Collectors Edition

Victoria Moore

2018

I AngelicCollections Realms Aquatic Wonders Feminine Mysteries Graphic Femme The Mythic Collection Other Worlds

II Collectors Edition

Victoria Moore Portfolio.com

III Articles Introduction 3 The Illuminated Works of Victoria Moore 4 Fine Art Magazine New York, NY

A Matter of Spirit 28 Mature Living Palm Springs, CA

Gaming Lifestyle and the Showgirls Influences 62 High Roller Life Atlanta, GA

The Allure of Moore 90 Fine Art Magazine New York, NY

Electrifying Power Art 110 Manhattan Arts International New York, NY

Commissioning a Portrait 120 High Roller Life Atlanta, GA

IV©2018 Victoria Moore Fine Art, LLC | All rights reserved to the artist or appropriate parties. Self Portrait Intro blossoming victoria’s angels graphiquePaintings femme Tools of the Trade 2 My Secret Garden II 52 Victoria’s Angel Suite 85 Sultry 109 Forty Shades 53 Ethereal Elegance 86 Right There 110 mythic Collection Wet White Rose Bouquet 54 Radiant Passion 87 Coming Home 111 La Vie Boheme 6 Blossoming Beauty 55 Wings of Desire 88 Memories 112 La Madonna and Child 7 Spirit In Motion 89 Voyeuristic Tendencies 113 The Goddess Isis 9 feminine mysteries Auspicious Arrival 114 Dance of the Seven Veils 10 Artist and Model 56 creative musings Sanctuary 114 Mystical Vision 11 Bed of Roses 57 Lance’s Armor 91 Changing My Image 115 Detail: The Goddess Isis 12 Sweet Treats 58 It’s a Wrap 92 Sensuous Silk 116 The Mystery School of Sophia 15 Inquiring Minds 59 Inner Walls 92 Sleeping Beauty 116 Tyche: Goddess of Fortune 18 Power Lounging & Easy Listening 60 Roaring Thunder 93 Muscle Bound 117 Consulting the Oracle 20 Romantic Read 61 Latoya’s Look 117 Themis: Blind Justice 22 aquatic wonders Madonna - Leather 118 Cleopatra VII: Daughter of the Nile 25 dancers & showgirls Crystal Jelly 95 Madonna - Lace 118 Zeus & Hera: Pallas Athena, Vienna 26 Primadonna Casino 63 Spotted 96 Her Hardwear 119 Hera’s Garden 27 Her Fans Await 64 Crystal 96 Showtime 65 Tropical 96 Beth as Eve 119 otherworlds Anticipation 66 Glowing 96 portraiture Presence of Angels II 28 Finishing Touch 67 Flickering 96 Ariel 121 Presence of Angels I 29 Backstage 68 Spirals 96 Commissioner Robb Pitts 122 Surrender 30 Curtain Call 69 Floating 96 Ulysees Glee 123 Evidence 33 Dress Rehearsal 70 Sea Nettle 96 Lennon & Jagger 124 Manifestation 34 Tiny Dancer 71 Golden Glow 97 Francis Ford Coppola Study 125 Crossing Guard 37 Latina Aura 72 Gossimer 97 Universal Ripples 126 Kindred Spirits 38 Keys to My Heart 73 Crystaline Couple 98 Invocation of the Dragonflies 40 Steamy Vision 74 Overhead 99 Peacock Butterfly 42 Let It Rain 75 Cresting 99 Dragonfly Lotus Dance 43 Beneath the Sea I 100 Event Outtakes Between Two Worlds 45 dreamscapes Beneath the Sea II 101 The Smithsonian NASM 127 Ethereal Dreams 76 Dance of the Dolphins I 102 Events, Shows, Opeings, etc. 128 ziegfeld starlets Swept Away 77 Dance of the Dolphins II 103 Peggy Shannon 46 Pillow Talk 78 Communion 104 Anne Lee Patterson 47 Faith 79 Tickling Her Fancy 104 Catalog raisonné 134 The Smokin’ Gladys Gladd 48 Warm Nights 80 Mermaid’s Ecstasy 105 Billie Dove 49 Dreamscape 80 Merman 106 Virginia Biddle 49 Slumber 81 Mermaid 106 Vivian Porter 50 Abstract Beauty 81 Sensuous Waves 107 Claire Luce 51 Lingering in the Light 82 Catherine Moylan 51 Dimayo Study 83 Sweet Dreams 84 1 Tools of the Trade 16” x 20” 2 oil on canvas 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 expression. Looking back on over a few decades and over 215 paintings I can’t escape the patterns of personal and private interests that beckon my brush and keep me coming back to the easel.

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 physicality, but it is the mind’s eye that explores 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 (NDE) at the age of twenty-two. The profound realization of crossing over and the visual residue continue to demand attention. It inspires my search beyond physical realities as I delve into the sublime realm of the metaphysical.

Plunging into ethereal worlds often reveals equally delightful discoveries as does submerging oneself into physical indulgences. As a child of the San Francisco ‘free-to-be-me’ 60’s and 70’s, 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 and means to illuminate them.

Included are120 paintings, a few of which are presented “in progress.” In some cases I have shared the evolution of a painting and I have included a few published articles and outtakes form some gallery openings, trade and art society events and into a few studios along the way. Maintaining this portfolio is an ongoing process as multiple paintings are in progress at the studio or on location at any given time.

Namast´e.

3 by Jamie Forbes “TheFine Art Magazine Illuminated Works of Victoria Moore” Of Myth and 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 20s. 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 Vision”, “Dance of the Seven Veils”, “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 artistic legacy gives evidence these concepts move beyond myth, and that in the 20th century, they are relevant, intriguing and will continue to enlighten and inspire generations to come.”

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

5 MythicLa Vie Boheme Women Although there is no single universal symbol for mother, the meaning of mother as absolutely universal. This is largely due to the fact that we all have a mother and each of us has our own distinct idea of what mother means to us. Because of vastly varying perception of the mother concept - the symbols for her are endless.

From the Madonna to Doves, and from the Lioness to Gardens, the symbol for mother is only limited by the perceiver’s perspective, unique and personal to each of us. Many different goddesses have represented motherhood in one way or another, while others have been associated with the birth of humanity as a whole, along with the universe and everything in it.

The beauty of the free-spirited mothers in northern California left an impression on me in both suburban and rural communes where I spent summers in 1970 and 1971. It was the unconditional love between mothers and their children as close to nature as I had ever seen.

La Vie Boheme 28” x 22” oil on canvas

6 La Madonna and Child As an artist who has spent a lifetime studing the old masters and painting beautiful women, sooner or later you want to take on the iconic image of the Madonna. Accordingly, this “bucket List” painting had been lingering in my mind until I had the opportunity to hang paintings with a full scale Casa Buonarroti authorized limited edition of Michelangelo’s monumental masterpieces in bronze, including The Piéta and The Brugess Madonna.

In most images I recalled, Mary was either looking towards Heaven and The Father, or she is looking down towards the Child and towards the earth. I felt the need to change her gaze and have her directly engage the viewer as a confident, strong and protective mother. Based on a painting by the master Bouguereau, I reenvisioned his classic elegance to La Modonna and Child.

La Madonna and Child 18” x 24” oil on canvas 7 The Goddess 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, 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 symbolizes, 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 Isis’ lamentation over 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.

8 Some early Christians called themselves Pastophori, meaning the shepherds or servants of Isis, which may be where the word “pastor” originated. The influence of Isis is still seen in the Christian icons 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.

The Goddess Isis 60” x 36” oil on masonite 9 Dance of the Seven Veils Women through the years have performed memorable and often scandalous versions of 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. While the dance itself is seductive, as each of her veils drops, she comes to an epiphany about life.

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.

Dance of the Seven Veils 60” x 36” 10 oil on masonite Mystical Vision Science today seems to be pointing beyond itself or at least beyond its materialistic boundaries to what we might call a “metascience” which admits the possibility that consciousness may be primary. In many religious traditions, there has been a re-awakening to the esoteric wisdom hidden within the outer forms, 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”, 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 and mystics who seem 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 calls 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 a 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. For example, every great teacher has recognized the need to translate objective theory into practical experience.

Mystical Vision 60” x 36” oil and resin on masonite 11 Explorations of Science and Mysticism

Essentially the experience which we may call mystical is the experience of our inter-connectedness. 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” is worn to protect and hide 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 purity of being.

