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Sleeping with Jesus
(Excerpt from the catalogue "The Qabala Paintings) WHY QABALA? By Thomas Ackermann We are at the door of an enormous psychic change which will require a complete re-evaluation of all experiences and information regarding human consciousness. The physical and mental evidences of our human evolution, the accumulated knowledge within the space-time universe, as well as phenomena outside the rational world, is the playground of my investigation. My approach to this monumental re-view (or re-seeing) is a retracing of my own steps as a visual artist which began with some Biblical interpretations that I painted in the mid-1970's. Since then, I have come to understand that my Roman Catholic upbringing and the religious indoctrinations that I had to suffer through as a child and later on as an adult, have, in fact, spurred me on to acquire a radically different view of ecclesiastic traditions and biblical scriptures. I propose that,biblical stories of the Old and New Testaments (as well, I am sure, of all other sacred scriptures), present the substance of our most fundamental truths that we can apply to our physical, mental and spiritual lives. It is no coincidence that visual artists have dealt with spiritual subject matter in ancient times and interpreted biblical events in modern history, from the cave paintings at Lasceaux or Altamira to Giotto, Rembrandt or Gauguin. The tantalizing feeling of rubbing our paints into the canvas of our universal beings, and exposing the splendor of human consciousness in its destructive and creative evolution, is an experience of meaning and purpose we want to share and pass on, from generation to generation. My own feeling that we are on the verge of a melt-down of the divisive attitudes and practices among peoples, coincided with my introduction to the wisdoms of the Qabala. In 1992, my wife Maria bought a book by Carlo Squares called The Qabala Trjlogy*. After the book sat on a shelf for two years, she began to read it and said it would be important for me to look at. All my paintings since that time, are the beginnings of my personal re-vision; a result of Maria's intuition, for which I am deeply grateful. Suares, who was a scholar of the Qabala for forty years and unafflicted by religious affliliations, has provided me with insights and new perspectives by giving me a glimpse of the original Hebrew scriptures, through the eyes of the old sages. Qabala is not a religion, nor is it a quirky mysticism, or an offshoot of Jewish religion. It is a science based on unitive postulates and analogical developments using the Jewish alphabet, or Autiot, as its primary source and means of communication. These letters cannot be used as we use our A-B-C's but need to be understood, as Suares, insists, as "biologically structured energies in different stages of organization. It is a travesty to reduce this coded language to a mere alphabet of letters which reveals to the reader of scriptures, only the tip of an iceberg. The simplistic and false translations of the Bible, the King James and other commonly accepted versions, could be Compared to a library that contains the books with all accumulated knowledge but has been burned except for a remaining catalogue system of titles with the letter H,O,R and T, for example. The odds are certainly against us to uncover the information revealed to us by the ancient sages with the current translations of the Bible. Our problem of self-discovery is compounded by the inevitable formation of religious institutions and secret societies, who manipulate and divert our search for meaning in the Bible, and, in their attempt to control our hearts and minds, have devastated the human psyche to the point of emotional, logical and ecological imbalance. We need only to look at the millennia of "Holy" wars and the hierarchical, elitist social structures that have undermined all attempts at unifying and balancing our physical and mental states. In my case, the process of revision began with the rendering of the Genesis story in the mid 1970's, from which I have included some works (see Nos. 24-33). My extended family has maintained a strong connection to the Church and its rituals, and even provided a priest to its clergy. My own deeply ingrained Catholicism required a lengthy personal therapy and a ruthless self-criticism on my ecclesiastical predisposition. When I look at my early interpretations of Eden (which were inspired by some anonymous Medieval illustrations), I am aware of the traditional approach I had to the story of Eden, yet find myself encouraged by an irreverent humanness, in the clumsy renderings of the protagonists. The tenderness of the subjects and colors are in contrast to a persistent anger in the obvious crude weight of the lines. Faith does not require a denial of the rational mind, an apparent pre-requisite for the Church, especially on the issues of Creation and our evolving role in a conscious universe. I remember, as a child, going to sleep with the horrible thoughts of the crucifixion, the nightmarish images of a wrathful God in the Old Testament, and the fear of dying in my sleep and going to Hell if I had not prayed long enough. These irrational preoccupations planted the seed to search for the information that could lead me to myself. It is a folly to submit to the