“Once the teachings of the Valley of Shadows are transmitted to the initiate, specific stargates are discovered on both an exoteric and esoteric level, existing both within and without, in outer space and within the inner space of the initiates’ flesh, blood, and consciousness.”
– Craig Williams, Cult of Golgotha (Voix Mortes), p 135 (Anathema Publishing, 2018)
The Cult of Golgotha is a living wellspring – an invitation to advance beyond the psycho-sociological prison of contemporary “occult” work and into a full blooded conversation with the uncanny atmospheres and alien of the Ambient Dead!
Having worked with the material since Craig Williams began harnessing Golgotha’s trance-missions to form a book, it wasn’t surprising that there would be a certain ease in summoning a commemorative series of paintings to celebrate its release into the wild – but the directness, the presence and the immediacy of the process is certainly irregular to my normal pace.
The excerpt above from the Voix Mortes chapter revealed itself when I opened Cult of Golgotha questing for the meaning behind an obsessive output of 6 paintings in two days, and the rediscovery of two pieces created during the pre-publication phase of the book, to create a series of 8 initial commemorative paintings.
These words revealed themselves with eagerness and spoke directly to the presence evoked when the pieces came into focus – each painting’s meaning has now been recovered from the text, empowering them as Stargates exotericized through atmospheres drawn from the immersive fields of Golgotha.
Each piece is saturated in the folk practices underlying the book: some painted on antique barn roofing panels include webs, dry wings, etc. worked into the paint – others are painted on antique barn siding carry memories from a centuries old abandoned cemetery that rests to the West of the barn beyond a creek that winding a crooked path through the woods – and still others are simply painted on cardboard, as the fantastic visionary painters of Port-au-Prince, Haiti do to conserve valuable resources.
What would these pieces be if they did not embrace the important sense of place within the work of The Cult?
So it is that all of the materials and techniques used in their creation relate in some way to the deeper practices hinted at in the book – even the acrylic paint itself is both an homage to my brother and sister artists in Haiti and memorializes my deceased mother, from whom many of them were inherited.
“All contact with alien intelligences have the potential to expand the human web of perception. Etherian intelligences seek contact with human awareness to ground their teachings within specific terrestrial spaces, and within particular corporal dimensions of awareness.”
– Craig Williams, Cult of Golgotha (Etherian Physics, p 88 (Anathema Publishing, 2018)
Each piece is a small window into The Cult – Stargates hidden within simple folk forms and illustrative expressions.
These 8 examples are a beginning – or rather a continuation – of the creative expression inherent in Cult of Golgotha. Even now Haitian artist Lesly Pierrepaul, director of the New Vision art school, is working on additional paintings expressing Golgotha’s deep ties to the Haitian soil, and I have begun work on a new set of paintings associated with my own relationship to this potent magical machine.
For those who would like to acquire a deeper engagement with Gologotha – there are a few paintings left unclaimed from the initial set of 8, and as mentioned there will be additional pieces available soon.
Please contact Craig Williams at Siddhimunic@yahoo.com for more information.