Saturn Neptune square,Visionary arts

The upcoming MAJOR ASPECT of 2016 is the SATURN in SAGITTARIUS square to NEPTUNE in PISCES is exact on June 17th with Saturn still Retrograde @ 12+ degrees. Neptune is the Source of all creation and Saturn births spirit into form.  Both of these planets have many aspects to each of them. I will drip feed you tidbits about the various meanings and nuances of these two planets of hard-core reality and the dreamtime. 

Neptune in Pisces rules the artist, the spiritual guide, the creative energy which all artists channel, fine artists, musicians, or writers. If the creative person thinks it is their ego who is creating, then they are not truly connected to the source.  An artist who becomes Neptune’s channel, his hollow reed, or painting tool, is a visionary. These are the ones who taps into the collective dreamtime unconscious of their times and whose vision is always ahead of their times.

visionary arts Napoleon Brousseau Toronto

The aptly titled Neptunian ” Memory Fog ” Oil on Canvas, 36 x 32 in., April 27th, 2015

Saturn is the mature artists, the one who is not the flash in the pan, brash young man but the mature artist who has been seasoned from doing his daily work for many, many years and who hasn’t given up their vision or dream and who has wisdom gained from experience.

For your Saturn square Neptune viewing pleasure here is a sampling of some of Napoleon { yes it’s his real name} Brousseau’s recent series of paintings. Napoleon has been showing his art works, installations, sculptures, paintings drawings, writing and digital art projects Internationally for over 40 years.

Napoleon is represented by the Angell Gallery in Toronto.  http://www.angellgallery.com/artists.

A new Studio space is coming in June 2016 and throughout the summer in the lovely historical Distillery District. A tourist hot spot. There will be studio openings and sales on weekends.

2 B notified of studio openings,napoleonbrousseau@gmail.com

Interested in buying a painting? Send Napo a Text 647 391 6928

Liminal Space for sub-Identity, non-specific attributes, vague self-reference, vacant soul containers, Identity portraiture, transactional apparitions, persona non grata, the vacant expression and …

Source: “Most Wanted” Liminals @ Large  http://www.napob.com

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super rich Astrology, Venus Trine Pluto

Lilith original woman Art Napoleon Brousseau

Lilith and nagas painting by Napoleon Brousseau

March 30 get ready as VENUS in TAURUS will TRINE PLUTO in Capricorn at 15+ degrees

 

This is a super rich high calorie powerful and positive earth trine with great depth, richness, power and sensuality.

Venus rules Taurus so she is in her earthiest sensual most beautiful paradise in TAURUS. She is the real goods, the hands on physical earthly pleasures. The beauty of women with natural breasts and no implants. The beauty of the natural world, the virgin earth untouched by man. The beauty of raw materials, money, luxury, art, honey, flowers. The beauty in  all relationships, the feminine spirit or essence in everything. 

Venus symbolizes all women, each and every one of them, as well as all forms of beauty-

can you see beauty

“even when it is not pretty
every day.
And if you can source your own life
from its presence.” – Oriah Mountain Dreamer from The Invitation *

PLUTO is the Lord of the depths, Lord of death, of the invisible world of the shades as the ancients referred to ghosts. The word HADES is implicit in the word shades. Not blinds or blinders but the world where the blinders of life and limited consciousness are removed. Pluto’s realm is very much alive as the dead were felt to live forever mythicaly and we instinctively know that in our ancient archetypal imaginations and psyches.

Most myths about Pluto and Persephone say that Pluto abducted or raped her to his realm. Some say the older interpretation was that Persephone went voluntarily to Pluto’s underworld. It is part of her initiation into womanhood. Her encounter with Pluto symbolizes her menstrual cycle and her sexual initiation into womenhood.  Venus symbolizes Persephone/Kore her Greek name.

 

PLUTO’s name means RICHES. The richness of the immortal world, the eternal world, soul riches. This is also the imaginal, archetypal realm, the liminal, in-between, twilight worlds. These areas partake of our mourning over those we loved and lost who have passed from this material world. It’s the realm of memory, poetry and bards and our ancestors who provide guidance from beyond. 

Pluto as the ruler of SCORPIO governs sexuality, desire, danger, obsession, power, control, secrets. Scorpio is associated with snakes and snake wisdom, instinctual, grounded; and the shedding and recycling of their skins suggesting immortal life. Snakes also symbolize menstruating women, who monthly bleed and do not die.

Put these two planets/gods and Goddesses together in a positive earth trine and this is a great opportunity for women, artists, the creative spirit, and all of our soul’s riches to soar and support each other. 

Earth Trines ae good for VIRGO.

