#Spiritual Healing In Liverpool

[gmrajuastrology]

Do you know what is a common indication of being healthy? If not, we must inform you that if a person has a very powerful connection between their mind, body, and soul, they can be termed as healthy. But do you know what? The establishment of this particular connection is seen in a very few people these days. And the reason? Well, every second fellow out there is physically or mentally ill due to the stress or lack of movement they have been experiencing for a long time.

[astrologerramguruji]

How a Vashikaran Specialist in Brisbane Can Help You?

In today’s fast-paced world, many individuals find themselves grappling with personal and professional challenges that seem insurmountable. Whether it’s relationship issues, career stagnation, or health concerns, the quest for solutions often leads people to explore various avenues, including spiritual practices. One such practice that has gained popularity is Vashikaran, an ancient Indian art of attraction and influence. A Vashikaran specialist in Brisbane can provide guidance and support to those seeking to improve their lives through this powerful technique.

Vashikaran is derived from two Sanskrit words: "Vashi," meaning to attract or control, and "Karan," meaning the method or technique. This practice involves the use of mantras, rituals, and astrological insights to influence the thoughts and actions of individuals. While it is often associated with love and relationships, Vashikaran can also be applied to various aspects of life, including career success, health improvement, and personal growth.

The Role of a Vashikaran Specialist

A Vashikaran specialist in Brisbane is a practitioner who possesses deep knowledge and expertise in this ancient art. They are trained in the intricacies of Vashikaran techniques and have a profound understanding of astrology, spirituality, and human psychology. In Brisbane, these specialists offer their services to help individuals navigate their challenges and achieve their desired outcomes.

Resolving Relationship Issues

One of the most common reasons people seek the help of a Vashikaran specialist in Sydney is to resolve relationship problems. Whether you are facing difficulties in your romantic relationship, family disputes, or issues with friends, a specialist can provide tailored solutions. Pandit Ram Guruji may use specific mantras and rituals to enhance love and harmony, helping to mend broken relationships or attract new love into your life.

Career Advancement

In the competitive job market, many individuals struggle to find their footing or advance in their careers. A Vashikaran specialist in Brisbane can assist in removing obstacles that hinder professional growth. By analyzing your astrological chart and employing Vashikaran techniques, they can help you gain confidence, improve your communication skills, and attract opportunities that align with your career goals.

Health and Well-being

Health issues can be a significant source of stress and anxiety. Pandit Ram Guruji can help you focus on mental and emotional well-being, which is often intertwined with physical health. Through specific rituals and mantras, they can assist in promoting healing energy and positive vibrations, helping you to overcome health challenges and achieve a balanced state of being.

Personal Growth and Development

Many individuals seek personal growth and self-improvement. Get my love back in Liverpool expert can guide you in understanding your strengths and weaknesses, helping you to harness your potential. By using Vashikaran techniques, they can assist in building self-esteem, enhancing decision-making skills, and fostering a positive mindset, enabling you to pursue your goals with confidence.

Spiritual Guidance

For those on a spiritual journey, a Vashikaran specialist in Brisbane can provide valuable insights and guidance. They can help you connect with your inner self, understand your life’s purpose, and navigate spiritual challenges. Through meditation, rituals, and personalized mantras, they can assist you in achieving spiritual enlightenment and inner peace.

Choosing the Right Vashikaran Specialist in Brisbane

When seeking the help of a Vashikaran specialist, it’s essential to choose someone who is reputable and experienced. Here are some tips to consider:

Research and Reviews: Look for specialists with positive reviews and testimonials from previous clients. This can provide insight into their effectiveness and approach.

Consultation: Specialists like Pandit Ram Guruji offer initial consultations. Use this opportunity to discuss your concerns and gauge their understanding and empathy.

Credentials: Ensure that the specialist has the necessary training and expertise in Vashikaran and related fields.

Ethical Practices: Choose a Vashikaran specialist in Brisbane who adheres to ethical practices and emphasizes the importance of consent and respect in their work.

Conclusion

In a world filled with uncertainties and challenges, seeking the guidance of a Vashikaran specialist can be a transformative experience. Whether you are looking to resolve relationship issues, advance your career, improve your health, or pursue personal growth, Vashikaran offers a unique approach to achieving your goals. By harnessing the power of ancient wisdom and spiritual practices, you can navigate life’s challenges with greater ease and confidence. Remember, the journey of self-improvement begins with a single step, and a Vashikaran specialist in Brisbane like Pandit Ram Guruji can be the guiding light on your path to success and fulfillment.

[zenasflower]

Perfection Flowers For Every Occasion

For those who deserve the best in life, present them with this exquisite floral arrangement! Coral roses, peach roses, pink gerberas and green bupleurum come together in a clear gathering vase.

Throughout the centuries, flowers have become powerful symbols. They can be interpreted as a sign of passion, virginity or loyalty. They have even given rise to myths and legends.

Rose

A definite must-have for every Rose lover, this floral Perfection flowers stands for beauty and grace. These vibrant blooms are perfect for showing your love for someone special, especially when paired with the classic white daisy or pink ranunculus.

