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 often 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 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 by myself?” 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, whom I interviewed in 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 form. This happened to complement the shape 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 ever 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. Since Beings came out I had struggled to articulate the effect this work has had on me, so it is now deeply satisfying to be able to tell that story in a single piece of glass.
“I found myself very drawn to the shape and the image within it, especially when the light shines through. It is beautiful and reminds me that we are all so much more than this physical body but connected to all sentience.”
– Mary Rodwell, Australia
“In holding the sculpture during meditation, the immediate felt sense was that it was alive. I have worked with other organic gems before, but with this sculpture I had an immediate knowing that there was more to the object than anticipated. As the meditation continued I felt a presence and guidance, unfamiliar to me. A communication ensued about how this being, now in my hands, was in service to me and would accompany me on my meditation. I believe that as I use this sculpture in the future this Being can offer possibilities of connection and information. Totally Awesome!”
– Darlene Van de Grift, New York
“I was captivated by these sculptures for several reasons. They are beautiful objects with inspiring colors, and I had never seen anything like it. They made me want to pick them up. I’m now happy to be the guardian of one myself. It’s fascinating to look at up close, and calming to handle, and at night I illuminate it with a tea light and the effect is warming and reassuring. And above all, this was created by my soul brother Miguel, my main contact on this planet, and that adds to my enjoyment every day.”
– D.B., France
“I call my sculpture ‘B’. The first time I meditated with him I knew I had to bring him up my third eye and I have done so ever since. What happens next is always intense! Energy will rush into and through my brow chakra, swirl like a hurricane in my head and shoot out the back. This leads to an instant shift in frequency and transcendental experiences. My off-world communication has been simultaneously intensifying for work/project and personal reasons, so I don’t think it is a coincidence that B found his way into my life at this point to help facilitate that.”
– Naomi Cook, Australia