From Pluto there is a sextile to both Pisces with Chiron nearby at 18 degree, and another sextile to Scorpio at 15 degrees-beneficial. From VENUS a sextile to 15 degrees of Cancer and another one back to Pisces at 15 degrees which is the mid-point the hottest degree. It is also beneficial for 15 degrees of Virgo.If you have planets here definitely dig up your inner treasures and feel your riches and beauty. 

MEDITATE on this positive trine.

it will happen in the middle of the night in PDT and EDT.

Think about riches, your inner, ineffable ones. The beauty of all of you, your “flaws” your scars, they are all beautiful. Ponder the qualities that you will take with you to the afterlife when you die. Cultivate inner beauty which no one can ever rape or take from you.

Think about VENUS, the ancient image of woman, the feminine and her psychological archetypal wealth which each of you carry within. She is your instincts, your ability to love and relate, your longing for beauty, peace and proportion. 

Honour beauty by creating art and making love.”ALL ACTS OF LOVE AND BEAUTY ARE MY WORSHIP”- The Goddess

I think about the most ancient feminine archetype of LILITH who I am very close to and fond of. She symbolizes the shadow feminine who is very like our fear of Pluto, death, depth psychology, our own shadow parts. James Hillman’s works are a great resource of Pluto depth archetypes.

We need to love our shadows,to extract the riches there.  The primal archetype of Lilith, her beauty in individual strength, in trusting her instincts. Snakes, her symbol represent primal instincts.

Draw upon your instincts at this time and ask to be blessed with the knowledge of both beauty and the taboo around beauty. Bless your own beauty in all its forms and your inner wealth. This will multiply your wealth mentality and attract more wealth back to you.

Pluto is the Plutocracy the 1% that own most of the wealth on this planet. Call upon the Goddesses, the Divine Feminine, Demeter, Persephone’s mother, Kali, Durga,Lilith,the Black Madonna to bring balance to the earth and restore natural beauty and harmony so that we may all enjoy the earth’s riches in our lives. 

Knowledge of Lilith is really imperative for women and men doing their inner psychological and spiritual work.  Invite her archetype to come into your dreams for dream healing. She is in every Astrology chart.  

Lilith & Naga.

I adore this beautiful little jewel of a painting of Lilith the original woman with three snakes or nagas. Lilith was the snake in the Tree of Knowledge informing Eve correctly to eat the apple of Knowledge which made humans  conscious, this was the first act of free will.

There is also video of the painting being created by Napoleon Brousseau.

There will be prints available on SAATCHI as of April 2 to feed your Venus Pluto with

PLEASE share widely

all writing is copyright of TARA GREENE 

PLEASE SHARE WIDELY WITH THOSE WHO MIGHT BENEFIT

Get a reading with Tara Greene http://www.taratarot.com

More beautiful art to feed your Venus with at http://www.napob.com

* Oriah Mountain Dreamer was my shamanic teacher from 1989. 

BEAUTIFUL- Christina Aguilera- 

Venus in Taurus, art critics, true art

Venus enters TAURUS april 15- May 9

She rules the arts. She is the MUSE or divine Goddess of inspiration. That’s why Neptune is her “higher octave.” Venus is earthly fleshy real sex, art, money, luxury, relationships.

 I started out as an artist. At age nine I told my surprised mother that I had decided to be an artist when I grow up, that was that. I had figured out that being an artist was a lisence for escaping the rat race, the normal expected, boring, unconscious way of life.  I saw ART  as FREEEDOM, ANARCHY. I went to OCAD which wasn’t a design school then. My first husband was an artist, my present husband is an artist, our daughter is presently at a performing arts high school.  

I was born with a natal VENUS NEPTUNE EXACT conjunction in Libra the Sign VENUS rules. Yes art is a religion, very spiritual to me.

I happened upon this article in BLOUIN ART INFO -Canadian version. I will excerpt it and provide a link.

FINALLY someone with weight in the art world has spoken the unspoken!  American ART Critic DAVID HICKEY 

what do you think about contemporary art?

There are only a few great critics holding forth in today’s waning critical climate who maintain an element of danger in their invocations. These voices of authority and interrogation bend and veer away from our understood rails of art appreciation into rogue states of wicked qualification, correction, dissent – even revolution. It takes great bravery, in this moment, to call a thing a thing, and something even greater to be compelling and convincing in this effort. These critics tend to say things loosely, ham-fistedly, but with a pulpiteer’s command. They tend to interrupt the academic scaffolding of distance with oratory tempos that are stark and seemingly stupid in their abrupt profundity; they speak with adamancy, and they ring bells that feel assailing.