antiquated laws or cruel pagan rituals which are already being eclipsed with the inevitable evolution in human consciousness. Qabala, directly translated, means "receive," associated with the Hebrew word qibel, which curiously bears a close resemblance to the word "Bible." Without digressing into a more analytical approach, the motivation behind my paintings is a subject by subject destruction of my own traditional and obsolete concepts of the meaning of the biblical texts. My priority is painting and I do not want to leave the impression that I am a scholar of the Bible. My paintings reflect the extent to which I, and perhaps others like me, have been affected by the misrepresentations and the profound new revelations of the same stories. Some of my titles will help to identify well-known incidences and personages of both Testaments. I have, in my research, relied on and trusted foremost, the analytic writings by Carlo Suares as well as my own intuitive and rational abilities. The issue of Qabala is one of initiation, to experience the undefinable, the inexplicable, by submitting to discovery. These paintings are that path of initiation for me. I suggest that if personal tastes prevent any appreciation of my work, at least to consider a re-reading of the Bible, without submitting to intellectual subjugations, or prescribed traditions, and recognize that biblical events are the abstract representations of the cosmic energies contained as dynamic concentrations in our psyches. I consider any good work of art to be exactly that -expositions of the human psyche. Cain or Abel and the Autiot: My approach to a painting The paintings in this show are the highlights of some of my exciting discoveries, that are best represented in my paintings of Abel and Cain (Genesis, Chapter 4), Nos. 8, 10, 19, 23 of this catalogue. In the traditional translations, Cain kills Abel and therefore is evil. Abel is good. However, when the "letter - number" equations of the names are closely analyzed, according to Qabala, a completely different story emerges. These letters/numbers, or, Autiot, constitute the Hebrew alphabet of twenty-two signs (plus five extras). These are used, at present, like any other alphabet of letters in any other language. In qabalistic terms, these letters also carry numerical significance and symbolize a much more profound reality rather than merely representing vocal sounds that in conjunction with other sounds/letters, designate an object based on linguistic agreements. The twenty-two signs of the Autiot are more like the initials of names that factually are that which they designate. This can be more clearly understood by the example of a musical note, where the experience of a sound, directly communicates its essence, without reference to arbitrary musical notation. The reason for the atrocious translations of the Bible is that the translators, for convenience, used the Hebrew alphabet in the same way they would our A-B-C's. Most of us use our language in such a way that we could easily reverse the spelling of our words, and come to an agreement that would mean the same. In Qabala, the use of letters as arbitrary symbols would be ludicrous. The Autiot is like a symphony of distinct universal sounds that permit us to vibrate with the different states or structures of the one cosmic energy. The numerical equivalents of these letters are not arithmetical but provide an immediate recognition of a particular energy or structure by means of an equation. According to Qabala, the character Cain, phonetically spelled QAHEEN with the letters QOF! 100- YOD /10- NOUN /700 represents the number 7, which is "the indetermination of all possible possibilities." The archetypal Cain, or more correctly Qaheen, symbolizes a part of our psyche that is continuously breaking down the fixed or rigid boundaries within our mental structures. He is the mythical destroyer of all illusion. In the King James version (Genesis, Chapter 4, Verse 1), Cain is Eve's son who she says is "Gotten.. from the Lord." Cain is the direct result of a divine conception (as was Jesus) without Adam's participation. Abel, on the other hand, is the son of both Adam and Eve. In this reading of the text, we are subjected to an irreconcilable contradiction. I cannot accept the puerile anecdotal representation of God who has created the entire cosmos, giving "His" son to Eve, only to damn him from the earth (Genesis, Chapter 4, Verse 11) and then telling the reader that, whosoever slayeth Cain, vengeance shall be taken upon him seven fold, (note the number seven) effectively making Cain seven times more powerful than any would-be assassin. If this story, or any other in the Bible for that matter, can have any relevance in our lives, a more sober reading and understanding is essential. The confusion created by the continuous incongruities destroys our faith in our rational abilities. I have suggested that we view Cain and Abel as two archetypes. I do not accept the simplistic and irrational conclusion of the evil Cain and the good Abel but I have looked for deeper meaning in the symbols. If Cain is a direct descendent from God (YHWY), then his sacrifices to this God would have been problematic in the sense that he would be venerating a part of himself. This is equivalent to the human drama in which we are told that Christ is within each of us. Instead of embracing the