The First Wave
by Guillermo de Llera
by Guillermo de Llera
Painted between 2008 and 2009, The First Wave series of paintings is based on the book: The Daemon.
This series focuses on ancient landscapes and cave-wall iconography, as were put down by the old peoples of Guanjama during the prehistoric age.
This series focuses on ancient landscapes and cave-wall iconography, as were put down by the old peoples of Guanjama during the prehistoric age.
The First Wave: the inside story
Although this series of paintings were based on the book: The Daemon, the story itself was based on another story; not one in the fashion of ancient cultures and spiritual traditions, but one following an entirely different concept altogether.
The inspiration for The First Wave is in reality a precursor to the story itself, as it is based on the philosophies and mind-set of the peoples that ‘own’ the myths that ‘feed’ the book..
The attempt is to put these notions in context and emulate the cave paintings and carvings that are the evidence from which, after thorough investigation, the myths and stories for The Daemon have been finally compiled.
These are the engravings found in the caves of Dab-Shi, in the estuary of Guanjama. The caves were the homes first to the tribes of cave-dwellers, and later to the shamans and ascetics of posterior cultures. All, without exception left their mark in the walls, mostly in reference to the myth of How the Earth Became a Mother, which went on to become the inspiration of the following series of paintings: The Golden Trees. It is part of a World-View that has long since disappeared from the mainstream but still lingers behind the scenes, bringing poetry to the lives of the few who embrace it.
It was believed in this region on Dab-Shi, in Guanjama, that within all living beings resided a mind divided into three filters of experience, called “The Three Bodies”, and a fourth external factor they named “The Ghost”.
“The Ghost” was the name given to all living external influences, be they visible or not, that could affect one’s behaviour. It referred to the influence of all kinds of Spirits, without discriminating between Gods, Guardian Angels and Elementals, as well as Independent Energies, whether positive or negative in force.
The “Middle Body” signified Consciousness, or the “I”. All that was part of an association between the sense and the lived present was of this world, of the “Middle Body”, only subsequently being transferred and stored to the “Lower Body”, and with time completely disappearing in the depths of the Self. This was a world ruled by emotions and the processes of logic. The element of “Fire” was associated to the “Middle Body”.
The “Lower Body” was the repository of all experience and acquired information. There was no time there, only the eternal present. It was a Body, or dense state, with no tangible definition; and of difficult access beyond the superficial contact with memories and their associated sensations attributed by the “Middle Body”.
However, it was there, in the depths of the “Lower Body” that the final illumination could take place, in a simultaneous playing and burning of all moments lived in an ultimate epiphany. The “Lower Body” was ruled by the Earth element.
The “Higher Body” was white, neutral, and pure. Here resided the Immortality of Being, and the Ultimate Reality. This was a state which was always present, and always hidden, colouring every aspect of life in the “Middle Body”, yet who’s realization was untouchable until attainment of the illumination of the “Lower Body”. The attributed Element to the “Higher Body” was Air.
Although this series of paintings were based on the book: The Daemon, the story itself was based on another story; not one in the fashion of ancient cultures and spiritual traditions, but one following an entirely different concept altogether.
The inspiration for The First Wave is in reality a precursor to the story itself, as it is based on the philosophies and mind-set of the peoples that ‘own’ the myths that ‘feed’ the book..
The attempt is to put these notions in context and emulate the cave paintings and carvings that are the evidence from which, after thorough investigation, the myths and stories for The Daemon have been finally compiled.
These are the engravings found in the caves of Dab-Shi, in the estuary of Guanjama. The caves were the homes first to the tribes of cave-dwellers, and later to the shamans and ascetics of posterior cultures. All, without exception left their mark in the walls, mostly in reference to the myth of How the Earth Became a Mother, which went on to become the inspiration of the following series of paintings: The Golden Trees. It is part of a World-View that has long since disappeared from the mainstream but still lingers behind the scenes, bringing poetry to the lives of the few who embrace it.
It was believed in this region on Dab-Shi, in Guanjama, that within all living beings resided a mind divided into three filters of experience, called “The Three Bodies”, and a fourth external factor they named “The Ghost”.
“The Ghost” was the name given to all living external influences, be they visible or not, that could affect one’s behaviour. It referred to the influence of all kinds of Spirits, without discriminating between Gods, Guardian Angels and Elementals, as well as Independent Energies, whether positive or negative in force.
The “Middle Body” signified Consciousness, or the “I”. All that was part of an association between the sense and the lived present was of this world, of the “Middle Body”, only subsequently being transferred and stored to the “Lower Body”, and with time completely disappearing in the depths of the Self. This was a world ruled by emotions and the processes of logic. The element of “Fire” was associated to the “Middle Body”.
The “Lower Body” was the repository of all experience and acquired information. There was no time there, only the eternal present. It was a Body, or dense state, with no tangible definition; and of difficult access beyond the superficial contact with memories and their associated sensations attributed by the “Middle Body”.
However, it was there, in the depths of the “Lower Body” that the final illumination could take place, in a simultaneous playing and burning of all moments lived in an ultimate epiphany. The “Lower Body” was ruled by the Earth element.
The “Higher Body” was white, neutral, and pure. Here resided the Immortality of Being, and the Ultimate Reality. This was a state which was always present, and always hidden, colouring every aspect of life in the “Middle Body”, yet who’s realization was untouchable until attainment of the illumination of the “Lower Body”. The attributed Element to the “Higher Body” was Air.