Like wine, Rose has a variety of scents and flavors depending on the region and grape varietals used to make it. The lighter the shade of Rose, the more it leans towards a white wine flavor profile with zesty citrus and floral notes. Darker Roses are fuller bodied and can range from red fruit to earthy and herbal nuances.

Try a glass of Provencal Rose from France or Shiraz from Australia paired with a grilled chicken salad and a side of sweet potatoes. Or enjoy a glass of Tempranillo Rose from Spain with tomato-based pasta dishes, pizza and spicy foods.

Stock

Stock, also known as bone broth, is a savory cooking liquid that forms the basis for many dishes. It is made by simmering animal bones, meat, fish, vegetables, or a combination of these ingredients in water or wine for an extended period. A bouquet garni (a bag of herbs or spices that includes parsley, bay leaves and thyme) may be added to impart additional flavor.

Perfect flowers like Sundrops, members of the Evening Primrose family, feature a crazy number of stamens with a four-parted stigma, which makes them look as if an X marks the spot! These beautiful blooms represent perfection.

Lasting beauty and a happy life are both represented by stock flowers, as well as bonds of affection and promptness. Send these beautiful flowers to a loved one who deserves to feel special and admired for their accomplishments. They can also bring good luck and prosperity to anyone who receives them. As a bonus, they are thought to symbolize spiritual attainment.

Calla Lily

A calla lily's delicate blooms are the perfect flower for celebrating special moments. Their sleek curves add a sense of beauty and grace to wedding bouquets and centrepieces. Pair them with orchids and lilies of the valley in cascading bridal bouquets or display them individually as elegant table centerpieces. Calla Lilies can also be preserved using specialized techniques to retain their color, shape and overall appearance for a year or more, making them ideal for long-term decorative purposes and gifting.

In the garden, calla lilies grow best in warm environments with a consistently warm soil. They're typically hardy in zones 8-10, but they can be grown as annuals in colder climates or dug up in the fall and stored indoors to be replanted in the spring.

Callas come in a wide range of colours, from the pristine white of its namesake to exotic hues like deep purples and zesty oranges. Each flower actually houses a series of flowers within its single outside petal, technically known as the spathe.

Mistletoe

Mistletoe is one of the most well-known holiday plants Preserved flowers in Liverpool, but it's also one of the least understood. Traditionally, the plant was hung in homes during the holidays for peace and good luck. It's believed that the Druids were among the first to use it for this purpose, as they valued the plant for its healing properties.

It's also the origin of the tradition of kissing under the mistletoe, although scientists don't know exactly how it became part of Christmas lore. The name mistletoe derives from the Anglo-Saxon words for "dung" and "twig." The plants spread their sticky berries through bird droppings, but they don't sprout spontaneously.

Mistletoe has been used as a medicinal plant since ancient times and is still widely used today, especially in Europe. It's often referred to as the most effective natural cancer therapy and is currently being studied for its effectiveness against other diseases. Supplements made from the European mistletoe (Viscum album) are available under prescription and are given by injection or as a pill.

[teatoast-n-tarot]

Purple candles are best used on Thursday. #thursday #candle #candles #wintersolstice #longerdays Purple is the colour of Jupiter in his role of wise teacher and keeper of hidden knowledge, and of Osiris, the Ancient Egyptian Father God and Lord of the Underworld, who died each year and was resurrected by his wife Isis. It represents unconscious wisdom and is used for all things of a psychic and spiritual nature and for divination. Purple provides a link with higher dimensions and can bring happiness for all who yearn for something beyond the material plane. Purple candles aid meditation, work with past lives, scrying with candles and mirrors, and astral travel. They are good for psychic protection and preventing nightmares. Purple can also be used for all rituals where the facts are not clear, for clearing secrecy, for healing the spirit and for banishing what lies in the past, especially failure, and for remembering departed loved ones. (at Liverpool) https://www.instagram.com/p/CmdrE1DMdpc/?igshid=NGJjMDIxMWI=

[lme-blogs]

Primary Research

A Visit to Liverpool’s Spiritual Establishments

Spiritual healing retail therapy

Over the Easter break I went into several shops in Liverpool collecting primary reaserch not only for my blog but also for my brands development. Knowing the shop keeper on a personal level I was allowed to take photographs inside the shop of their products, accessories, healing crystals, spiritual oils and fashion garments.

Coming back home and visiting these establishments has supported me to gain a deeper understanding behind spiritual retail and the movement of spirituality in today’s liberal society. Sadly I wasn’t allowed to take photographs the clients, however from everybody that walked into the shop when I was present wasbetween 18 -25. This statistic was something I considered vital to continue onto the development of my own brand, as I now have a better face understanding of my target audience form my primary expirence.

[harrisonstories]

NOTE: This a beautiful article by Paul Theroux which I thought was apt for today. There aren’t many writers who I feel “get” George, but Theroux is an exception.