However, the mark of authenticity of “mystic vision” 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.

12 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. 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’s 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 and 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.

13 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 and matter, heaven and earth, intellect and 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 7th 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 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.

14 The stars around the moon and beneath of dove are five- pointed 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 15 The Book On the cover of the book Sophia offers is Ouroboros, 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. However, it can be found in many mythologies over a vast span of time, from the Hindu to the Norse. 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. 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 and 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, the Three Cornerstone Virtues, 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.

16 The Mystery School of Sophia: Symbols & Iconography

1. The 12 levels of the Archangelic Plane 30. Element: Air 56. Antakytheara Mechanism 2. Hagia Sophia: Dome Windows 31. Element: Fire Ancient Computation System 3. Sun (Solar): Masculine Day Forces 32. Element: Water 57. The Byss: or the Abyss 4. Moon (Lunar): Feminine Night Forces 33. Upper Universe: Ceiling Constellation 58. Seated Male: Sacred King 5. Beams of Light: Into Minds of Initiates 34. Lower Universe: Hole and ripples in 59. Seated Male: King’s Deputy 6. Owl: Wisdom 35. Milky Way 60. The Ripple Effect 7. Divine Child: Often seen w/Sophia 36. Urn: Vessel For fire 61. Zodiac: Wheel of Life 8. All Seeing Eye: Feminine Expression 37. Smoke from Fire Smudging: 62. Cosmic Egg 9. Dove: Holy Spirit Fragrance of Prayer 63. Goose: Laid Cosmic Egg 10. Ascending Angel: Lighting the way Up 38 12 Stars: Around the Lunar Moon 64. Nest 11. Descend Angel: Lighting the way Down 39. Faith, Hope & Charity: Sophia’s Daughters 65. Solar and Lunar Crown 12. Diving Light: Dove carries in claws 40. Faith: Cross 66. 12 Starred Halo for Sophia 13. 6 Stars (Below Divine/Cross of Light) 41. Hope: Heart 67. Rainbow Light from Halo 14. Pyramid: Knowledge Center 42. Charity: Anchor on Faith, Hope & Charity 15. Rosy Cross 43. Sacred Chalice: Sophia’s chalice 68. Winged Ceduceus: with Lapis 16. Eye in Heart w/equal length bars making the cross stone atop 17. Wheat Shaft 44. Sacred Chalice: Christ’s chalice 69. Dual Snakes 18. Infinity w/Christian cross plus “<” symbol 70. Sword: Warrior 19. Lunar Phases 45. Crown: Traditional Style 71. Philosopher’s Stone 20. Pillar of Wisdom 1: Arithmetic 46. Eagle: On Crown 72. “Y” on her dress: Fem. Yanni 21. Pillar of Wisdom 2: Astronomy 47. Palm Leaf: On Crown 73. Book of Wisdom 22. Pillar of Wisdom 3: Grammar 48. Lapis: Purification 74. Ouroboros: On cover of Book 23. Pillar of Wisdom 4: Rhetoric 49. Flowers: The “Sophia” flower in pot 75. Gold Pages Edges: Book 24. Pillar of Wisdom 5: Dialectic 50. Vessel: Surrounded w/Eastern & 76. 4 Squared: Metal corners on 25. Pillar of Wisdom 6: Music Western Flower Blossoms the Book of Wisdom 26. Pillar of Wisdom 7: Geometry 51. Emerald Tablet 77. Sophia’s Veil: Hides / ProtectsTruths (out of frame) 52. Crystals: Transmit/Communication 78. Eye of Horus: Bracelet 27. Initiate at Pillar 7: You, the Viewer 53. Lily: Western Spiritual Traditions 79. Sophia: Goddess of Wisdom 28. Staircase: Degrees of Enlightenment 54. Lotus: Eastern Spiritual Traditions Virgin of the World Steps or Stages of Alchemical Purification 55. Bee’s: Three 29. Element: Earth 17 Goddess Of Luck, Destiny, Fortune and Fate

Tyche was the Greek goddess or spirit of fortune, chance, providence and fate. Usually honoured in a more favourable light as Eutykhia, goddess of good fortune, luck, success and prosperity. She was the personification of the hidden dreams and wishes of mortals or immortals, ancients or moderns. She has been adored, worshiped, celebrated, accused, but always called for.

During the Hellenistic period, cities that had her as their patron, presented the specific icons of Tyche. In the same period, Tyche appeared in many coins used by inhabitants in various cities and villages in the Aegean Sea.

She also represented the “concept”. That’s how she became both an inspiration and intrigue for poets, writers, philosophers, all kind of artists in ancient Greece. Praxiteles and Tyche of Antioch by Eutychides became the prototype for the images of the goddess.

The Goddess Tyche: Goddess Of Fortune 24” x 36” 18 oil on canvas - underpainting (in-progress) Tyche lived through times and changes, always equally unpredicted and embraced or held responsible for several events and incidents. As the Greek historian Polybius wrote, whenever there was no tangible reason found for some disasters, like floods or frosts, Tyche was considered as a force behind them.

According to Hesiod’s Theogony, Tyche was one of the eldest of many Oceanides, daughters of Oceanus and Tethys. She had various attributes attached to her name. With Ploutos she symbolized the plentiful gifts of fortune, or the horn of Amalthea, symbol of the plentiful gifts of fortune.

I presented Tyche with Cupid, turning an astrological “wheel of fate” as the goddess balances atop the world (historicaly shown as simply a ball) capable of spinning in any direction.

The ground beneath her is giving way, making room for her fortune. Good pr bad, there is usually something that has to be lost for something gained.

Often depicted as companions, Nemesis (Fair Distribution) was cautiously regarded as the downside of Tyche, one who provided a check on extravagant favours conferred y fortune. When complete, the goddess will be shining her light upon you, the viewer.

Faith, Hope and Charity detail: “The Mystery School of Sophia” (page 15)

19 Consulting the Oracle 30” x 48” 20 oil on canvas 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. However, 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 level-headed matrons.

21 The Goddess 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 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. Themis was also a goddess of prophecy and of oaths. She is sometimes associated with the Earth goddess, her mother Gaia and is occasionally referred to as the mother of Dike.

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.”

The Goddess Themis: Blind Justice 60” x 32” 22 oil on masonite 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. Accordingly, 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. Themis judged whether the dead went to Tartarus or the Elysian Fields and is depicted as blindfolded, as if 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.

23 Cleopatra VII: Daughter of the Nile 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.

24 Cleopatra VII: Daughter of the Nile 24” x 40” watercolor and oil on masonite 25 Zeus & Hera: Pallas Athena, Vienna 36” x 36” 26 oil on convexo canvas Hera’s Garden 24” x 36” oil on canvas - in-progress 27 “ABy Johnny Matter BlueStar: Mature Living ofMagazine Spirit”

Presence of Angels II 36” x 60” 28 oil on masonite Victoria’s 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 15 and her first one-woman show in San Francisco Bay Area introduced thirty works at age 22. A near-death experience the following year began her journey in

Presence of Angels I 36” x 60” oil on masonite 29 Surrender 36” x 48” 30 oil on masonite looking past the surface of nearly everything in her life. It’s a fascinating process to reflect these experiences of both spiritual and creative levels, I was 23-years old (1979) and dealing with a medical health issue for over 18 months, often going to an emergency room by ambulance. The staff had come to know me, and my emergency status well. Most practitioners 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 from a comer of the room, which now seemed to not have a ceiling, as it felt very “open” from above and behind ‘me’, a very bright white and warm, but slightly out of focus.”

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, legs 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 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 intravenous lines (IV’s). The room took a few big spins and I woke up hours later in the Intensive Care Unit (ICU).

31 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. Dr. 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) I ran right to them for answers or explanations. These scientists so surprised me with their varied observations, explanations and interpretations. It 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. I was invited to spend some time with her in her home in Seattle to discuss our experiences in depth. The paintings “Presence of Angels 1” and “Presence of Angels II” were a result of that conversation. These paintings are large, at 5 feet in width and reflect the experience of the angels as being “larger than life.”

These experiences have directly influenced some of my work. For instance, “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 that experience and reflecting a concept I felt impressed to understand from it... that energy transforms to matter through some sort of 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 spiritual 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 science and research oriented. I had always had precognitive dreams as a child, and a psychic sensitivity, that until much research into these matters, I had never had understood or had validated. As an empath, 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” mostly seem to have a major shift in the attachment (or detachment) to this earth and physicality those others do not possess. I no longer have a fear of death, and that 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 this subject has tons of books and a multitude of documentation and references of case studies, it does seem that there are some common elements to the experience. However, 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 or their life experiences.