full meaning of such an idea, and living up to our potential of Christ-likeness, we sit back and worship the picture, a fabrication and empty projection. Qaheen (Cain) experiences the distance between himself and himself and in recognizing this fact, is liberated to live his true vocation - a projection of YHWH (God) incarnate. To a conditioned, static mind, fossilized in tradition, Qaheen would be a killer. Abel established his dominion over the flesh of his herds; he is fixed and bound to the earth. Qaheen, vibrating with this intense liberating self awareness, represents an energy that the rigid earth-bound Abel could not comprehend. Qaheen's attempt to share the fire that burned inside him was Abel's annihilation. No lethal blows were exchanged. The lie of this assumed fratricide has severely stunted human development and is to this day, re-enacted in the atrocities of man killing man. The continued ecclesiastic support for this mistranslation has resulted in a psychic imbalance that is nothing short of devastating. The two paintings, Abel and Qabeen (Nos. 8 and 10), are my attempt at implanting an alternative vision into our psyche. In this case, and with others like it, I absorb the information and let the intellectual, emotional and intuitive process combine on my canvas with little planning. The painting titled: Qabeen and JHSHWH (Jesus) East of Eden; A Blueprint for all Possible Possibilities (No.19) is a good example of two independent stories merging, not by any historical fact but by their universal interconnectedness. Qabala makes such overwhelming intellectual demands that in order to stay focused I have had to make a concerted effort to remain true to my painterly instincts. It is for the first time that I have felt my paintings so directly impact on my psyche. I am rediscovering a wounded part of myself, a seed that was planted without the proper care that is beginning to unfold in these works. The lies that were planted in my childhood, of an incongruous and even hostile universe based on the literal projections and misrepresentations of the Bible, are now being resolved by my discovery of the timeless and ambient truths contained in that original seed that is Qabala, that is I. by Thomas Ackermann
David Taylor, Curator for Gallery Lambton The subject matter of Tom Ackermann's paintings is based on the Qabala. Understanding the Qabala is as difficult as it is complex. While the artist admits that he is no scholar of the Bible, he does have a far better understanding of the subject than I do. The Qabala demonstrates that the version of the Bible most commonly used today, the King James, is a poor translation of the original Hebrew text. This presents a new understanding of the major stories in the Old and New Testaments and may cause concern and even anger for people from a traditional Judeo-Christian background. However, others may find this reassuring having been disillusioned with their own religious upbringing. And this is certainly true of Ackermann. Whether we accept the Qabala, or not, should not detract from the enjoyment of these paintings. The fact is that the Qabala has played a vital role in the creative career of Thomas Ackermann. The Bible, as he has discovered through his readings of Carlo Suares, has far greater depth and meaning for him now than at any other time. His journey, through his painting and the Qabala, has been therapeutic and has served as a personal voyage of discovery. Because of this new translation of the Bible, which has opened up a whole new realm of possibilities for the artist, and because of his progressive painting style, he has provided a refreshingly new look to a very old subject. This exhibition is primarily of Ackermann's Qabala paintings from 1995 until the present. He has also included some pre-Qaba/a paintings from 1973-1975, that are based on his understanding of Genesis.At my insistence, the artist has also included some of his original sketches that led to his paintings. Thomas Ackermann's paintings can be enjoyed and appreciated on two main levels. The first, which becomes apparent as soon as one sets eyes on these magnificent paintings, are the visual elements. These paintings can be appreciated for no other reason than their color and the way the paint has been lovingly manipulated onto the canvas. This is the level about which Wolf Mendritzki has written so eloquently. The second level is far more complex and this is the subject matter. To help in this, Ackermann himself, has provided an explanation as has his friend, the Spanish sculptor, Luis Ramos. Like Ackermann, Ramos also uses the Qabala in his work and both artists came by it independently of each other. Ramos has provided further invaluable insights towards understanding Ackermann's paintings. At the end of this catalogue, I have written a short essay on how some old master artists have used the Bible as the source of their inspiration. It will show how artists from different periods can interpret the Bible in various ways. Some, like William Blake, even went as far as to challenge the orthodox teaching of the Church through his artistic interpretations. Tom Ackermann, in this regard, is no different from others who have used the Bible as a source. He has a particular interpretation, admittedly a radically different one because of an alternate translation. But it is still an interpretation.