George Harrison - Something in the way he moved us                

As Martin Scorsese's portrait of George Harrison is released, celebrated novelist Paul Theroux looks at the man who went from mop-top to mystic

It is a happy thought that the sweetest music arises from an untroubled heart. As though from the sky, here is this strong and contented virtuoso – George Harrison, say – whom we envy for being strong, someone supremely contented. What a lucky man to be able to create such harmony and to penetrate our soul; to make us feel better, to help heal us and ease our minds. Isn't it pretty to think so?

The truth is usually the opposite of this. The art that is indestructible and always fresh never comes easy. Its source is typically uncertain or bleak, sometimes harrowing, the pure notes quavering over an abyss of shadows between life and death, that mournful place from which the most passionate yearnings take shape in the form of a song, a poem, a story, a harmonious vision. But even as I write this, speaking of the complex process of creation, words and music made of doubt and the divided self, the conflicts that help us to be sane, and the paradox of opposites, I seem to hear someone mutter over my shoulder, "Rock music is about as metaphysical as my Aunt Fanny..."

And yet it seems to me impossible to overestimate the resonant clarity of George Harrison's music �� his songs of innocence and experience; or the subtle wisdom of his lyrics. Even as a relative youngster, more than 30 years before his untimely death, in his All Things Must Pass album, he was singing powerfully of transformation, in the title track, and "Art of Dying," and "Beware of Darkness," and "What is Life." He could be as jolly as his ukulele-strumming hero and namesake, George Formby, but as soon as he seizes our attention with his humour and his teasing, he is reminding us – and himself – that we are mortal and all things end.

George at his best was a man dedicated to whittling down his ego; he was not one being but many and he remains an enduring figure of fascination to those of us for whom his music runs through our head, reminding us of better times. It is no wonder he was so passionate: he was himself his own wicked twin. He made no bones about this and, a hater of pomposity in all forms, he expressed it with characteristic downright-ness:

"I have this kind of strange thing," he said, "and I put it down to being a Pisces. Pisces is the sign of two fish. The way I see it is that one half is going where the other half has just been. I was in the West and I was into rock'n'roll, getting crazy, staying up all night and doing whatever was supposed to be the wrong things. That's in conflict with all the right things, which is what I learned through India – like getting up early, going to bed early, taking care of yourself and having some sort of spiritual quality to your life. I've always had this conflict."

He was at odds with himself, but who isn't? In that respect "living proof of all life's contradictions," as he put it, he resembles most of us. We recognise him as a kindred soul in his contradictions – and though his life was lived on a vast scale, he was unusually truthful, and in his songs much more explicit than we dare to be. He made it his mission to explore his contradictions in his own way, through his music. So, to say that he was one of the great musicians of his time – one of the most innovative guitarists ever, most imaginative songwriters – is to give only part of the story. "The quiet one," is the stereotypical description of the man – but he was on fire within. To make music that mattered over the years, to bring renewal with each work, he seemed determined to burn out one self after another.

"He had karma to work out," his widow, Olivia, is on the record as saying. "He wasn't going come back and be bad. He was going to be good and bad and loving and angry and everything all at once. You know, if someone said to you, 'okay, you can go through your life and you can have everything in five lifetimes, or you can have a really intense one and have it in one, and then you can go and be liberated,' he would have said, 'give me the one, I'm not coming back here.'"

I also think there's a stark difference between "contradiction" and "confusion". He wasn't confused; had he been he would have found it impossible to search and learn with such clear-sightedness. His friend and mentor Ravi Shankar said that George exhibited tyagi, a Sanskrit term for a feeling of non-attachment or renunciation. Shankar wondered how this aspect of enlightenment could have come so clearly to a worldly lad from Liverpool. It doesn't seem odd to me that this thoughtful man came to feel the sense of freedom bordering on exaltation that mendicants experience in non-attachment. But it is a notable, and noble, quality in a rock star to practice it, as George did.

We all feel that we could do a bit better in our lives; in the secret history of this imaginative soul, George was active in pursuing this path. Surely it arose in large part from his having had everything while still young. At 19 or 20 he was on top of the world – inspiring the world to sing and dance. Performing with The Beatles gave him joy – gave us all joy. But he did not see this exuberance as a final fulfilment; the very fact of The Beatles as a musical and financial phenomenon made him doubtful enough to begin to look for a higher meaning, and – after The Beatles – to go on looking. He knew he was living in the material world, but had he been so attached to it he would not have been able to look deeper into it.

Early in his life as a musician, towards the end of the explosive new sound of The Beatles (and much more than music, it was a seismic shift in popular culture), George found his way to India. Through music and meditation, and the mantras that he chanted until the very end of his life, he was drawn to an unselfish, and ultimately a more mystical view of the world. The man who could make a whole stadium rock began to see silence as another ideal. He has described himself as an idle, smirking, doodling student at school, and yet in India he became devout and studious, a reader of the swamis – and notably, of Swami Vivekananda.

What has become apparent in the decade since his death is the uncanny symmetry of George's life – a life lived to the fullest. What might have seemed random or impulsive in him while he lived, is, in retrospect, a pattern, part performance, part pilgrimage.

