Psychic Art
The following
pages represent a small selection of my paintings
from the time before I became a full time psychic medium
and author. I was accepted into St Martin's College in London but was unable to attend because of grant problems. However I set up my own studio and exhibited at Southampton Municipal Art Gallery, some London Galleries and Harrods.
I called my work 'Eidetic Art' because
it was inspired by the flow of vivid imagery that
can be seen during Hypnagogic Dreaming and Antar Mouna meditation. Sculpture and oil painting were an expression of my inner exploration and experiments with the perceptions. I believe that sometimes I was influenced by the spirit world that would guide the brush.
Art Inspired by Spirit
As a young artist in my 20's I would sometimes slip into a absorbed, entranced, state of mind and at these times sense someone draw close. At the time, I believed that this was my own unconscious - my 'creative self' that had disassociated itself from my rational consciousness and was guiding me with my artistic pursuits. I rationalised that it was what artists had called 'the muse' but surprisingly, if I asked the muse a question, he/she would sometimes talk back as if the muse was real and had a consciousness of its own.
My mediumistic work today has absolutely proved to me that the spirit people can talk to us through clairaudience. I realise now that what I was experiencing as a young man was not an aspect of myself as I had thought but a real independent spirit voice. The spirit people were helping me to simultaneously develop my artistic ability and my latent mediumistic gift.
The Artist and The Medium
When people ask me how mediumship works I will often explain it in artistic terms. When we get a creative idea that comes 'out of the blue' we have no idea where it came from and may marvel at its complexity and detail. So too with mediumship: the information comes to us by way of inspiration - a gift that is complete in every detail.
To be an inspired artist, musician or writer we need to access the flow of inspiration that comes from within us; to be a good medium we have to access the flow that comes to us from spirit: two very similar mental states.
Surveys have shown
that people with a psychic ability very often come
from artistic or creative backgrounds. See
our Psychic IQ Test in the Psychic
Tests section for more details about this.
Primordial
Dream
1975 oil on Canvas Painting by
Craig Hamilton-Parker
Buddha's
Enlightenment
1975 oil on Canvas Painting
by Craig Hamilton-Parker
Lucid States
1975 oil on Canvas Painting
by Craig Hamilton-Parker
Cosmic
Opening
1975 oil on Canvas Painting
by Craig Hamilton-Parker
Army of
the Dead
(After J R R Tolkien)
1975 oil on Canvas Painting
by Craig Hamilton-Parker
Paintings
& Preludes
by
Craig Hamilton-Parker
with music by Monty Warlock and with Gary Conway
Paintings
and Preludes was an exhibition produced in conjunction with the Jazz pianist
Monty Warlock and the help of my disabled friend Gary Conway in 1977. The
exhibition was held at Southampton Art Gallery and toured London with its
final venue at Harrods in Knightsbridge.
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Mirage |
Scherzando |
Reflections |
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Climbing
Dance |
Minuet
& Fuge |
Crystal
Images |
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Nova |
Hesitation |
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Aquitata |
Micro
Cosmos |
Fragmentation |
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Bachianas |
Mirage |
Nuance
Allegro |
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Devastation |
Interplay |
Pavanne |
Paintings and
Preludes was held in a darkened gallery with its own audio visual
show. The gallery was painted jet black for the three month period
of the exhibition. Below is an extract from the catalogue that
explains a little about the exhibits and the creative objectives
of the work.
The objective of this exhibition is to capture in paint the same emotional
and rhythmic qualities as are present in Monty's music. This type
of art form has been attempted before, but I feel that the approach
has been too analytical. It would have been obvious to select different
colours for different notes, and to vary them in sequence to create
the rhythm. I however have rejected this idea as I believe that good
music should by-pass the intellect and directly touch the spirit.
It' like the paintings themselves, must be felt not analysed. Consequently
I have endeavoured to To portray the music from an emotional standpoint.
The colours and form depict primarily the changing moods of the music,
not just the mechanics of the sound and rhythm.
The music is classical with
jazz improvisations, and also some pure jazz. To this auditory structure
have added what I feel are the comparative qualities in painting-
texture, balance, tone, time rhythm, intensity and mood. All these
qualities intermingle in the music to create overall sound. So too
in the painting they create the finished picture. Techniques such
as Glazing, hard-edge, blending and light-transparent overlay merge
to give what I hope is the overall feel of music. The paintings
are executed on triangular and diamond shaped boards, which, in
my opinion, helps the eye to travel. Other more conventional forms
such as squares and rectangles are too static. I feel the boards
used will disassociate our usual ways of seeing and in themselves
will create a volatile state which will add in forming rhythm. Furthermore,
the use of chip boards has other advantages with texture, absorbency
and of course price!
The black retard corners provide
a certain softness that helps the boards blend into the black backgrounds.
This background also helps the brilliancy of the paint by its contrasts
and intensifies under the lighting. The luminance of acrylic paint
can hence be exaggerated.
I considered using a number
of mediums and decided on acrylic paint. Acrylic has a constant
purity of colour and is a strong paint, ideal for use with stencils.
Rowneys have also developed a new 'Flow Formula' paint that is ideal
for use through an air brush and gives a transparency of colour
that is hard to capture with any other medium.
A flow and interplay of many
different notes and rhythm of sound which blend to create the finished
product called 'music'. This same quality I have attempted to create
in paint. By thinly overlaying different tones of colour one sees
the gentle transparency that I feel is the essential quality of
music. Only an air brush can create such a translucency to give
this synthesis of mood, rhythm and colour.
The exhibition itself consists
of 21 paintings. Ten of these illustrate the first ten pieces of
music played on solo piano and the next eleven illustrate the music
played by the orchestra. The first part is executed on triangles,
the second on diamonds. Originally I wanted to light each one individually
as each prelude is played, but for practical reasons this was impossible.
However I have compensated for this problem by briefly projecting
a slide. This helps the audience see exactly where they are and
they can follow the paintings in synchronisation with the music.
The exhibition you will see
tonight is not the final word of ways to portray music in paint.
There are many more ideas I would like to have experimented with:
stroboscopic lights, animation etc. However we must content ourselves
with trying to perfect my ideas within the budget available to me.
My thanks to the curators of Southampton Art Gallery and to the
industries and philanthropists who have helped to bring you this
exhibition.
THE MUSIC
by
Monty Warlock
'No doubt to many laymen,
the music will sound "strange" or "off". This
is because they will not be used to what is known as the 12 tone
or serial system, started in 1911 by the Viennese School of Schonberg,
Berg and Anton Weberne. In this system five more notes are brought
into use, giving the tone system much more scope. Most people
are only used to hearing the diatonic scale.'
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