32 “A near-death event catapults artist to new focus in work.”

Now that this subject has tons of books and a multitude of documentation and references of case studies, it does seem that there are some common elements to the experience. However, 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 or their life experiences.

While “Presence of Angels I” and “Presence of Angels II” depicted the relative ‘size’ of the angelic type energies encountered, there was a distinction of strength around a different sort of energy, as if of a protective nature. The term “Warrior Angel” comes to mind, yet there was never, in my experience, a facial identity as such. to them

In “Evidence”, I utilized a faux, partial mat painted into the image to establish the boundary between the “Here” and “There”, the ‘Us” and “Them”., “This side” and “The Other Side”. What I do know, is that from my experience, it was the evidence of something beyond physicality, that it had substance and the ability to leave an impression that has forever changed my life, and influenced the subject matter for many paintings as I continue to explore the residue and it’s meanings.

Evidence 30” x 40” watercolor and oil on masonite

33 Manifestation 36” x 48” 34 oil on masonite Manifestation Manifestation is a form in which an entity or being is thought to manifest itself, especially 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, displays itself and/or reveals itself through the manifestation of God’s or the power of spirit in creation is the secret manner in which acts of mercy ought to be performed, requires this public manifestation of them.

This brings us to the more metaphysical and mystical and implores us to look at the vertical/spiritual interaction dynamic of this Illusion 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. Then it is projected into the next level, 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 magnetic energy and can attract. It also holds the belief that the future is not written in stone and you have the free will to create what 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, and that is maintaining a state of “possibility consciousness.” Scientifically speaking it’s the bioelectric amplitude of the frequency at which your body/mind 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 the moment. Ultimately, you are the main architect of your reality and your Spiritual Intelligence uses 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. These paintings are only one form of my manifestation... what do you want to create?

The transformation of energy via spiritual intervention is the implications in this painting, with the triangulation of the orbs representing the ‘crystal’ clear influence and vision of the trinity infusing the manifested energy dropping into the ripples of the fabric of the universe.

35 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 (atoms) and molecular energy fields. There is no such thing as the 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.” - Robert Monroe

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. Dr. 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” or views his or her own physical body from the point of view of the “double.” Out-of-body experiences, 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 and beyond. Astral projection is usually associated with inter-dimensional travel where places may sound like dreams since there are no earthly points of reference. The “ethers” are generally thought of as energy layers around the earth where different types of spirits reside depending on the lessons they need to learn.

In the “Crossing Guard”, still unfinished at this time, is a slight impression of the tunnel effect, or narrow focusing of the spirit in transition (or the “silver cord” as others have described it) and the energies and protective guardian that seemed to be accompanying the passage, at least in my experience. Visual imagery can only imply one dimension of what this experience encompassed. As I continue to endeavour to portray this experience, however limited, with human and earthly means from what I can recall my personal journey included.

36 Crossing Guard 40” x 30” watercolor, resin and oil on masonite 37 Kindred Spirits 34” x 48” 38 oil on masonite Kindred Spirits “Kindred Spirits” can be defined in many ways. The definition below is one I find easy to embrace.

“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 whatever they are along the way. I must begin from where I am and so must you. We can travel while 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 linear, or 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” vibrations of energy of love, joy, light and truth of God 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 of 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.” author unknown

39 39 Invocation of the Dragonflies 36” x 48” 40 oil on canvas Invocation of the Dragonflies Significant experiences demand reflection in my work. Learning is lifelong. People, places, nature, spirit and most of all, “moments” matter. I had recently moved to what I had later found out to be historical American Indian tribal land along a long and winding creek. The street was named “Stone creek” and was located in western Georgia.

Not only had large quartz crystals pushed their way out of the rich soil, it often served up crystal arrowheads and remnants of tribal use of this scared land. My new neighbor invited me to her pool side for tea where I acknowledged the abundance of dragonflies. When she asked me if I knew how to invoke the dragonflies to land on you, I knew she had a similar intuitive spirit and that we would become dear friends.

She explained I needed to step down my energy to a level of stillness that can attract them to land. With practice it became a wonderful reason, or excuse to practice it and break from the studio activity and reconnect with nature. My best efforts once invoked four dragonflies to simultaneously land on me, proving we can learn to commune with nature in some pretty amazing and unexpected ways.

Thank you my dear Leslie, for your shared insights in to the wonders of nature and spirit on Stone Creek Court, for teaching me of Peace Trees and reconnecting me to the tribe.

41 41 Peacock Butterfly 12” x 24” oil on canvas

42 Dragonfly Lotus Dance 15” x 30” oil on canvas

43 The process or interpreting Tori Amos as a more mature “Alice” from Lewis Carroll’s “Between Two Worlds” involved creating a new mythDown for modern women.the ThisRabbit interpretation is based onHole his classic novel “Through the Looking Glass”. Invited artists were required to base the work on one of her songs. “Corn flake Girl” anchored the image to the lyric “Rabbitm where did you hide the key?”

Exclusively for Tori’s calendar image I digitally replaced the checkerboard floor of the original with a keyboard painted on a separate canvas, which has evolved into the painting “Keys to my Heart.” (page 77)

Eighteen artists are selected by invitation annually to paint Tori for a benefit calendar for The Rape, Abuse and Incest National Network (RAINN). Chosen to participate in the ninth annual edition. It was an honor to be selected for the cover.

44 Between Two Worlds 36” x 48 oil on canvas 45 The Ziegfeld Follies Starlets Breathing Color into Classic Photography Ziegfeld Girls were the chorus girls from Florenz Ziegfeld’s theatrical spectaculars known as the Ziegfeld Follies (1907–1931), which were based on the Follies Bergère of Paris. Despite Prohibition, the ‘20s was the decade of jazz, flappers and hip flasks. These showgirls followed on the heels of the “Florodora Girls”, who had started to “loosen the corset” of the Gibson Girl in the early years of the twentieth century. These beauties, of similar size, decked out in Erté designs, gained many young male and female admirers and they became objects of popular adoration. Many were persuaded to leave the show to marry, some to men of substantial wealth.

Once they caught the eye or heart of her husband, they were persuaded to move on by Florenz wife, when his eye lingered too long on any one of them. She would introduce the glistening and polished starlet to a Broadway producer or Hollywood executive to move them on and upward to fulfill both of their goals. This proved fruitful for more than a few of them. “The Ziegfeld Ball” in New York City continued as a social event of the season for years after the last production of the Follies.

Peggy Shannon 12” x 24” oil on canvas

46 Perhaps the most famous Ziegfeld Girl during the run of the revues was Lillian Lorraine, but over the years they included many future stars such as Marion Davies, Paulette Goddard, Joan Blondell, Olive Thomas, Barbara Stanwyck, Billie Dove and Louise Brooks. The survivors of the chorus lines of the last century are “The Rockettes” of Radio City Music Hall fame.

Black and white images began surfacing online in 1995 of some of America’s first “It” girls—the silent film era starlets who paved the way for the cacophony of sensual and provocative Monroe’s and Madonna’s to follow.

Alfred Cheney Johnston In approximately 1917, Mr. Johnston was hired by famed New York City live-theater showman and producer Florenz Ziegfeld as a contracted photographer. He was affiliated with the Ziegfeld Follies for the next fifteen years or so.

Johnston’s “standard” work, of course, was used by Flo Ziegfeld for the required advertising and promotional purposes of the Follies, which mainly consisted of individual or small-group shots of the Follies showgirls in their extravagant stage costumes. continued...

Anne Lee Patterson 16” x 20” oil on canvas

47 However, after Johnston’s death in 1971, a treasure trove of “artistic” semi and full-nude, full-figure studio photos (and their accompanying glass-plate negatives) was found stored at the farm near Oxford, Connecticut where he had lived since 1940.

Most of the photographs, some named, but mostly anonymous, were, in fact showgirls from the Ziegfeld Follies. However, such daring, unretouched full-frontal images would certainly have had no public-publication possibilities in the 1920s-1930s, so it is speculated that these were either simply his own personal artistic works and/or done at the behest of Flo Ziegfeld for the producers personal enjoyment.

