The Letter of Introduction to My Art Portfolio

      I submit the enclosed art work for your consideration. There is an interesting story behind the creation of my art, so a few words of introduction are in order.

      I have been involved in research and experimentation in the occult sciences for over ten years. A critical part of this involvement has been the evolution within myself of an abstract/symbolic artistic capability. I am a professional physicist, and therefore I am inclined to take a very analytical approach to anything to which my attention is directed. My investigations into the occult sciences have been very thorough and scholarly. Research in ancient history, ancient mythology, Jungian psychology, and comparative religion formed the theoretical foundation which supported experiential investigations of the symbolism of the Tarot cards, astrology, and alchemy. These investigations included evocation and invocation rituals for calling forth "spirits from the vasty deep." I have met first hand such Beings as the Egyptian Isis and Mesopotamian Ishtar, as well as their sister, the formidable Ashtaroth of Palestine; the Biblical demon Asmodeus; the spirit of the intellect, the guide of the soul through the underworld, called Thoth by the Egyptians, Mercury by the Romans, Hermes by the Greeks, and Odin by the Scandinavians; the Egyptian crocodile God, Sebek; and the Biblical Christ. My art work, therefore, is indicative of the archetypal forces residing within the collective unconscious mind of the peoples of the Western World.

      I have enclosed a research proposal (see Section IV) that I wrote to solicit funds to support myself financially so that I could dedicate my full attention to occult research. I have enclosed a typical letter of introduction (see Section III) that accompanies the proposal. Appendix E of the proposal includes a brief account of my Magickal record which demonstrates the development of my artistic talents from a very crude, primitive, inartistic capability to my present potential. It is now quite clear to me that the proposal will never be funded. From an artistic point of view my Magickal record is interesting because it portrays the step by step development of an artistic talent synergistically intertwined with a scientific investigation of a complex, obtuse, and controversial subject.

      The first two figures in my Magickal record (see Figure 1 and Figure 2 in Appendix E of the proposal) represent my first attempt to make some sense out of the alchemical Formula for the Philosopher's Stone, which is: "Out of a man and a woman make a circle; extract the quadrangle; from this extract the triangle. Make a circle and you will have the Philosopher's Stone." Both my occult knowledge and artistic capability were very crude in 1975 when these figures were drawn.

      The material in this portfolio is the product of research from a 20th century alchemical laboratory. As Carl Jung has aptly demonstrated, the chemical activities of Medieval alchemists involved unconscious projections of psychic contents. Modem alchemists in general do not work with chemicals. They work much more consciously with unconscious psychic contents by doing such things as analyzing dreams and fantasies, working with art and poetry, involving themselves in active imagination, and investigating mythological symbolism. My alchemical investigations did not involve chemical activities.

      The portfolio that I am submitting to you contains 35mm slides of those pieces of my art work that I think are the most interesting. Most of the original art pieces are pastels on the order of 18" by 22" or 13" by 15". All of the art work is of my own creation except for No. 2, No. 15, No. 18, and No. 20. All of the symbols in No. 2 are from the Babylonian Book of the Dead, but the arrangement of the symbols is my own design. The hieroglyphic black symbols in No. 15 and No. 18 are three letters from the Alphabet of the Magi. In No. 20 there is a letter from the Alphabet of the Magi.

      I have met firsthand the following forms of the Deity in association with the designated art pieces:

1. Slide 15 - The Holy/Unholy Ghost


2. Slide 18 - IAO, who is cognate with the Greek Zeus, the Roman Jupiter, the Egyptian Amen-Ra, and the Hebrew Yahweh.


3. Slide 20 - The Egyptian Isis


4. Slide 22 - The feminine counterpart of the Egyptian crocodile God, Sebek


5. Slide 23 - The spirit of the intellect, the guide of the soul through the underworld, called Thoth by the Egyptians, Mercury by the Romans, Hermes by the Greeks, and Odin by the Scandinavians


6. Slide 24 - A mystical Being of the Order of Beings of which William Blake was so blessed


7. Slide 31 - The Kundalini, the Serpent Force that comprises the 22 Trumps of the Tarot Cards


8. Slide 39 - With this art piece I felt I really understood the meaning of the expression "the strength of art" in the following poem by the Gaelic poet Amhairghin:

"I am an estuary into the sea.
I am a wave of the ocean.
I am the sound of the sea.
I am a powerful ox.
I am a hawk on a cliff.
I am a dewdrop in the sun.
I am a plant of beauty.
I am a boar for valour.
I am a salmon in a pool.
I am a lake in a plain.
I am the strength of art...."
See "Celtic Mythology" by Proinsias MacCana, p. 64.