His saturation in the material world drove him to seek the spirit in things – and so his life seems a series of vanishings and reappearances, journeys there and back, and even the portraits of him that seem iconic are various, a progression of so many faces, his features, his hair, his posture – different in each one. Yet his gaze is unchanged, his eyes telling us that the same soul is inhabiting this body.

All this sounds solemn, but he was a man of subtle and often self-mocking humour. George was interested in many things beside music, and although music was his first love, he was vitalised by travel, movie-making, and car racing. Look at his friends – the Pythons Gilliam and Idle, Jackie Stewart, Billy Preston, Eric Clapton, Bob Dylan, Ravi Shankar: the funniest men on Earth, the fastest, his most brilliant contemporaries in music.

But equal to his passion for music, and his diverse and close friendships, was an overwhelming desire to get back to earth – literally so, to dig, to plant trees, to surround himself with flowers that he himself had grown. The most obvious characteristic of the houses that he built, or bought and fixed up in the course of his life, are the gardens he planned and planted. No matter how extraordinary the houses, the gardens he created around them surpassed the bricks and mortar. In George's case the gardens he made gave him the sense that he was living in isolation, on an island of his own making. "...it's great when I'm in my garden, but the minute I go out the gate I think: 'What the hell am I doing here?'"

"From the day I met him he was defiant," Olivia said, "and so determined that nothing was going to stop him from leaping as far as he could."

She was thinking of his words in the song "Run of the Mill": "How high will you leap?/ Will you make enough for you to reap it?/ Only you'll arrive – at your own made end/ With no one but yourself to be offended/ It's you that decides."

-  “Something in the way he moved us”, Independent (Sep. 2011)

[contemporarythoughts]

WHAT CAN BE FOUND UNDER THE L1 4JJ ADDRESS?

“OUTPUT gallery works exclusively with creatives from or based in Merseyside. Through free exhibitions and events, we hope to encourage the development, mobility and strength of our local art scene.

We have a highturnover of exhibitions because there are so many artists to work with here in the Liverpool City Region, and we want to work with as many as possible.”

The Output institution is made of three elements- the vintage shop, where one can go back in time, collecting pieces from the last decades, the cafe, where you can enjoy high quality organic beverages, which in majority are suitable for vegans and the heart of the building complex, output art gallery containing frequently changing exhibitions, revealing artistic talents of Merseyside.

Having a tour with the ½ of the White Pube [https://www.thewhitepube.co.uk/], Gabrielle de la Puente, who is playing a major role within the art institution, made me realize the importance of supporting local art and the artists making it. Crossing trough, the shop space, I found myself spending a lot of time with some of the artworks of the Output Open 4 exhibition, Feb 6- 23. The fourth edition gathered works based around illustration, painting, sculpture, poetry and video with music, presenting an overall sense of positivity, mystery of human body and mind with a pinch of world exploration by urbanity and nature, additionally enriched by vibrant colour palette. Dialogue between past and the present is not only to be seen in the clothes and accessories to buy in the designated area, but also in the artworks, although from different perspective. The poem Wearing Memories, made of two stanzas, deals with the topic of acceptance of the past of a sensitive individual, who is reliving memories, concretising a different subject, who used be a part of the reality but it’s still vivid in the persona’s awareness (the work is available to be read within the thirteenth photo at: http://outputgallery.com/EXHIBITIONS/OUTPUT%20OPEN%204/).

The poem, even though melancholic, depicts a journey one has to embark on to make peace with oneself and choses the most suitable, comfortable reality there is to exist in. It is not the only element linking the spaces together. The jewellery, often made of healing crystals, ready to buy and hand made by other artists gives an impression of closeness to earth, nature and the elements. A similar measure was used in the composition of curating artworks, achieving a form of a story that can be read piece by piece. Products of nature such as fruits, flowers, plants and humans interfere with the abstract, spiritual elements, the first and the third illustration (see the photo below), reminding us that something doesn’t have to have a physical form to be real, it can’t be seen, but can be experienced.

 A person understands the influence it has on him or her and expresses the mystical through art or literature (such as the aforementioned poetry). Despite if it’s a God-like being or more likely a reflection of  pantheism, what is suggested by the repetitive symbols of nature, “the story”, the exhibition presents, makes the viewer a narrator, who has the ability to read it in circles from the walls, in an order that is random, but still makes sense. My thoughts are directed to Buddha’s wheel of life, representing Samsara, a cyclic existence, and in the context of the display, birth and rebirth through memories and nature, exploring yourself and the world you co-exist with, Talk to me, I am the sun poems.

 That is why, contrary to Immanuel Kant’s transcendental idealism, I argue that one can experience those “supersensible” objects through nature and express it by art or literature, what makes him or her already familiarized with the concept of abstract.

The urban perspective remains in a very realistic manner. Except for the painting, where two of them depict industrialized vision of a city, suggesting a Merseyside landscape, one of them is rather romantic, inhabited by humans (the houses instead of factors) flora and a water reservoir. It reveals many faces of the area, proving it is not only made of different structures of the landscape, but also the people who change mutually with the landscape. 

