Remote viewing is simple. Not easy, simple. Learning remote viewing is like training in a martial art - it takes time and dedication, and then when you think you are there, there is always more to learn.
Every physical manifestation in the world gives off a distinct vibration, like a kind of energetic ‘smell’. Remote viewers are practiced at entering very receptive states of mind where they can tune into and navigate these vibrations at increasingly subtle levels, like building up a picture in layers. It is sometimes, however, difficult to get reliable, real-time information from on the ground without resorting to telecommunications systems. NPC have been conducting experiments in remote sending where agents on the ground send psychic images to a “viewer” to reinforce their own remote viewing of a target.
Two of the most promising remote senders NPC ever saw were Agents Angleton and Pasteur, but they sacrificed themselves for the team in order to seal the rift caused by the 2007 - 2009 Closed, Time-like Curve between Hoxton Square and the Iron Man in Birmingham during mission DY-66. They are sadly missed.
In my current work I wanted to explore the idea that a portrait may be able to signify the psychological condition of the child and its environment without any description and only through the use of colour and colour relationships.
The face and its portrait is the site of the senses: vision, smell and taste are centered here .It is through the face that one gathers and distributes information. We are subconsciously connected through people and faces. When we communicate with another person through speech or gesture, we look at the face to confirm that our message has being received and understood.
The portrait is read with similar purpose or intensity; we search for clues through which we might know the experience and conditions of the person shown, and perhaps draw from it conclusions about ourselves.
I portrayed the children from photographs, but an image on its own is never enough to create a painting. I always sense that something is missing from the image and I always seek that missing part. Behind the image there is always a pose or an act and for me it is fascinating to try to recreate the character all over again, not in the way that it looks in the image, but in the way that I imagine him or her to be through my own eyes, and explore the way that colour can work with this to make it stronger as an experience.