      There are probably very few artists who have as unique and interesting a story behind their art as I have. I think my story can be used as an effective marketing mechanism. However, for the marketing of my art in your gallery, the mythological element can be developed to any degree desired or it can be completely ignored. This of course depends upon your discretion.

      Thank you for your time and consideration. I will contact you by phone to inquire about your interest in my art work. If there is no interest, please return the entire portfolio in the enclosed, stamped, self-addressed envelope.

Sincerely,
(signed)
Fred E. Howard

Listing of 35mm Slides of Artwork

SLIDE NO.	APPROXIMATE DATE THAT ART WORK WAS DONE	SIZE OF ORIGINAL ART IN INCHES	MEDIUM	CORRESPONDING FIGURE NO. IN APPENDIX E OF RESEARCH PROPOSAL*	TITLE	(Click TITLE to display image)
1	Aug 76	32x40	Color Crayon	11	The Zodiac
2	Aug 76	32x40	Color Crayon	13	Asmodeus
6	Apr 78	16x19	Pastel	46	Angle Energy
7	Apr 78	19x25	Pastel	48	Hieroglyphic Man
9	Aug 78	18x24	Pastel	52	Talisman
10	Sep 78	24x34	Acrylic	53	Unity
14	Mar 83	19x21	Pastel	-	Scorpio 2
15	Jan 85	9x11	Pastel	-	IAO 1
17	Oct 85	18x20	Pastel	-	Lock Down
18	Nov 85	19x22	Pastel	-	IAO 2
19	Jun 86	16x17	Pastel	-	New Six
20	Dec 86	13x13	Pastel	-	Isis
21	Apr 87	12x17	Pastel	-	Bornless Bird
22	Apr 87	12x16	Pastel	-	Alligator Lady
23	May 87	12x14	Pastel	-	Mercury
24	May 87	12x14	Pastel	-	Mystic
25	Jun 87	12x14	Pastel	-	Scorpio 3
26	Oct 87	12x18	Pastel	-	Horse
27	Nov 87	13x15	Pastel	-	Coming Forth
28	Nov 87	13x15	Pastel	-	Irene
29	Nov 87	13x18	Pastel	-	Barthalamew
30	Dec 87	13x17	Pastel	-	Attempting Four as One
31	Jan 88	13x18	Pastel	-	Chariot Jam
34	Aug 88	18x24	Pastel	-	Fermenting Eye
35	Sep 88	12x12	Conte'	-	Serpent Birth
36	Sep 88	12x12	Conte'	-	Primitive Man
37	Sep 88	12x12	Conte'	-	Hidden Eye
38	Oct 88	12x12	Conte'	-	Almost Born
39	Oct 88	12x12	Conte'	-	Scored!!
44	Jul 89	11x14	Acrylic	-	Aphrodite
45	Jul 89	14x18	Acrylic	-	Grandma's Gulch
46	Aug 89	18x24	Acrylic	-	Blue Racer
48	Feb 90	12x17	Conte'	-	Clay Head
49	Apr 90	12x17	Conte'	-	Schizophrenic Split
50	May 90	11x14	Acrylic	-	Crooked Image
51	Jun 90	11x14	Acrylic	-	Earth
52	Jun 90	11x14	Acrylic	-	Fire
53	Jul 90	11x14	Acrylic	-	Water
54	Aug 90	11x14	Acrylic	-	Air
55	Aug 90	11x14	Acrylic	-	Light House
*These corresponding figure numbers are given in order to permit referencing the images to comments in my Magickal record, which is Appendix E of Section IV of Block 12. Section IV is a research proposal I wrote in 1986. Note that the art works in the portfolio are referred to as "slides," and the art works in the proposal are referred to as "figures." For example, Slide No. 2 corresponds to Figure 13 in Appendix E of the proposal.