited with Korean Pastel Association in Seoul, Korea. Her artwork theme is portraits of women, often reflecting the artist herself, as painting is a language of the artist expressing empathy with the subject.

"Pride" was painted during one of the toughest time of her professional life in corporate when she had to deal with an oppressive male boss who turned hostile when she chose to stop being a quiet, supportive "mother" and started to have her own voice. Painted over few months every weekend, the time she spent painting was her moment of reminding herself to remember to be proud of herself, and that there is something that I would not compromise on, and that it is okay to make such choice.

"Hannah" is a painting of the artist's late cousin who passed away from aplastic anemia after fighting it for 20 years. Hannah was a very bright, affectionate person, full of passion (hot-tempered) and curiosity, but never had the physical energy to do the things she wanted to do. The painting was a gift from the artist to Hannah, as a means to tell that she understands the desire to belong to the "reality" other people seem to live in, which she is no part of, as well as to show her how beautiful a person she is.

Born in South Korea, Ji-Young spent her childhood in Iraq. Being a bookworm kid in a country at war, she developed a detached sense of reality and self-content. Through the family trips to Europe every year, she viewed first-hand the work of the Old Masters work and her admiration grew for the refined techniques, as well as for a fascination for the stories behind the work. Her pursuit of representational art, especially fine-portraits, is rooted in such experiences. After returning to Korea, she was in a constant battle with the social norms set for women. Ji-Young uses the process of touch-painting portraits to connect with herself in conversation, about both courage and acceptance.

Keys to Images on Gaia’s Body. The Millennial Gaia is a richly detailed, meticulously sculpted statement about the Earth, and the interconnectedness of all Her children. Moving outward from Her womb, delicately engraved tattoos on Gaia’s legs display the evolution on life in the seas, from the earliest bacteria and single-celled protozoa, to the great sea mammals on her buttocks. Similar engravings adorning Her arms culminate in the majestic Redwood forest on Her right arm, and the tropical Rain Forest on Her left. Her right breast is a cornucopia of nourishing fruits and vegetables, while Her left breast -- over Her heart -- is the Moon, whose phases beat the pulse of the ocean’s tides and women’s cycles. The intricate Evolution Mandala that runs up Her hair is a rich tapestry of tiny creatures tracing the evolution of vertebrate life on the land, with braids representing the double helix of DNA forming the umbilical branches of the Tree of Life. The chronological scale is logarithmic, beginning at the base with the Devonian Age, when the first primitive Amphibians crawled out of the swamps onto dry land, and progressing upwards towards modern times. Different geological eras are distinguished by differing background vegetation. At the crown of Her head, the pinnacle of emergent consciousness (“Crown of Creation”) is represented by a Sperm Whale over Her right hemisphere, and a Human Child over Her left. The child holds a ball -- a globe of the Earth? Around Her face, clusters of leaves representing the fifteen sacred trees on the Celtic Tree Calendar comprise Her hair. A key is provided. Also among her hair are flowers: Rose, Poppy, Hibiscus, Daisy, and Morning Glory. Circling Her shoulders, a Monarch Butterfly represents the Sun, and a Luna Moth the Moon. Other Sacred Insects may be found among Her leafy locks: a Dragonfly, a Scarab, and a Spider.

Oberon is a renowned modern-day Wizard, and Magickal Elder. In 1962, he co-founded the Church of All Worlds, the first legally-established church to ordain women as Priestesses. Through his award-winning Pagan magazine, Green Egg (1968-present), Oberon was instrumental in the coalescence of the Neo-Pagan movement. In 1970, he had a profound Vision of the Living Earth and published an early version of “The Gaea Thesis.” Oberon met his soulmate, Morning Glory, at Fall Equinox of 1973, and they married the following year.

Oberon is an initiate in several different magickal Traditions and a prolific author. His books include Companion for the Apprentice Wizard (2006), Creating Circles & Ceremonies (with Morning Glory—2006), A Wizard’s Bestiary (with Ash DeKirk—2007), Green Egg Omelette (Editor—2008), and The Witch and the Wizard OZ (with Morning Glory and John Sulak—2012). His jewelry and sculpted figurines are available at www.MythicImages.com, and the school he founded is at www.GreySchool.com.

https://vimeo.com/215849774

(www.MythicImages.com).

The Once and Future Goddess

in honor of Dr. Elinor Gadon, founder of the Women's Spirituality Program at CIIS

CURATED BY TRICIA GRAME & MARA LYNN KELLER

Invited Artists

Artist

Artist Statement

Artist Bio

Gabriel Allen

Cristina Biaggi

Stacy Boorn

Max Dashu

Barbara Daughter

Noreen Dean Dresser

Rose Wognum Frances

Tricia Grame

Nancy Hom

Shah Noor Hussein

Eahr Joan

Jeanette Kiel

Diane Martin

Shiloh McCloud

Mayumi Oda

Marni Ashirah Rothman

Artist

Kanyon Sayers-Roods

Gail Williams

Tanya Wilkinson

Artist

Irene Young

Ji-Young

Oberon Zell-Ravenheart