The Smokin’ Gladys Gladd 18” x 24” oil on canvas

48 Billy Dove Virginia Biddle 16” x 20” 16” x 20” oil on canvas oil on canvas

49 I love this era as it tied to my mother and her sisters adventures, following their mother’s escapeds in NYC during these years as a publicly tourning pianist and vocalist in the US and abroad.

What good fortune it was that the women around me were strong in the two previous generations I know most about. Their radiant beauty echo for me the persona of a Zeigfeld Follies Girl.

My Aunt Alice is the background dancer in the painting “Her Fans Await”(page 68) and is from an old black and white from her days dancing at the Copa Cabaña in Manhattan during the war. I hope to one day ad a few paintings from that era to my catalog, but I so am drawn to the Art Deco and Neuvo eras, it seems like a past life type of familiarity.

Vivian Porter 16” x 20” oil on canvas underpainting (in-progress)

50 Catherine Moylan 16” x 20” oil on canvas underpainting (in-progress)

Claire Luce 16” x 20” oil on canvas underpainting (in-progress)

51 Blossoming My Secret Garden ii Literary works from my youth and late teens converge for me in this painting. Author, Frances Hodgson Burnett was a practitioner of Christian Science as a result of the premature death of her son, as well as personal illness when she wrote “The Secret Garden” in 1909. As a result, her now classic children’s novel is a wonderful exploration of 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 in literary 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 20th 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, 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 feminist 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.

My Secret Garden II 40” x 21” 52 oil on canvas 00 Forty Shades 21” x 32” oil on masonite 53 The garden, as the central symbol, is a site of both the near-destruction and the subsequent regeneration.

Blossoming, pollinating, reproduction, Paradise... contains the promise of eternal life.

Wet White Rose Bouquet 36” x 48” 54 oil on canvas Blossoming Beauty 48” x 36” triptych oil on masonite 55 Feminine Mysteries Modern Classics Whether the approach to a painting is with loose brushwork and a spontaneous expression with paint or a tightly controlled meticulous technique, the female form continues to intrigue and inspire me. The casual elegance of a woman comfortable and at ease becomes sensual to the observer as she indulges herself in simple daily pleasures.

Artist and Model 30” x 48” Underpainting - In pogress oil on canvas

56 This series began as an exercise to loosen up my hand and brushwork, which due to the technical Illustrator training, seems to impulsively want to pull out every detail. What I am finding is that as in life, softening the focus and becoming less concerned about the details you can find an inviting and richer experience in the process of letting go.

Most of the women captured in this series are not professional models. They are friends, first and foremost artists in their own right or craft, and to my good fortune, they are willing to allow me to objectify them.

One of them refuses to allow me to give her the photos I have taken of her or even a limited edition prints of any of the images she graces with her beauty. Without these generous souls these paintings would not exist.

A woman comfortable in her own skin moves with a relaxed grace that can be fleeting when trying to capture. Whether it is eating chocolate, indulging in a bit of wine and cheese, curling up with a romantic read, or lounging in the comfort of a favorite wrap in a well worn chair can become an invitation to seize and memorialize a moment of beauty.

Bed of Roses 40” x 30” oil on canvas 57 Sweet Treats 30” x 40” 58 oil on canvas Inquiring Minds 30” x 40” oil on canvas 59 Easy Listening 30” x 40” oil on canvas

Power Lounging 30” x 40” oil on canvas

60 Romantic Read 30” x 40” oil on canvas 61 Gaming Lifestyle and Casino Showgirls Growing Up on Gambling Strips and in Players Clubs Pays Off for artist Victoria Moore.

By Sonja Vass: High Roller Life Magazine: 2005

When your father likes to gamble and wins like a racehorse you find yourself growing up in gambling hot spots. They always made sure I had my little art box and sketchbooks ready to go on a moments notice, because winner’s stay in the game, and the games can run late. From Office’s Clubs to Strip Clubs and Off-Broadway, to big name theme casinos, private games and player’s lounges, my father and mother worked a simple 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 and my mother raked his winnings while he sat there and continued to win, most nights anyway.

Reno, Lake Tahoe and the Las Vegas “Strips” were magical wonderlands for a child of the 60’s and 70’s. The sea of lights and dizzying sounds were mesmerizing, but most inspiring was the exotic nature of the clubs and the lifestyle of the players, dancers, showgirls and ‘entertainers.’ Their adult playgrounds infused my childhood fantasy worlds on paper. and ink, or pencil, depending on my mood. I would sit on the strip 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. continued on page 65

Primadonna Casino Marquee 1966 32” x 42” 62 oil on canvas 63 63 67 Her Fans Await 16” x 20” 64 oil on canvas In the days when these were adult towns, families were not so catered to as they are today, so I had to entertain myself. Unlike the risks a young girl faces today, It felt safe to wander the streets and clubs as I pleased. I felt looked after and cared for by the barkers, pit bosses, doormen and entertainers. It was wildly curious nd exciting to spend so much time in an endless sea of adults feverishly throwing money around and pursuing adult pleasures.

Eroticism and sensuality were pervasive themes in these exotic 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 preparing for a show.

Showtime 16” x 20” oil on canvas 65 Anticipation 24” x 48” 66 oil on masonite My parents were well-educated life adventurers with wanderlust following the WWII and then the Cold War and my Father was a military cryptographer and pilot who had gambled all over the world. Mother was an outgoing broadcast personality, researcher and musician. Gambling junkets were usually a monthly event and almost every holiday trip we took involved gambling stop somewhere along the way, including Mexico 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 destinations 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 74

Finishing Touch 60” x 36” resin and oil on masonite 6745 Backstage 16” x 20” 68 oil on canvas Curtain Call 16” x 20” oil on canvas 69 Dress Rehearsal 16” x 20” 70 oil on canvas Tiny Dancer 36” x 36” oil on canvas 71 Latina Aura 24” x 40” 72 watercolor and oil on masonite Keys to My Heart 24” x 48” oil on canvas 73 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 70’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 press in Manhattan Arts Magazine.

In the 90’s, collectors maintained their interest making it difficult for me to hold a substantial body of work long enough for solo shows. To help resolve this, I began working in series when exploring new techniques and meduims.

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. 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 color on paper.

Steamy Vision 36” x 24” 74 watercolor, resin and oil on masonite I have come to appreciate how gambling infused the richness of my childhood. They were a major influence in developing my creative abilities. For my parents, gambling and the shows was part of their lifestyle, and while the gaming weekends held wonderful opportunities for me creatively, their winnings often supplemented my artistic education. In my early 20’s, when an artist was relocating, they bought out his entire art and graphic studio as a surprise for my birthday.

While I still love the sights and sounds of the casinos, but my favorite gamble is stepping before a blank canvas. With each stroke of the brush a painting can take the image in a new direction. The excitement of not really knowing which direction it may ultimately go is part of the magic of the process.

Let It Rain Let it Rain 48” x 30” oil on canvas

75 Ethereal Dreams 30” x 40” 76 oil on masonite NotesDreamscapes from Dreamland Sigmund Freud, father of modern psychology, believed that the function of dreaming was to allow release of repressed instinctual impulses that would preserve the ability to sleep. Freud believed that the instigating force causing dreams to occur was always a repressed thought or wish.

From simple romance, to hot scenarios, many of us have erotic dreams, however, not many of us admit to them, yet they can tell us about our sexuality. Psychoanalysts agree about the origin of erotic dreams: They are not just a chance, they are the fruit of desires, experienced through the day.

For example, if someone has left an impression on you during the day, it’s quite possible that you’ll dream about fantasies with them while sleeping. Erotic dreams are liberating as they allow the individual to live out buried sexual needs and help them to manage their daily lives.

Swept Away 30” x 24” watercolor and oil on masonite

77 According to Freud, that one’s dreams are capable of building a desired scenario and/or to sate unconscious impulses. Far from moral pressure, the dreamer can use their sexual energy and express all their sexual desires, even the most eccentric ones.

Pillow Talk 24” x 48” oil on canvas

78 Faith 18” x 36” In Progress - Q2 2017 oil on canvas

79 Warm Nights 24” x 48” oil on canvas

Dreamscape 30” x 48” oil on canvas

80 Slumber 24” x 48” oil on canvas

Abstract Beauty 14” x 18” poured oil background on canvas

81 Lingering in the Light 36” x 36” oil on convexo canvas

82 DiMayo Study 24” x 24” oil on convexo canvas

83 Sweet Dreams 36” x 48” 84 oil on canvas Victoria’s Secret Angels

85 85 One thing that struck me in the near-death experience was my encounter with angelic beings. I did not see them in a traditional sense that I have portrayed them here. in a painterly style. In my experience, they were more like a fluttering energy with an internal radiance that moved with a flame-like undulation.