By Wolf Mendritzki What
is it about Tom Ackermann's paintings? Why do I get excited, not
just about his paintings in particular, or even about all painting
but about art itself as a means of human expression? Stand in front
of an Ackermann painting for a few minutes, let its magic work
just a little, and the purpose of art begins to make itself clearer. * "'Mendritzki is here referring to the famous painting of 1897 by the French post-impressionist, Paul Gauguin (1848-1903). This is now in the Museum of Fine Arts, Boston Wolf Mendritzki is an artist and teacher who lives in Watford, Lambton County. Born in Germany, he immigrated to Canada in 1958. He graduated from the University of Guelph with an honours B.A. in Fine Art in 1973 and later from the University of Toronto with a Bachelor of Education. He has had solo shows at the Kenneith Gallery, Sarnia; Gallery Lamhton, Sarnia; and at Rodman Hall Arts Centre, St. Catharines, Ontario. His work is represented in the collection of Gallery Lambton; Polysar Corporation, Sarnia; City ofLaval Quebec; and other private collections in Canada, the United States, Switzerland, Germany, Nigeria and South Africa. He currently teaches art at the East Lambton Secondary School, Watford, Ontario. (Reverend
Nick Wells) Pastor for St. John's Church at Kettle Point I first met Tom when he called to inquire about purchasing the AnglicanChuch in Forest. He invited me to visit his studio, which led to a long series of conversations over many months that centered around religion, art, politics, health, philosophy, the economy, the environment etc. At that time Tom was working on a vast series of paintings based on the Song of Songs from Hebrew Scripture. This project which was part of a Millennium Fund request, was designed to utilize several of the large churches in the downtown core of London. Patrons would need to go on a pilgrimage from church to church in order to see all of the exhibit. I suggested that Tom present his proposal for such a large scale project to the London Inter-Faith Team (LIFT). LIFT was in the process of planning a Millennium Celebration for June of 2000 which might be able to incorporate his exhibit into their project. The large core area churches of London were supportive, however, the Millennium grant was not approved, which resulted in a significant reduction in the size and scale of the exhibition. The relationship that developed between Tom and I throughout the Song of Songs project continued to grow in new directions. This became quite evident in Tom's work which began to move from a predominantly Hebrew Scripture base to a focus on Christian Scripture. This shift in his focus is reflected in the current exhibit "Sleeping With Jesus". There was still the need for some appropriate venue for his latest work. There was never any question about placing the paintings in a church. The question became which church? Christ Church Forest lacked sufficient wall space and the stained glass windows would distract a patrons focus. St. John's Kettle Point was a contemporary building with no stained glass windows and sufficient wall space for some of the larger pieces. I was also personally biased toward Kettle Point as I felt that Tom's paintings were an incredible commentary on the conflict between Christianity and Aboriginal Culture. "Sleeping With Jesus" is one of those metaphors that is loaded with meaning on a number of different levels. The Church in Canada is to some extent "Sleeping" resting from 500 years of triumphalism, oppression and exploitation of First Nation's Peoples. Conscious at some levels of its immoral behavior and totally unconscious and unrepentant at other levels in trying to remake all Aboriginal People's in its own image. Tom's paintings hold a mirror in front of our Canadian/Religious culture, and the reflection is truly horrific. We see crosses chasing people, eating people, snaring people, frightening people. As one native person stated: "We asked for Jesus and what we got was the Church". At another level some of the paintings are diametrically opposite in every respect, full of compassion and empathy. A cross in the form of a tree cradling the body of Christ in a classic Pieta pose is truly moving. I
know that the members of the congregation of St. John's are not
at all comfortable with these paintings. They do not like the nakedness
of Christ. His nakedness mirrors their own vulnerability and pain.