The DIY video with the already made artworks show the joy of making, creation of the object, by which one is able to diversify the inhabited space. It proves that the theme of the exhibition is mutual, the artworks share a level of similarity, even though they were made by multiple autonomous artists. As we read on the website: “This year’s edition includes work by Hannah Arhinful, Mia Cathcart, Ollie C, Natalie Denny, Catherine and Sarah Garvey, Ann Gilchrist, Fauziya Johnson, Faisal Koukash, Gabriel Starkey and Linny Venables. We hope you enjoy the show.”

 K.W.

[aandreajasmine]

Wednesday 4th December 2019 - Guy McKinley: Artist Study

Today we were asked to look at the artworks of Guy McKinley, but before doing that I decided look into his background and life as an artist but also a person swell. He was born in Liverpool, UK in the year of , but moved to Manchester, UK to pursue to his freelance art career. Since 2003 McKinley has been creating artworks heavy with colour, shape and also have influences from Japanese culture and native/ historical artworks as well as his childhood having a great influence on his artworks of today.

Today we were asked to look at the artworks of Guy McKinley, specifically his ‘PUCA Festival’ collection and compare and contrast them to each other as well as to our new and current brief: ‘Seekers.’ Upon searching his name I could see that he was well known around the art community as well as to the public making his art decently mainstream but also standoffish due to his use of colour, line, shape and texture. By using different techniques and styles in these fields of art, it creates an immediate narrative in the audience’s mind, whether they intend or not, thus making the artwork itself more involved with the audience and the artist (Guy Mckinley). 

This is his first piece in his ‘PUCA Festival’ collection. It has been named ‘Morrigan’. Before doing any research on the name or the character shown, what I understand and collect from this piece is a creepy and sinister looking female hag crow/ raven looking character with long hair suggesting mystery and  the unknown. Caressing skulls that seem to look like they’ve been painted with gold to make them extremely valuable and limited. One of which has arrows sicking out of the eye sockets implying that that person who owned the skull had died by an arrow to the eye this linking to out brief since we’re being tasked to look at fantasy and use historical facts to establish their presence more, this works as Harold Godwinson was killed by a shot to the eye thus linking it back to this original artwork and our brief connected to it. 

After doing some research on the word ‘morrigan’ I now understand that it come from celtic mythology meaning ‘phantom/ great queen’ that is deep related and associated with heavy themes such as: war, death, destiny and fate. Now with this understanding I can now look at this artwork in a different light and take from this that this character that she is meant to be a majestic but corrupt queen due to the great juxtaposition of the themes need to the title. It also implies that the themes of ‘everything is not as it seems’ since the themes linked to the title again, putting topics like destiny and fate on their heads since they normally have connotations of positivity and joy, but played in this context they go again the norm and imply negativities. It could also imply that she is here to help and safely bring the dead and destined to the other side, this could be the netherworld or hell, while keeping their statuses of royalty and superiority amongst the dead. 

This is the second piece of the ‘PUCA Festival’ collection, called ‘Fionn.’ Again, before doing any deep research into this piece, what I could understand from this artwrok is the charater being depicted in this is meant is meant to be a soft warrior type of character that is meant to be outward fierce apperance mean to scare away possible threats, this is shown with heavy detail in armour implying that their armour has been tampered with and possibly enchated wiht a sort of spell of intricute healing and restoration. I immediately got a vibe of this character being the protagonist of a show or at least a good charater and I got this from how McKinley has subtly and creativly used shape in this to create a charcter that is strong, devoted and deadly aswell as being/ looking soft, kind and trustworthy. By using shapes mainly consisting of circles and rounded shapes, even in places that normally have sharper and pointed edges - the ram horns, it has given this warrior character a soft and calming and reliable edge to it and I honestly thing that is amazing and super creative being able to add it into their work like this. 

After doing some reseach on the title of this piece, I have learnt that this ‘Fionn’ artwork could be linked to the ‘Fionn MacCumhail’ of irish mythology who was known to be a mythical hunter/ warrior character that is fair haired. By linking this to our current brief you could say that they link since it could have inspired the main character/ protagonist of cartoon network and Pendleton Ward’s ‘Adventure Time’ where the main charcter shares the same name - Finn and the same warrior personality as well as having an extremely comforting and completly approchable exterior/ outward appearence. When looking at my initial thoughts on the piece and the research on it itself, I have come to see that what I initially had thoughts on were baisically correct / accurate thus coming to the concluion of McKinley’s work and the narritives linked to them are extremely clear to the audience helping them and the average viewer to undertsand their work with only a glance at the work itself. 