Eternal Elegance 48” x 24” oil on canvas

Rights restricted: 86 all rights strictly reserved to the models, photographer(s) and their contractors. When Bettie Eadie, author of “Embraced by the Light” and I were sharing our experiences in her Seattle home, the one thing that stunned us both was an element she had not addressed in her book. Specifically, that the fluttering energy was a common experience in near-death experiences and they were comparatively, and proportionally, half again larger than human beings.

Radiant Passion 48” x 24” oil on canvas

Rights restricted: all rights strictly reserved to the models, photographer and their contractors. 87 Wings of Desire

24” x 48” oil on canvas

Rights restricted: all rights strictly reserved to the models, photographer(s) and their contractors. 88 Spirit in Motion 24” x 48” oil on canvas

Rights restricted: all rights strictly reserved to the models, photographer(s) and their contractors. 89 by Lance Victor Moore “TheFine Art Magazine Allure of Moore”

For over the last quarter century, the paintings of Victoria Moore have pushed the boundaries of what it means to be both esthetic and emotional. Never one to shy away from subject matter sometimes thought too progressive, her work has the rare ability to draw the viewer in with its beauty, and then ask that same audience to question what they perceive.

At times controversial, yet always visually stylistic, her work is able to tap into the current zeitgeist of the moment and create something truly timeless from it, yet commercially viable. She is the truest and most genuine of Feminist artists, in the sense that she embraces the value in all aspects of femininity; both the strong womanly mind and the body are to be equally celebrated in her artwork, not at odds with each other, but rather depicted in a harmonious dance that pronounces “Viva La Woman” without pandering to the masses.

Victoria’s willingness, even perhaps her preference, to go outside her own comfort zone, to experiment and try new techniques, has made her work dynamic and in constant motion towards new horizons. In these times, where many artists try to stay “relevant” by outsmarting the viewer and creating intellectually elitist works, Victoria does the opposite; she assumes her audience’s intelligence outright, that they will understand the minutia of the softest brush stroke, the simplest line gesture, confronting complex of subject matters with the most subtle expression without it needing to be “explained” or to be overwrought.

I say all this as someone who has watched her work progress for many years, as a true fan, a fellow artist, and also as someone who has seen how canvas captures a bit of her soul and spirit, and lucky enough to know and learn from Victoria herself, I say this as her son.

90 Creative Musings

Suspending Time

Capturing loved ones at points in their lives that mean something to you, the artist or photographer, is not always the version of them they want to have memorialized.

In Lance’s portrait, I felt the need to capture his ‘look’, both the fashion and the look in his eyes.

Sometimes his softness of spirit and inner beauty were disguised behind the piercings, body art and the veil of subculture haute couture. No matter the fashion statement of the day, his were always pretty flawless executions. As for his other ‘look’, I’ll let that speak for itself.

Lance’s Armor 16” x 20” oil on canvas

91 Inner Walls It’s a Wrap 24” 24” oil on Convexo Canvas oil on Convexo canvas

92 Roaring Thunder 18” x 28” oil on masonite 93 Aquatic Wonders Seducing the Eye and Beguiling the Mind

The sea cast a spell on me growing up on the northern California coast. Weekends chasing sunlight on the waves or climbing above the undulating fog banks as they rolled in on the Pacific Coast Highway often led to the Monterey Bay Aquarium. Their world renound Jellyfish collections are enhanced by lighting systems that illuminate the reflective nature of the internal structures. Seahorse exhibits seem to create an entire universe of their own.

DOLPHINS Sailing and sorkeling alomg the gulf shoreline brought me into experiences of swimming with them Sailing in warm waters where dolphin pods often play in the wake of your boats vibrations.

MERMAIDS As a Pisces, it seems natural to me to imagine environs for these mythic beauties, who have been the sensual subject of many artists, authors and poets. Who can resist the stories of their beguiling ways in ancient and modern folklore.

94 94 JELLYFISH I’m often asked what prompted me to explore jellyfish as a subject to paint when sensuous mermaids and mystical dolphins had become recurring themes.

When I was invite as the only female artist to exhibit with Guy Harvey, Randall Scott and Dan Mackin in a show titled “The Big Fish”, I decided want to show up with something other than the half-naked mermaids, which I am certain garnered me the invitation. But what?

I felt the need to push past the traditional underwater subjects and I knew that to capture their individual species would be challenging. So unique and other-worldly with their luminescent lighting and ease of movement through the water, so delicate and sometimes dangerous.

Studying jellyfish to simply expose the beauty and diversity of these creatures. I was easily lost in painting the nuanced color, transluscence and energy eminting from these creatures of the dark.

Crystal Jelly 20” x 16” watercolor, resin and oil on canvas

95 Spotted Crystal Tropical Glowing

Flickering Spirals Floating Sea Nettle

20” x 16” 96 watercolor, resin and oil on canvas Golden Glow Gossimer 36” x 36” 36” x 36” oil on convexo canvas oil on convexo canvas

97 Crystalline Couple 16” x 20” 98 oil on canvas Overhead Cresting 24” x 24” 24” x 24” oil on canvas oil on canvas

99 Beneath the Sea I 24” x 40” 100 oil on masonite Beneath the Sea II 24” x 40” oil on masonite 101 Dance of the Dolphins I 24” x 40” 102 oil on masonite Dance of the Dolphins II 24” x 40” oil on masonite 103 Communion Tickling Her Fancy 36” x 36” 36” x 36” oil on convexo canvas oil on convexo canvas

104 The enchanting mermaids of ancient myths and legends have captured the imagination of artists for centuries. The lure of their elegant beauty captivates the viewer while the sea gently echoes their music and the breaking waves keep time 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 Helen P. Blavatsky, who wrote “The Voice of the Silence,” that gem of transcendental wisdom (dedicated to her by the “few real mystics”). We find summation in that transformation: “Know that the stream of superhuman knowledge and the Deva-Wisdom thou hast won, must, from thy self, 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 fixed 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?”

Mermaid’s Ecstasy 40” x 30” watercolor, resin and oil on masonite

105 Merman Mermaid 36” x 20” 36” x 20” 106 watercolor, resin and oil on masonite watercolor, resin and oil on masonite Sensuous Waves 36” x 24” watercolor, resin and oil on masonite 107 CapturedGraphique Moments Femme

“Bold brushwork with a clear intention” Manhattan Arts Magazine” gave the graphic works steamy reviews and tagged me as an “Artist to Watch” in the 90’s based on this unique style.

Breaking free of the tight exacting line-work required in technical illustration, the expressive use of larger brushwork was achieved without the use of a digital process so frequently now utilized by digital artists with the posterize filter effect options found in programs like Photoshop.

This work is most often created in acrylic with a limited palette and fairly large chisel brushes. Acrylic on illustration board is entirely unforgiving. Since the white is the exposed board, you need to have unwavering commitment to each brush stroke. The fluid intention of brush movements is as liberating as the materials are restricting.

Sultry 30” x 40” acrylic on illustration board

108 108 109 ‘byElectrifying Sylvia M. Purcupile Power-art“ Manhattan Arts International Magazine

Artist 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 is artist Victoria Moore’s electric femme in stunning, high-impact black and white acrylic.

Ms. Moore’s direct and forceful style employs 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 the paintings “Right There” and “Coming Home II,” 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” 110 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 was not surprising that she has recently expanded into publishing.

Her first limited edition reproduction was “Right There.” Published as a limited edition of 225.

Ms. Moore began her career in 1973 as a publication specialist and technical illustrator and later shifted to graphic design and corporate branding. By 1985, as an Art Director, 30% 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. In 1990, she appeared in New York Art Review and American Artist’s: Leading Contemporary Artists in America.

Coming Home II 40” x 60” acrylic on illustration board 111 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.

Reconnecting with my oil painting skills and weaving them into the graphic works brought some playfulness and surrealistic stylings into a few of the works during this time.

A new mentor emerged who shared some classic techniques and personal formulas for mediums which expanded my ability to reach and set new goals artistically.

Specific and customized formulas for my meduims allowed me to speed up and control the oil painting process of glazing, which allowed me to infuse the paint with more layered light into the works and gain a richness of color that continues to challenge most image capture and repordition efforts.

