Since publishing my most recent book Being with the Beings in March of 2017, I have had a profound life change, moving from writing to glass work. After producing or contributing to around a dozen books in ten years, I feel that part of the mission is complete.
The truth is, I can no longer express where I am at in words. Through the process of working on Meet the Hybrids, We Are the Disclosure and Being with the Beings, it was increasingly the case that the language to describe evolutionary experience is inadequate or nonexistent. People use ‘Ascension’ a great deal, and talk about ‘frequency shifts’ and so on, but I have found that language too abstract, and varying significantly in interpretation. Unrelatable and imprecise, in short. What impacted me the most was connecting with the extraordinary interviewees, the information they shared and the experiences I had during this period. It feels less true to say that it changed my life, and more true to say that it made my whole life make more sense. It would take a whole book to lay out the details, but in essence, the overall experience helped me to feel better situated in this reality. And that is invaluable.
After Being with the Beings came out and I did the round of promo interviews with colleagues from the book, then, due to an amazing case of divine intervention, I moved house. After getting settled in late September I was at a close friend’s home, and she taught me the rudiments of copper foiling, a basic glass work technique. I made a small lightcatcher.
The magical alchemy of working with light, color and energy lit up my imagination, and I could not stop.
Almost immediately I went from 2D to 3D, and made a series of lamps and light shades. The tall candle shade is a center piece for my parents’ golden wedding anniversary. The dodecahedron was a technical challenge, just to see if I could pull it off. You can readily see a pyramid theme developing.
The long pyramid lamp came from a vision, and at that point I realized that all the designs were showing up as visions. As I thought about working more intentionally with these visions, a sentence began looping in my mind: “Clear the channel, clear the channel.” I took this to mean meditation, so consulted a friend who has done TM since the 70s, and he pointed me to a local teacher. After my initiation I began to meditate twice daily, and in the first week I saw an image of a cast piece of glass featuring the face of one of Cynthia Crawford’s ET sculptures. The piece, a Zuma Zeta, was given to me by Juju, who had bought it from Cynthia some years before. It always seemed like it was connecting with me, like it was trying to tell me something, and when I mentioned this, Juju insisted on sending it to me. I was astonished by this and tried to refuse, but she said, “No one really owns anything. And often things come to us just so they can get to the right person.” That outlook has stayed with me, and been useful in my own process of letting go.
So I bought a kiln, began researching casting methodologies then made a test piece. It was sufficiently successful that I realized I could improve the design and make them for other people. As I wondered about whether it was cool to use Cynthia’s sculpture for this project, in my next meditation she appeared, looking much younger – probably in her 30s – and she was just blazing love and light, as she always did when we spoke.
I asked, “Is this legit? Is that you Cynthia, or am I just off on some lovely trip?” I don’t recall the words in the exchange that followed, but I was left with a powerful sense of love, excitement and support from her – which I am certain is precisely how she would have responded in life. When I shared this experience with others who knew her, several of them said they’d had the same type of encounter – and they all said she looked much younger.
In putting this article together, I discovered – with hairs standing up on my neck – that I began this journey two days before Cynthia passed over. After her diagnosis of brain cancer, she said to me, “Don’t worry sweetie, we’ll still be working together, it’s just that I’ll be working from the ships.”
During a Skype call with Krista Raisa from Being with the Beings, her partner Ra suggested using the Nubian pyramid shape in my work, as it has a much stronger energetic effect than the Giza pyramid shape. This happened to fit the shape and scale of the being’s face perfectly, so I went with it. Since then I have made around a dozen of the ET sculptures, as well as other designs, some on the theme of portals. And one of my personal pieces is a mixture of the two, the blue and yellow spiral.
After receiving the name ‘Lightworker Glass’ in a download I set up an Etsy shop so people can order pieces worldwide, and they are already on three continents. Most people use them in meditation, and all who do have reported fascinating experiences, including contacts and healings. This type of art, including light language and crop circles, often has ‘activating’ and healing aspects. This may be central to their purpose.
It is always gratifying when my work is of practical use to others, and the fact that these pieces are enjoyed on multiple levels is a delight. And as someone who values efficiency, to hold one of these pieces and understand its genesis says more, more immediately, than words could do. I hear from an increasing number of people that their experience is being channeled through art, and Being with the Beings is illustrated to reflect this. It can be a more obvious and natural way to express the journey than written language. By their nature, words limit what they define, and this journey is rarely about limitation.
Art invites and involves, it hints and suggests, but it leaves the audience to their own conclusions. And if I’ve learned one thing above all else in this field – and in life – it is that everyone has their own reality, and their own evolving conclusions on where they’re at, what this is, and what it’s all about. It is deeply satisfying to be able to express my present reality in one piece of glass.