This area may be a little too metaphysical for most people to understand. If the reader is not comfortable with this field, then please go to the more conventional art pages - links at the foot of page.

As my life has been steeply set in metaphysics, and because my motivation is the application of quantum physics in the areas of meditation and related fields, so my focus, at particular points in time, was to use my artistic and creative skills to design and construct two and three dimensional geometric forms to assist  users in their endeavours.

Time and again I found confirmation of my ideas after constructing an application for a particular purpose that was verified by the experiences of the user. Thus my intuitive approach in the design of these forms was confirmed on each and every occasion.

Perhaps the most profound of these was found with organising, preparing and leading a meditation gathering called the "11:11 Doorway," on 11th January 1992. The original concept was not mine, but came from a woman taking the name Solara in the U.S.A. (Solara's website: http://www.nvisible.com/ continues, showing dozens of photos of her 11:11 gatherings even today. Her workshops attract people from around the world. The fundamental difference between Solara's approach and mine is that her's is an American oriented business, with workshops and seminars to attract participants and money, and many products to support the show, and mine which was basic with the exception of the complex centrepiece, see Fig. 1 below, and guided imagery meditation using different sounds as catalysts. Everyone to their own!)

Solara received information of the importance of the 11:11 as a world-wide meditation when she was on a retreat about eighteen months prior to the event. News of the 11:11 roller-coasted around the world. I heard about it only about two months before the actual date of the event. The importance of it hit me like a bolt of lightning. But I did not go along with the methodology advanced by Solara, involving a particular kind of dance, or movement with hand gestures, which required Solara giving workshops to teach people her processes.

The following two months were the most active-filled preparations for the 11:11. I had already started making an 8ft base copper-framed pyramid months previously, seen in Fig. 1 below in its completion. The first thing I did was to book a large hall, the Amadeus Centre in West London, for the meditation gathering. Even though I was short of money at the time. But I knew it was the right action to take. Advertising of the event had to be done. Making various items for the centrepiece, seen below, also had to be done. At that time I did not have the advantage of a computer, and so everything was done in the old fashioned way.

One very interesting aspect of this came about with a knock at my door about 8.30pm. I peered through the curtains to the evening darkness to see who was at my door at that unearthly hour, for my location was somewhat remote. A young man with a rucksack stood there and saw me. He delved in his rucksack and brought out a piece of paper that I recognised. It was a small leaflet advertising the 11:11 event I had place in various locations in central London. And so I opened the locked and bolted door.

The young man's name was Peter Apps. He said that he was in America the day before. He had not heard about the 11:11, but had an urgent need/desire to return to England, not knowing why. When in London he went to Watkins Bookshop in Leicester Square, the famous and longest established esoteric and metaphysical bookshop in England. He found one of my 11:11 leaflets in the shop, and  said that when he saw the flyer he realised that his urgent need to return to the U.K. was realised. And thus his burning desire to come and meet me and get more information. The event was just a few days away.

Preparations for the evening event started at around 3.0pm that afternoon. Four other people helped to prepare the hall and arrange the centrepiece - see Fig 1 below. One of them, James Nicol, (known in his teens musical years as Jimmy Nicol): http://en.wikipedia.org/wiki/Jimmy_Nicol  and
http://www.beatlesagain.com/jimmy-nichol-temporary-beatle.html
http://en.wikipedia.org/wiki/The_Beatles .
James was a drummer and was asked by George Martin to step in to play with The Beatles in 1964,  when their drummer Ringo Star fell ill with tonsillitis on the Beatles' Australasian tour.
YouTube video: "The Beatles I Saw Her Standing There with Jimmy Nicol"
http://www.youtube.com/watch?v=dJulGC4eDwU&feature=related

Jimmy Nicol, in the light coloured raincoat, with Paul McCartney, left, John Lennon, centre back and George Harrison at (believed to be) Copenhagen airport.	Postcard with the signatures of Paul McCartney, John Lennon, George Harrison and Jimmy Nicol.
The Beatles breaking-in Jimmy Nicol, their new temporary drummer.	Rare photo of all five Beatles - Jimmy Nicol on the left.

Jimmy Nicol, in the dark suit, with his own band  The Shubdubs in 1964. http://www.pmouse.nl/nicol/  The above website carries many photos of Jimmy Nicol, including one taken in 2005.	Jimmy Nicol and Tex Makins with Georgie Fame & The Blue Flames at the Flamingo in London. (My sisters used to go to the Flamingo.)