Memories 36”x 48” 112 oil on masonite Voyeuristic Tendencies 72” x 72” diptych oil and resin on masonite panels 113 Sanctuary 24 x 24” acrylic on iIllustration board study

Auspicious Arrival 30” x 40” 114 acrylic on illustration board Changing My Image Through the early years, I had found oil paints to be very forgiving, allowing the flexibility to correct or make changes. I found myself approachimg a canvas with an, “I can fix it later” attitude.

As a challenge, I created a body of work on paper based illustration board, which is completely unforgiving. Combined with acrylic paints, myriad of limitations and rapid drying times, it taught me quick control. A stroke needed 100% commitment throughout. One mistake at any point and a piece could be ruined. I love the challenge and tension that involves.

As a substrate, I began to use masonite so I could control the brush strokes to a finer degree than canvas allows, and so I could introduce oil paints back into the process for a handful of transitional paintings that involved both graphic and realistic styles.

It also recognized the change from the graphic “signature” I had used for years of the zigzag ”VM” brushstroke with the dot as in the bachground od “Changing My Image”. It was one of the last paintings in which it appears.

Changing My Image 36” x 48” oil on masonite 115 Sleeping Beauty 24” x 18” acrylic on illustration board

Sensuous Silk 52” x 24” 116 acrylic on illustration board Muscle Bound Latoya’s Look 40” x 60” 30” x 40” acrylic on illustration board acrylic on illustration board

117 Madonna: Leather Madonna: Lace 30” x 40” 30” x 40” acrylic on illustration board acrylic on illustration board 118 Her Hardwear Eve: Beth 30” x 40” 30” x 40” acrylic on illustration board acrylic on illustration board 119 CommissioningHigh Roller Life Magazine a Portrait

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 V.I.P. 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 individual’s 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 less than at the top of my game.

Portraiture asks a lot of the artist. As one of the most historically significant branches of the fine arts, it is also one of the most challenging to master. It is an artists 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.

120 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 is traditional, romantic, formal, lifestyle, or a subject related to career, family, passion, sport or hobby oriented, not only is the content and concept important, decisions made in the early stages are crucial to the spirit of portraiture and capturing the subject authentically.

Ariel 18” x 24” oil on canvas

121 Robb Pitts - Fulton County Commissioner - Atlanta, GA 36” x 48” 122 oil on canvas “My Secret Garden II” (page 52) 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 are 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.

If you are unsure of process or the artist, establish a “kill” fee in advance so you have a respectful off-ramp for yourself and the artist.

Ulysses Glee 24” oil on Convexo canvas

PORTRAIT SOCIETY OF AMERICA State Ambassador 2006-2008 123 Lennon and Jagger 24” x 30” 124 oil on canvas The photo of Francis Ford Coppola and his daughter Sofia had caught my eye when it first ran as a two page spread in a print ad with Louis Vuitton. For a Portrait Society oa Fanerica competition entitled “Action Portraits”, I needed a subject “in action”. While some might have seen the original Annie Leibovitz photograph, I utilized only a small fragment, maybe 30% of the image which caught my attention as you could almost hear him saying “Action.” I also transported him to a vineyard in St. Helena, California. The mission style vineyard personalized the painting in a new way. Cropping his daughter Sofia from the original photographic image altered the context while creating a more intimate singular subject. The square proportion lends a bit of the unexpected, like the man himself.

Credits for the reference image: Photographer: Annie Leibovitz Advertiser: Louis Vuitton Subjects: Francis Ford Coppola and Sofia Coppola

Francis Ford Coppola 20” x 20” oil on canvas 125 Outtakes Like a Ripple in a Pond, Once a Moment has Passed it Cannot be Recaptured Only Interpreted. Every element contributes to how a painting tells it’s story, but the true magic depends upon the skill of the artist to breathe life into a flat surface. Each time you return to the canvas you need to tap into that well to recall the sensory and visual aspects that inspired your desire to capture that moment initially.

Some artists work solely from live sittings, others only photos, while most prefer both. If you want to catch even the most fleeting moment you have to be incredibly present and recall the impression of it and suspend it in your mind to draw upon.

The following pages feature shows, studios, conferences, teaching sessions, recognitions, gallery openings and artistic associates.

Universal Ripples 12” x 48” 126 oil on canvas The Smithsonian National Air & Space Museum NASM Permanent Collection Two Paintings from the “Holes in the Sky” series were personally by Deputy Director Don Lopez. “Halo” (top) & “Illuminations” were selected for the National Air & Space Museum on the National Mall and at Steven F. Udvar-Hazy NASM in Chantilly, Virginia.

The National Air and Space Museum of the Smithsonian Institution, also called the NASM, is a museum in Washington, D.C. It holds the largest collection of historic aircraft and spacecraft in the world.

Recognitions Presidential Commission Ronald Regan 1986 Erotic Signature “Changing My Image” selected as World Tour Exhibition Image

Top 200 Living Erotic Artists Worldwide - 2 years

127 State Ambassador Portrait Society of America During the three-year term representing approximately 400 plus artists and sculptors to the international conference of member artists, I received a State Ambassador Achievement Award in 2006.

128 129 130 131 Commissions Most of my commissioned paintings 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 are approval stages.

Atomic Shadows - s 24” x 36” oil on canvas - in progress

132132 Staying Focused On The Future Painting is a fairly organic process. Some paintings emerge, others evolve and many of them somehow manage to transform me in the process.

When left to my own devices I proceed as inspired and move toward completion of a painting as its relevance unfolds. Somewhere along the way, after the first blush of the concept or image hits the canvas, its ability to capturing my attention again and move it towards completion takes on a life of its own. Ultimately they take their own position for order of completion. Encouragement from a variety of sources have also inspired me to bring a work back to the easel, accelerating the lessons from the research of the work.

With Deep Gratitude I’d like to thank family, friends, fans and collectors, publishers, publications, galleries, writers, models, photographers, framers and reproduction houses that have and continue to encourage my creativity. Your support is deeply appreciated.