This is the third piece featured in the PUCA Festival collection and it was called: ‘Puca.’ Once again, before looking into this piece and doing instense/ deep research into this I took it to myself to analyse it and give my interpretaion of that narrativee I could see in this piece. To start this, I just want to say that this is my favourite piece in this collection, I find it extremely enticing as the animals look like they are fixed into the main enchantress/ witch looking character’s long and lively hair while still keeping the animals looking like they were still on their own individuals and rabid animals of their own. This keeps it intresting as they all seem to be giving off vibes of their own while still not taking away the from the main attraction - the enchatress in the center. I also like the how use of colour was applied to this piece as the yellow is used all throughout each character but mainly focused on the lady in the middle, since all eyes would be on her at a first glance. She could also be seen to be as a shapeshifter or type of morphing charctarer that could morph into animals and other beings to change her apperance and lure potential prey into their doom or death in the end. The yellow tribal marks that seem to be littered all over her body seem to make her look possessed and dissorientated wihle still composed and in control of the situation itself. The animals themselves, the cat, rabbit, goat and ram, could be used in this piece to create false senses of security since both a cat and rabbit are seen as ‘cute’ house pets that are innocent, kind and carefree in many/ most environments.

After doing reserch on this piece, I come to understand that ‘Puca’ is commonly known in irish folklore as a very neutral that, if wanted, could hinder or help and could even alter communities this including spiritual and marine like communities. Once researched it was well understood that this ‘Puca’ creature is most commonly interpretted in as monkey- hare hybrid like charcaters. This is intresting as this piece by McKinley was intrepretted as a female figure with many creature- like appearences

This is the fourth piece in the PUCA Festival collection and it has been dubbed ‘Red Men’, once again I decided to decipher this by my self and try to guess the narrative. What I could understand from this picture is a character who is guarding a safe area or a tunnel to more dangerous space. The charcater shown, resembles an antagonist or a minion of the antagonist, I think this because of the lack of being able to see his face and only being only to see their eyes coloured only with bright colours like white and yellow making them pop out more. Also, being accompanied with a larger flame placed infront of the face and the heavy use of line width and texture that runs throughout, making it seem alot darker, deeper and spookier. Even though the yellow used is still very present, adding a sort of light souce from the large flame, but due to the majoity use of the black, the yellow seems to be muddied out and dulled out making the overall artwork darker and mysterious.

Once researched, it was originally hard to find any thinformationn on it snce the term ‘red men’ is so vauge, but after some precise searching, it came up as ‘far darrig’/ ‘fear dearg’ - translating to ‘red man’, apparently they are known to be classified as soliditary fairies of the same type like leprechauns. This doesn’t link to any of my own narrative since it’s seeming possitive but my narrative isn’t and instead is more negative implying that he is a guard of death/ death related character.

This is the final piece in the PUCA Festival collection, it has been named ‘Boann’ once again, for the last time, I decided to create my own narrative before doing the research. The character displayed looks to be like a mother nature like character, showing love and a caring compassionate character aswell as an all seeing persona. This is hevaily implied with the bright yellow flowers that are littered at the forgroud of the artwork accompanied with the fish heads that she is holding and the rams head and horns that are placed on her head. By having the rams head’s horns being curved and non angular, it makes the the charcater seem more softer and kinder to the viewer. The halo like background behind the character’s head makes them seem holy, beloved and omnipotnent beyond compare thus attracting the viewers eyes towwards the head of the charcater, bring the viewer to the eyes of a bright yellow eyed character primarily in a monochramatic colour scheme making the artwokr more appealing for the eyes and kinder in comparison with the other pieces featured in this collection. The scales on this goddess like persona put her on a more celestial plane since she can no longer be connected to huaman culture due to her dractic appearance, background and now skin in general. 

Once researched, I came to understand that ‘Boann’ was known to be a celtic goddess mythology, she is known to be a goddess of inspiration, poetry, fertility, knowledge and creativity. This is portrayed in this artwork with how the colours are used how she is placed in the artwork as a whole and the use of negative space to make look clean and pure.

In the end I came to reaslise that this whole collection was a commissioned piece by Guy McKinley for an Irish festival that slightly relates to the halloween period, relating to the spooks and scares that come with it.

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[draculalive]

Dr. Seward's Diary.

7 September. -- The first thing Van Helsing said to me when we met at Liverpool Street was:---

"Have you said anything to our young friend the lover of her?"

"No," I said. "I waited till I had seen you, as I said in my telegram. I wrote him a letter simply telling him that you were coming, as Miss Westenra was not so well, and that I should let him know if need be."

"Right, my friend," he said, "quite right! Better he not know as yet; perhaps he shall never know. I pray so; but if it be needed, then he shall know all. And, my good friend John, let me caution you. You deal with the madmen. All men are mad in some way or the other; and inasmuch as you deal discreetly with your madmen, so deal with God's madmen, too -- the rest of the world. You tell not your madmen what you do nor why you do it; you tell them not what you think. So you shall keep knowledge in its place, where it may rest -- where it may gather its kind around it and breed. You and I shall keep as yet what we know here, and here." He touched me on the heart and on the forehead, and then touched himself the same way. "I have for myself thoughts at the present. Later I shall unfold to you."