I am deeply appreciative that the members of St. John have gifted
me with their permission to exhibit these paintings knowing that
what is happening is part of a long healing process between our
two cultures.
A personal background to the paintings (An Excerpt from the Catalogue "Sleeping With Jesus") The paintings in this exhibit are like bubbles rising from my reservoir of memories and feelings of my first religious experiences. They are representations of my hopes, angers and longings, uncanny in their clarity and full of surprises as they appear under my brush. I am fortunate to have met the Reverend Wells who has encouraged me to pursue my soul searching with this exhibit at St. John's Church Kettle Point Indian Reserve. It is with gratitude and a sense of awe that I present my work to the ongregation. At the age of 8, I carried the processional cross for the stations of the cross in my parish. It was a tradition, during lent, for a boy and the priest to lead the congregation in prayer of the Rosary before the various images that designated Jesus' path to the crucifixion. For 3 weeks I shared this duty with several of my peers. I felt very important. I was, one could say, in the front line. I find myself again in the front line with this work. When I first began making these paintings I tried to feel how the 7 or 8 year old in me responded/responds to the Jesus story particularly toward the idea of the crucifixion. I recalled that my compassion for the victim seemed to change the meaning and impact of the narrative substantially. In fact, when I was able to look past the blood and guts I began to awaken to a bigger "picture". I think that my spiritual life had begun with my feeling of compassion. On reflection, the meaning for me is in the empathy with this Jesus person. Mythologies are irrelevant until they become real in our psyche and part of our daily lives. I wanted to help this victim of torture. My teachers, parents and role-models were unaware of these stirrings in me and my discoveries were drowned by the ritualized worship of the Roman Catholic religion. This ritualizing and uninspired interpretation of the gospels prohibit the innate wisdoms from rooting themselves. Looking back I think I felt abandoned. I imagine that the early Christians had a fundamental need for being with one another, sharing the experience of living inside the mystery of our human destiny. The paintings clearly reflect my twofold attitude of abandonment or even betrayal and the joy of discovering my higher self. Religious traditions can contribute to the growth in a person. In my own case it was not so much what I learned but what was missed or ignored (the stuff between the lines). I am vigorously opposed to religious ideologies that project and worship some deity for rewards in an afterlife. If we can extract meaning from the sacred texts it will be reflected in our acts of kindness, honesty, tolerance, compassion, love and the humility to ask for forgiveness. I consider my paintings successful if they transmit these fundamental attitudes but more importantly that they originate from the actions of my "Higher Self". The more I have tried to bury these particular childhood experiences (and my Judeo/Christian upbringing) the more fixed I have become on understanding the ambivalence I have toward my past, evident in the paintings over the last 6 years. I'm looking hard at myself to destroy the lies I have accepted which leaves a vacuum that I fill with my paintings. Ultimately I am asking the question : "Of all the ways we could be, why are we the way we are"? I want to renew myself without discarding the wisdom that burns at the heart of our biblical texts, achieved by our ancestors, often at great sacrifice. These
paintings are analogies for my thoughts, memories and experiences
that illuminate my own struggle to build and apply a moral strength
in my convictions and more importantly in my actions. They can
be seen from two perspectives; as commentaries on how I see the
world and how I want to see the world. I loath to submit the innermost
part of myself to some prescribed law or practice without testing
its veracity against my own substance. After all if faith might
be our ultimate challenge, then let us not come upon it like empty
vessels. |