133 133 •Catalog Shown in this Raisonné Portfolio Jimi Hendrix 1974 72 x 36 Oil on Canvas Bound 1979 16 x 20 Oil on Canvas Gandolf Arrives 1974 36 x 24 Oil on Canvas Frazetta vs. Vallejo 1980 18 x 24 Oil on Canvas Just Ducky 1974 8 x 10 Oil on Canvas Yellow Rose in Bloom 1980 5 x 5 Colored Pencil for Tattoo David Hamilton’s Girls I 1974 10 x 12 Graphite on Paper Tropical Essence 1981 36 x 24 Oil on Canvas Snow Leopard 1975 36 x 24 Oil on Canvas Bo Derek 1982 8 x 16 Ink on Mylar Shroom Cottage in Winter 1975 8 x 10 Oil on Canvas Feathers: Lora 1982 24 x 30 Oil on Canvas Nude Snowscape 1975 12 x 16 Acrylic on Canvas Misty Mountains 1983 30 x 76 Oil Triptych on 3 Canvas That Girl: Laura 1976 9 x 12 Graphite on Paper Mom 1984 1984 10 x 8 Pencil on Board Napping in the Sunlight 1976 8 x 10 Graphite on Board Jeanne & The Chief 1984 11 x 14 Pencil on Paper - Mounted Two Young Girls Lounging 1976 9 x 12 Graphite on Board Hat & Pearls 1985 36 x 36 Oil on Canvas Reproductive Study I 1976 12 x 18 Color Pencil on Tint Paper Nora Gunter 1985 40 x 30 Acrylic on Board Reproductive Study II 1976 12 x 18 Color Pencil on White Paper Abstraction 1986 24 x 24 Cast Sculpted Paper Reproductive Challenges I 1976 12 x 18 Oil on Canvas (more blue) Cast Paper Shapes 1986 24 x 24 Cast Sculpted Paper Reproductive Challenges II 1976 12 x 18 Oil on Canvas (more purple) Beach Diptych 1986 24 x 96 Oil Diptych on 2 Canvas Walking Arm in Arm 1976 5 x 7 Graphite on Paper Visions of Judy 1986 24 x 96 Acrylic on Paper Board Aphrodite in Blue 1977 24 x 48 Oil on Canvas Lennon & Jagger 1987 24 x 30 Oil on Canvas Napping in the Sunlight 1977 12 x 18 Pencil on Board • Sheet Study 1987 24 x 46 Acrylic on Board T-Back Couple on Beach 1977 9 x 12 Oil on Canvas Right There 1987 28 x 22 Acrylic on Board B&W Female Nude w/Hat 1977 18 x 24 Acrylic on Canvas • Auspicious Arrival 1987 40 x 30 Acrylic on Board Davide Hamilton’s Girls 1976 10 x 12 Graphite on Paper • Contempo 1987 40 x 30 Acrylic on Board Lora 1977 9 x 12 Acrylic on Board Eve: Beth 1987 40 x 30 Acrylic on Board With Her Glass of Wine 1977 14 x 11 Color Pencil on Paper • Fashionista 1987 40 x 30 Acrylic on Board Held Hostage 1978 18 x 24 Pastel & Pencil on Paper Fortune Teller 1987 40 x 30 Acrylic on Board Cosmic Couple B&W 1978 11 x 17 Ink on Paper Grant’s Girl 1987 40 x 30 Acrylic on Board Cosmic Couple 1978 4 x 4 Mylar Films Her Hardware 1987 40 x 30 Acrylic on Board Pisces 1978 18 x 24 Oil on Canvas • Justine 1987 30 x 40 Acrylic on Board Barbara in Hot Tub 1978 9 x 12 Oil on Canvas Lakeside Lounging 1987 40 x 30 Acrylic on Board Biker Boot Reflections 1979 11 x 17 Ink on Paper • Latoya’s Look 1987 40 x 30 Acrylic on Board Biker Babe 1979 24 x 36 Oil on Canvas • Madonna - Leather 1987 40 x 30 Acrylic on Board Man in the Moon 1978 36 x 36 Oil on Wood - Round • Madonna - Lace 1987 40 x 30 Acrylic on Board 134134 Red Hat 1987 40 x 30 Acrylic on Board Dance of Dolphins II 1996 24 x 40 Oil Diptych on Masonite Romance 1987 40 x 30 Acrylic on Board • Seaside Painting 1996 24 x 46 Acrylic on Board Treasures 1987 40 x 30 Acrylic on Board Swept Away 1996 30 x 24 Oil on Masonite Panel Wendy Mann-Resnick 1987 40 x 30 Acrylic on Board • Mermaid’s Ecstacy 1996 40 x 30 Oil on Masonite Panel Who’s That Girl 1987 40 x 30 Acrylic on Board • The Goddess Isis 1996 60 x 32 Oil on Masonite Panel Workout 1988 12 x 24 Acrylic on Board • Abstract Beauty 1997 18 x 14 Oil on Canvas Think It Through 1988 12 x 18 Acrylic on Board • Cleopatra 1997 24 x 40 Oil on Masonite Panel Sanctuary 1988 24 x 24 Acrylic on Board • Anticipation 1997 24 x 48 Oil on Masonite Panel • Carol with Flowers 1988 30 x 40 Acrylic on Board • Ethereal Dreams 1997 30 x 40 Oil on Masonite Panel Sultry 1988 40 x 30 Acrylic on Board • Mermaid 1997 36 x 24 Oil on Masonite Panel Stockings 1989 20 x 40 Acrylic on Board • Merman 1997 36 x 24 Oil on Masonite Panel Coming Home I 1989 36 x 60 Acrylic on Board • My Secret Garden 1 1997 40 x 21 Oil on Masonite Panel Stalkings 1989 24 x 48 Oil on Canvas Changing My Image 1997 48 x 36 Oil on Masonite Panel Body Cast 1989 30 x 24 Plaster on Cast Paper • Dance of the Seven Veils 1997 60 x 36 Oil on Masonite Panel Coleen’s Moon 1989 30 x 40 Acrylic on Board • Finishing Touch 1997 60 x 36 Oil on Masonite Panel Latex & Steel 1989 40 x 30 Acrylic on Board • Spirit Study: Reunion 1998 12 x 16 Oil on Canvas Bd Railroaded 1990 24 x 50 Acrylic on Board Spirit Study: Visitations 1998 12 x 16 Oil on Canvas Bd Mary’s Dreamlife 1990 24 x 60 Acrylic on Board Latina Aura 1998 24 x 40 Oil on Masonite Panel Coming Home II 1990 30 x 60 Acrylic on Board • Steamy Vision 1998 36 x 24 Oil on Masonite Panel • His Pet 1991 30 x 30 Acrylic on Board • Ascension 1998 36 x 24 Oil on Masonite Panel Hot Talk 1991 40 x 30 Acrylic on Board • Olivia’s Cheesecake 1998 36 x 48 Oil on Masonite Panel Nico’s Hustlers 1991 40 x 30 Acrylic on Board Memories 1998 36 x 48 Oil on Masonite Panel Cityscapes - Lg Diptych 1991 30 x 40 Acrylic on Board • Mystical Vision 1998 60 x 30 Oil on Masonite Panel Cityscapes - Set of 4 1991 10 x 12 Acrylic on Board • Themis: Blind Justice 1999 60 x 30 Oil on Masonite Panel Muscle Bound 1991 40 x 50 Acrylic on Board • Presence of Angels I 2000 32 x 60 Oil on Masonite w/Foil • Passionately 1992 30 x 22 Acrylic on Board • Presence of Angels II 2001 32 x 60 Oil on Masonite w/Foil Shell Door Insert 1993 18 x 56 Oil on Wood Door Panels • 1 Heart 2001 16 x 20 Oil on Canvas Board Sleeping Beauty 1993 24 x 18 Acrylic on Board 2 Hands 2001 16 x 20 Oil on Canvas Board • Southern Beauty 1993 30 x 24 Oil on Masonite Panel 2 Hearts 2001 16 x 20 Oil on Canvas Board Wet Roses & Pearls 1994 22 x 38 Oil on Masonite Panel Inner Walls 2001 24 x 24 Oil on Canvas Convexo Roaring Thunder 1994 24 x 30 Oil on Masonite Panel • It’s a Wrap 2001 24 x 24 Oil on Canvas Convexo Voyeuristic Tendencies 1994 72 x 76 Oil Diptych on Masonite • Kindred Spirits 2001 36 x 48 Oil on Masonite Panel • Blossoming Beauty 1995 35 x 24 Oil on 3 Masonite Panels • Manifestation 2001 36 x 48 Oil on Masonite Panel Sensuous Waves 1996 24 x 30 Oil on Masonite Panel • Surrender 2001 36 x 48 Oil on Masonite Panel Beneath The Sea I 1996 24 x 40 Oil Diptych on Masonite • Angel City Lights 2004 30 x 60 Oil on Masonite Panel • Beneath The Sea II 1996 24 x 40 Oil Diptych on Masonite Star Child: Lance Victor 2005 16 x 20 Oil on Canvas • Dance of Dolphins I 1996 24 x 40 Oil Diptych on Masonite • Cresting 2005 24 x 24 Oil on 2 Canvas Convexo • • 135135