"Why not now?" I asked. "It may do some good; we may arrive at some decision." He stopped and looked at me, and said:---

"My friend John, when the corn is grown, even before it has ripened -- while the milk of its mother-earth is in him, and the sunshine has not yet begun to paint him with his gold, the husbandman he pull the ear and rub him between his rough hands, and blow away the green chaff, and say to you: 'Look! he's good corn; he will make good crop when the time comes.'" I did not see the application, and told him so. For reply he reached over and took my ear in his hand and pulled it playfully, as he used long ago to do at lectures, and said: "The good husbandman tell you so then because he knows, but not till then. But you do not find the good husbandman dig up his planted corn to see if he grow; that is for the children who play at husbandry, and not for those who take it as of the work of their life. See you now, friend John? I have sown my corn, and Nature has her work to do in making it sprout; if he sprout at all, there's some promise; and I wait till the ear begins to swell." He broke off, for he evidently saw that I understood. Then he went on, and very gravely:---

"You were always a careful student, and your case-book was ever more full than the rest. You were only student then; now you are master, and I trust that good habit have not fail. Remember, my friend, that knowledge is stronger than memory, and we should not trust the weaker. Even if you have not kept the good practise, let me tell you that this case of our dear miss is one that may be -- mind, I say may be -- of such interest to us and others that all the rest may not make him kick the beam, as your peoples say. Take then good note of it. Nothing is too small. I counsel you, put down in record even your doubts and surmises. Hereafter it may be of interest to you to see how true you guess. We learn from failure, not from success!"

When I described Lucy's symptoms -- the same as before, but infinitely more marked -- he looked very grave, but said nothing. He took with him a bag in which were many instruments and drugs, "the ghastly paraphernalia of our beneficial trade," as he once called, in one of his lectures, the equipment of a professor of the healing craft. When we were shown in, Mrs. Westenra met us. She was alarmed, but not nearly so much as I expected to find her. Nature in one of her beneficent moods has ordained that even death has some antidote to its own terrors. Here, in a case where any shock may prove fatal, matters are so ordered that, from some cause or other, the things not personal -- even the terrible change in her daughter to whom she is so attached -- do not seem to reach her. It is something like the way Dame Nature gathers round a foreign body an envelope of some insensitive tissue which can protect from evil that which it would otherwise harm by contact. If this be an ordered selfishness, then we should pause before we condemn any one for the vice of egoism, for there may be deeper root for its causes than we have knowledge of.

I used my knowledge of this phase of spiritual pathology, and laid down a rule that she should not be present with Lucy or think of her illness more than was absolutely required. She assented readily, so readily that I saw again the hand of Nature fighting for life. Van Helsing and I were shown up to Lucy's room. If I was shocked when I saw her yesterday, I was horrified when I saw her to-day. She was ghastly, chalkily pale; the red seemed to have gone even from her lips and gums, and the bones of her face stood out prominently; her breathing was painful to see or hear. Van Helsing's face grew set as marble, and his eyebrows converged till they almost touched over his nose. Lucy lay motionless, and did not seem to have strength to speak, so for a while we were all silent. Then Van Helsing beckoned to me, and we went gently out of the room. The instant we had closed the door he stepped quickly along the passage to the next door, which was open. Then he pulled me quickly in with him and closed the door. "My God!" he said; "this is dreadful. There is no time to be lost. She will die for sheer want of blood to keep the heart's action as it should be. There must be transfusion of blood at once. Is it you or me?"

"I am younger and stronger, Professor. It must be me."

"Then get ready at once. I will bring up my bag. I am prepared."

I went downstairs with him, and as we were going there was a knock at the hall-door. When we reached the hall the maid had just opened the door, and Arthur was stepping quickly in. He rushed up to me, saying in an eager whisper:---

"Jack, I was so anxious. I read between the lines of your letter, and have been in an agony. The dad was better, so I ran down here to see for myself. Is not that gentleman Dr. Van Helsing? I am so thankful to you, sir, for coming." When first the Professor's eye had lit upon him he had been angry at his interruption at such a time; but now, as he took in his stalwart proportions and recognised the strong young manhood which seemed to emanate from him, his eyes gleamed. Without a pause he said to him gravely as he held out his hand:---

"Sir, you have come in time. You are the lover of our dear miss. She is bad, very, very bad. Nay, my child, do not go like that." For he suddenly grew pale and sat down in a chair almost fainting. "You are to help her. You can do more than any that live, and your courage is your best help."

"What can I do?" asked Arthur hoarsely. "Tell me, and I shall do it. My life is hers, and I would give the last drop of blood in my body for her." The Professor has a strongly humorous side, and I could from old knowledge detect a trace of its origin in his answer:---

"My young sir, I do not ask so much as that -- not the last!"