Back to the 11:11 meditation:
The event became a spectacular success, filling the hall to capacity with in excess of 130 people. The photo below, taken by Domenica Piantedosi, an Italian banker, one of my helpers on stage, shows just a small section of the gathering. The meditation was the most powerful I have ever led. Not only with the feedback  received from many of the people, but also my personal experiences.  It was the longest meditation event, done in two phases. The first part started just before 8.30pm and finishing at about 10.35pm. Then a 30 minute break to allow the many who had come a long distance to catch their last train home, and  for everyone else who wished to remain for the second part, to have hot soup and other refreshments in the kitchen. We then recommenced at 11.05pm, finally finishing shortly before midnight. Then the dismantling of everything took about one-and-a-half hours.

An amusing anecdote to the event, although it was not amusing at the time, came twenty minutes-or-so into the guided imagery process. (A small entrance fee had to be levied to cover all the outgoing costs: the hall hire, P.A. system hire and advertising.) I knew that if the doors were left open there would be gate crashers, people getting in for free. The entrance doors were thus closed once everybody was in the hall and we were due to commence. Then after about twenty minutes there was a loud banging coming from the locked door at the side of the building . I raised my voice over the microphone slightly in the guided imagery, in an endeavour to counter the disturbance. But it continued for a while and then stopped. I hoped that they would go away!

There was a kitchen attached to the hall, and I had arranged for soup to be served later in the evening. The time was dead of Winter and it was very cold.  The gate crashers had obviously gone to the kitchen door requesting to be let into the meditation event. The kitchen staff let them in. Once in, they were well nourished by the experience.

Some months later Peter Apps went on to assist with some of my other meditation events, he was a music student of the Royal Academy of Music, and arranged lunchtime music recitals with some of his fellow students at St Mary Aldermary Church in the City of London, where I held Full Moon Meditations for The Earth meetings. Once Peter had graduated from the Royal Academy of Music he went on to join a professional orchestra in Brazil.
 

Fig. 1  11:11 Centrepiece
 

The Vortex Generator, above left, was made in solid copper 24" square x 1/8 inch thick, mounted onto a wooden base with protective frame. The whole had a protective velvet padded cover. The geometric forms were deep etched into the surface, and the plate polished. Its application was for energy work.

Fig. 6  Pyramids

The pyramid towards the front left is a hollow 12 inch base pure white crystalline marble of Naxos, Greece, loosely sitting on a white marble plinth within a wooden frame. It was made for energising (potentising) organic or inorganic material within.

The pyramid to the right has an 18 inch base measure and completely hollow, having a fixed integral base. The whole structure was made of 1/2 inch plywood. All five surfaces, four sides and base, were finished in gesso, the standard preparation for water gilding. It received two layers of double weight gold leaf.

The pyramid at the rear is hollow with a fixed base, made from 1/2 inch plywood and finished in white lacquer with symbols of the four elements. It was made for energy work.

The Sun Gong above was cut out of 30 inch square x 1/8 inch thick solid bronze. It was beaten to a convex centre and concave perimeter. The gong is suspended by leather thong from a 3 inch thick purpose-built  bamboo frame. For this I made two strikers. One soft padded finished in felt. The other firm padded finished in leather.

The Sun Gong was specifically made for large transformational workshop gatherings, using a multiplicity of energies, including the Sun Gong, Tibetan Singing Bowls, activation music, guided imagery, various essences, quartz crystals and other minerals, and other modalities. These transformational workshops were very powerful for the participants.

The workshops were held in a large hall with fitted carpet. Upon the carpet was taped a 26-foot square calico sheet, painted with the geometric design shown above.

The perimeter of the outer circle was lined with quartz crystals pointing inwards and touching side to side. On the four corners of the sheet were large quartz crystals of approximately 9" long pointing inwards.

On the star points touching the perimeter were placed rose quartz. Within the complex geometry of the platonic solids in the centre were placed various crystals.

The participants laid down on their backs, head pointing outwards. Their heads just within the points of the star. A maximum of 24 persons could be accommodated, one person on every other star point.

Approximately a quarter of a tonne of quartz crystals were used for these large workshops. For transportation the minerals were carefully packed in padded boxes; each box being numbered for identification of contents. The crystals were packed in a particular manner for their protection so as to prevent or minimize damage.

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