• Overhead 2005 24 x 24 Oil on 2 Canvas Convexo • Pillow Talk Study 2008 12 x 24 Oil on Canvas • Easy Listening 2005 30 x 40 Oil on Canvas Calla Lily Medallions 2008 24 x 24 Oil on Canvas Diptych • Dreamscape 2005 30 x 48 Oil on Canvas • Spirit in Motion 2008 24 x 48 Oil on Canvas • Sweet Dreams 2005 36 x 48 Oil on Canvas • Wings of Desire 2008 24 x 48 Oil on Canvas • Warm Nights Study 2006 12 x 24 Oil on Canvas • Eternal Elegance 2008 24 x 48 Oil on Canvas • Crystaline Couple 2006 20 x 16 Oil on Canvas • Radiant Passion 2008 24 x 48 Oil on Canvas Parke’s Impression: Study 2006 22 x 30 Oil on Masonite Panel • Jellyfish - Flickering 2008 20 x 16 Oil on Canvas Larry’s Lure 2006 24 x 24 Oil on Canvas Convexo • Jellyfish - Floating 2008 20 x 16 Oil on Canvas • Power Lounging 2006 30 x 40 Oil on Canvas • Jellyfish - Golden 2008 20 x 16 Oil on Canvas • Romantic Read 2006 30 x 40 Oil on Canvas • Jellyfish - Spirals 2008 20 x 16 Oil on Canvas • Self-Portrait 2006 24 x 36 Oil on Canvas • Gossimer 2008 36 x 36 Oil on Canvas Convexo • Played Out: D. Abbott 2007 36 x 24 Oil on Canvas • Between Two Worlds 2008 36 x 48 Oil on Canvas Teahapoo 2006 24 x 36 Oil on Canvas Convexo Glenn Arthur 2009 12 x 18 Oil on Canvas Panel • Inquiring Minds 2006 30 x 40 Oil on Canvas • Invocation of Dragonflies 2009 36 x 48 Oil on Canvas • Pillow Talk 2006 24 x 48 Oil on Canvas • Morning Rounds 2009 20 x 16 Oil on Canvas • Slumber 2006 24 x 48 Oil on Canvas • Let it Rain 2009 48 x 30 Oil on Canvas • Warm Nights 2006 24 x 48 Oil on Canvas Christine 2010 24 x 36 Digital Derivative on Canvas • Sweet Treats 2006 30 x 40 Oil on Canvas • Bed of Roses 2010 36 x 24 Oil on Canvas • Communion 2006 36 x 36 Oil on Canvas Convexo • Rainbow Lotus 2011 16 x 20 Oil on Canvas • Tickling Her Fancy 2006 36 x 36 Oil on Canvas Convexo Francis F. Coppola Study 2011 20 x 20 Oil on Canvas Holes in the Sky I 2006 36 x 36 Oil on Canvas Convexo Consulting Study 2011 22 x 16 Oil on Octogonal Canvas Silver Linings 2006 24 x 24 Oil on Canvas Convexo • Unassuming Beauty 2011 22 x 28 Oil on Canvas Shining Through 2006 30 x 30 Oil on Canvas Convexo • Dr. Ulysses Glee 2011 24 x 24 Oil on Canvas Convexo • Golden Glow 2006 36 x 36 Oil on Canvas Convexo The Big Bang 2011 24 x 24 Oil on Canvas Convexo • Halo 2006 36 x 36 Oil on Canvas Convexo • La Vie Boheme 2011 28 x 22 Oil on Canvas • Illuminations 2006 36 x 36 Oil on Canvas Convexo • Robb Pitts 2011 36 x 48 Oil on Canvas • Jelllyfish - Crystal 2007 20 x 16 Oil on Canvas Thanksgiving for Artists 2011 36 x 48 Oil on Canvas for Utrecht • Crossing Guard 2007 36 x 24 Oil on Masonite Panel Carerra Marble Study 2011 40 x 40 Oil on Canvas Convexo DaVinci Revisited 2007 36 x 36 Oil on Masonite Panel • Tools of the Trade 2012 16 x 20 Oil on Canvas • Mystery School of Sophia 2007 48 x 30 Oil on Canvas Rainbow Lily 2012 16 x 20 Oil on Canvas • Sensuous Silk 2007 52 x 24 Oil on Canvas Yellow Rose 2012 20 x 20 Oil on Canvas Elements 2007 60 x 12 Oil on Masonite Panel Box • Consulting The Oracle 2012 36 x 48 Oil on Canvas • Crystal Jelly Pair 2007 20 x 16 Oil on Canvas • Wet White Rose Bouquet 2012 48 x 36 Oil on Canvas • Jellyfish - Sea Nettle 2007 20 x 16 Oil on Canvas • Evidence 2012 48 x 36 Oil on Masonite Pane • Jellyfish - Spotted 2007 20 x 16 Oil on Canvas • Peacock Butterfly 2013 12 x 24 Oil on Canvas • Jellyfish - Tropical 2007 20 x 16 Oil on Canvas Peggy Shannon 2013 12 x 24 Oil on Canvas • 136136

Into the Light 2013 15 x 22 Oil on Canvas Showtime 2014 16 x 20 Oil on Canvas • Dragonfly Lotus Dance 2013 15 x 30 Oil on Canvas • Goddess Tyche 2014 24 x 36 Oil on Canvas • Mirror Mirror: Claire Luce 2013 16 x 20 Oil on Canvas Oval • Tropical Blues 2014 22 x 30 Oil on Canvas • Anne Lee Patterson 2013 16 x 20 Oil on Canvas • Community 2015 30 x 84 Acrylic on Canvas • Catherine Moylan 2013 16 x 20 Oil on Canvas Enzo 2015 53 x 44 Acrylic on Canvas • Smokin’ Gladys Gladd 2013 18 x 24 Oil on Canvas Neighborhood 2015 30 x 84 Acrylic on Canvas • Siren’s of Corona del Mar 2013 18 x 24 Oil on Canvas Board Scanctuary 2015 18 x 24 Acrylic on Canvas ••Mermaid’s Treasures I 2013 24 x 12 Oil on Canvas Street Corner 2015 16 x 20 Acrylic on Canvas • Mermaid’s Treasures II 2013 24 x 12 Oil on Canvas Clarity 2015 16 x 20 Acrylic on Canvas • Object of Affection I 2013 24 x 18 Oil on Canvas Strikes 2015 16 x 20 Acrylic on Canvas • Object of Affection II 2013 24 x 18 Oil on Canvas • Family Tree 2015 18 x 24 Oil on Canvas • The Invitation 2013 24 x 18 Oil on Canvas Try Again Now: Magic 8 2015 24 x 24 Oil on Convexo Canvas • Dimayo Nude Study 2013 24 x 24 Oil on Canvas Convexo • My Atomic Life study 2015 16 x 20 Oil on Canvas Coral Wrap 2013 36 x 24 Oil on Canvas Convexo • Hera’s Garden 2016 24 x 36 Oil on Canvas - In Progress Godiva 2013 36 x 24 Oil on Canvas Convexo • Artist and Model 2016 24 x 36 Oil on Canvas - In Progress • My Secret Garden II 2013 21 x 40 Oil on Canvas Giclee • Daydreaming 2016 18 x 24 Oil on Canvas - In Progress • Slipping Between Worlds 2014 36 x 24 Oil on Masonite w/Gold Leaf • Faith 2017 18 x 36 Oil on Canvas • Lingering In The Light 2014 22 x 28 Oil on Canvas • When it Rains... 2017 24 x 24 Oil on Canvas - In Progress • Francis Ford Coppola 2014 22 x 22 Oil on Canvas Giclee • Atomic Shadows 2017 24 x 30 Oil on Canvas - In Progress • Zeus & Hera 2014 40 x 40 Oil on Canvas Convexo Into the Light 2018 20 x 24 Oil on Canvas Board - In Progress • Breaking Through 2014 15 x 24 Oil on Canvas Northern Lights 2018 15 x30 Oil on Canvas Board - In Progress • Billie Dove 2014 16 x 20 Oil on Canvas • Vivian Porter 2014 16 x 20 Oil on Canvas • Virginia Biddle 2014 16 x 20 Oil on Canvas Contract Artworks: • Keys to My Heart 2014 24 x 48 Oil on Canvas 54 Chrishawn Artworks 1988 > 91 Various Media • Universal Ripples 2014 48 x 12 Oil on Canvas • Crossroads 2014 48 x 24 Oil on Canvas Convexo • Primadonna Casino 2014 32 x 42 Oil on Canvas • Ariel 2014 18 x 24 Oil on Canvas • Forty Shades 2014 22 x 38 Oil on Masonite Panel • La Madonna and Child 2014 18 x 24 Oil on Canvas • Curtain Call 2014 16 x 20 Oil on Canvas • Backstage 2014 16 x 20 Oil on Canvas • Dress Rehearsal 2014 16 x 20 Oil on Canvas • Winds of Change 2014 32 x 40 Oil on Canvas • Her Fan’s Await 2014 16 x 20 Oil on Canvas • Shown in this Portfolio

137 Inquiries

To request a list of available original paintings or to For a more detailed and updated information, please go to: inquire regarding availability of a limited edition, or to discuss a potential commission, please VictoriaMoorePortfolio.com contact your local gallery. It is important to support those who invest their heart and soul in representing artists, or contact the artist’s studio for assistance at: [email protected] Memberships Portrait Society of America State Ambassador / 2006-08 National Achievement Award / 2006 Laguna Foundation for the Arts Founding Member / 2015-16 Academy of Fine Art Foundation Member / Inception 2009 National Association of Female Executives NAFE / Mid- 1990’s-2003 Women’s Caucus for the Arts National & State National Museum of Women In the Arts Member / 1995-07

Artist’s Lifecast by Leslie Ennis

138138 Collectors Edition

Victoria Moore Portfolio.com

139