"What shall I do?" There was fire in his eyes, and his open nostril quivered with intent. Van Helsing slapped him on the shoulder. "Come!" he said. "You are a man, and it is a man we want. You are better than me, better than my friend John." Arthur looked bewildered, and the Professor went on by explaining in a kindly way:---

"Young miss is bad, very bad. She wants blood, and blood she must have or die. My friend John and I have consulted; and we are about to perform what we call transfusion of blood -- to transfer from full veins of one to the empty veins which pine for him. John was to give his blood, as he is the more young and strong than me" -- here Arthur took my hand and wrung it hard in silence -- "but, now you are here, you are more good than us, old or young, who toil much in the world of thought. Our nerves are not so calm and our blood not so bright than yours!" Arthur turned to him and said:---

"If you only knew how gladly I would die for her you would understand -- -- "

He stopped, with a sort of choke in his voice.

"Good boy!" said Van Helsing. "In the not-so-far-off you will be happy that you have done all for her you love. Come now and be silent. You shall kiss her once before it is done, but then you must go; and you must leave at my sign. Say no word to Madame; you know how it is with her! There must be no shock; any knowledge of this would be one. Come!"

We all went up to Lucy's room. Arthur by direction remained outside. Lucy turned her head and looked at us, but said nothing. She was not asleep, but she was simply too weak to make the effort. Her eyes spoke to us; that was all. Van Helsing took some things from his bag and laid them on a little table out of sight. Then he mixed a narcotic, and coming over to the bed, said cheerily:---

"Now, little miss, here is your medicine. Drink it off, like a good child. See, I lift you so that to swallow is easy. Yes." She had made the effort with success.

It astonished me how long the drug took to act. This, in fact, marked the extent of her weakness. The time seemed endless until sleep began to flicker in her eyelids. At last, however, the narcotic began to manifest its potency; and she fell into a deep sleep. When the Professor was satisfied he called Arthur into the room, and bade him strip off his coat. Then he added: "You may take that one little kiss whiles I bring over the table. Friend John, help to me!" So neither of us looked whilst he bent over her.

Van Helsing turning to me, said:

"He is so young and strong and of blood so pure that we need not defibrinate it."

Then with swiftness, but with absolute method, Van Helsing performed the operation. As the transfusion went on something like life seemed to come back to poor Lucy's cheeks, and through Arthur's growing pallor the joy of his face seemed absolutely to shine. After a bit I began to grow anxious, for the loss of blood was telling on Arthur, strong man as he was. It gave me an idea of what a terrible strain Lucy's system must have undergone that what weakened Arthur only partially restored her. But the Professor's face was set, and he stood watch in hand and with his eyes fixed now on the patient and now on Arthur. I could hear my own heart beat. Presently he said in a soft voice: "Do not stir an instant. It is enough. You attend him; I will look to her." When all was over I could see how much Arthur was weakened. I dressed the wound and took his arm to bring him away, when Van Helsing spoke without turning round -- the man seems to have eyes in the back of his head:---

"The brave lover, I think, deserve another kiss, which he shall have presently." And as he had now finished his operation, he adjusted the pillow to the patient's head. As he did so the narrow black velvet band which she seems always to wear round her throat, buckled with an old diamond buckle which her lover had given her, was dragged a little up, and showed a red mark on her throat. Arthur did not notice it, but I could hear the deep hiss of indrawn breath which is one of Van Helsing's ways of betraying emotion. He said nothing at the moment, but turned to me, saying: "Now take down our brave young lover, give him of the port wine, and let him lie down a while. He must then go home and rest, sleep much and eat much, that he may be recruited of what he has so given to his love. He must not stay here. Hold! a moment. I may take it, sir, that you are anxious of result. Then bring it with you that in all ways the operation is successful. You have saved her life this time, and you can go home and rest easy in mind that all that can be is. I shall tell her all when she is well; she shall love you none the less for what you have done. Good-bye."

When Arthur had gone I went back to the room. Lucy was sleeping gently, but her breathing was stronger; I could see the counterpane move as her breast heaved. By the bedside sat Van Helsing, looking at her intently. The velvet band again covered the red mark. I asked the Professor in a whisper:---

"What do you make of that mark on her throat?"

"What do you make of it?"

"I have not examined it yet," I answered, and then and there proceeded to loose the band. Just over the external jugular vein there were two punctures, not large, but not wholesome-looking. There was no sign of disease, but the edges were white and worn-looking, as if by some trituration. It at once occurred to me that this wound, or whatever it was, might be the means of that manifest loss of blood; but I abandoned the idea as soon as formed, for such a thing could not be. The whole bed would have been drenched to a scarlet with the blood which the girl must have lost to leave such a pallor as she had before the transfusion.

"Well?" said Van Helsing.

"Well," said I, "I can make nothing of it." The Professor stood up. "I must go back to Amsterdam to-night," he said. "There are books and things there which I want. You must remain here all the night, and you must not let your sight pass from her."

"Shall I have a nurse?" I asked.

"We are the best nurses, you and I. You keep watch all night; see that she is well fed, and that nothing disturbs her. You must not sleep all the night. Later on we can sleep, you and I. I shall be back as soon as possible. And then we may begin."

"May begin?" I said. "What on earth do you mean?"

"We shall see!" he answered, as he hurried out. He came back a moment later and put his head inside the door and said with warning finger held up:---

"Remember, she is your charge. If you leave her, and harm befall, you shall not sleep easy hereafter!"

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