Among these writers are Peter Schjeldahl, Ben Davis, and Dave Hickey, the infamous and revered American critic who has carved out a voice in the Western art world akin to that of journalism’s Hunter S. Thompson. He has achieved storied laurels – seemingly despite but also because of himself – and has recently and very publically retired from the racket entirely. He has not done this from exhaustion nor age (he is 73) but because his subject has grown too insipid, too “stupid,” he says. It’s easy to believe him.

Dave Hickey did something to Canada, which should not have been unexpected; all the same, it was reviled. Hickey came to Guelph University for the annual Shenkman lecture, and offended everyone.

Importantly, on the eve of Canada financier Jim Flaherty’s federal budget reveal (in which general ‘skills’ were summoned to match the country’s available employment), Hickey produced an argument that had a special relevance for its tender audience, and its economic moment: as he took short aim at his crowd – comprised of provosts, university presidents, deans, professors, students, and former graduates – Hickey commanded we give up our institutions, relinquish our vain pursuit of accreditation, and summoned us to become artists again. “Demand that your students can perform a jump shot,” he said, in one of many references to an idealized world in which the art school was run like an athletic department. “Give up your three cars and pool, and the 4 o’clock meetings, and become an artist again.” But, he amended, if we are to continue in our endeavoring of an arts degree, or in our pursuit of a tenure-track professorship, demand of ourselves and our students skills, results, ambition, and that we kick the 90% that is shit, to the curb.

There are very few of us working from the art world’s bleachers, perhaps even fewer of us trading in its court, who would argue against Hickey’s main thesis: that the academe is destroying contemporary art. However the critic-cum-orator quickly established an antagonism towards his audience that was only further embossed by his seeming casualness.

Clad in a black sweat suit and runners, Hickey approached the podium – after no fewer than three introductions (a performance that would only serve Hickey’s later point on the academe’s overwrought hierarchy) – and very quickly descended into an 80 minute lecture that, while seemingly rudderless (he had no notes, and repeated himself frequently while veering off into anecdote and recurring metaphor) was in its sum a strident call for change. He was appealing to civilization.

“In America, and in Canada in particular, the balkanization of our universities has pretty much destroyed civilization as we know it. I think we’ve done it under the guise of control – as Michel Foucault would say, ‘care is control’ – and I’m here to argue for less of it,” he said. ”I’m here to argue for a little more benign neglect.”

The critic flitted between personal anecdote (quoting his friends Richard Serra, John Baldessari, and his nemeses, Clement Greenberg and Thomas Jefferson), near constant swipes at the academe, a few bigoted slags, and consistent, impassioned invocations for systemic change, though he maintained that “there is no deficit of quality work, it’s just that the world around it has changed.”

While figureheads like John Kissick, Dasha Shenkman, and Matthew Teitelbaum dropped their heads and rubbed their foreheads (with some gesturing wildly for moderator Robert Enright to close the lecture), others held hopeful expressions in a transparent commitment to the critic’s overarching thesis. The exquisite and painful moment of Hickey’s truth and brutalism brought to mind Peter Schjeldahl’s call to arms, of a few years ago, first issued at the New School, and then transcribed for Frieze (March 2011), wherein he spoke of the “irreligious gravitating towards art,” and how its “want tends to be lonesome and blind.”

Schejldahl goes on, “An educated common sense of the last three decades holds that all art is rhetorical and thus a game of pretenses and/or of exposing pretenses. This view is basic to the gaming of art. In fact, all art can be seen that way, but not usefully, if anyone’s experience matters. It ignores the fact that good art happens to us in ways that knock us out or our educations.” Complaining about contemporary art rhetoric and the ubiquity of the term “practice” in relation to an artist’s work, Schjeldahl demands, “When do you stop practising something and do it?”

Hickey would, over the course of his freestyle lecture, emboss this very point (“go pro,” he kept repeating), while damning every academic and art school attendee in the room in myriad ways – some clever (“theory is really easy: it’s like playing poker with no spots on the cards”) and some lazy (“if you are manic depressive, dyslectic, morbidly obese, have down’s syndrome, you end up in the art department”).

At the end of his talk, Hickey was, unsurprisingly, met with a question from an audience member, who began tremulously, “well I’m not afraid,” but went on, gaining confidence, to demand of Hickey just how “serious” he was, because “it’s a huge insult to us who devote our life to the academe; not everybody has the ability to become a basketball player in the NBA.” Hickey responded, “if I was being insulting it’s because I meant to be. There is nothing that I’ve said that I haven’t done. But we’re not talking about your benefits. We’re talking about Western civilization.”

Dave Hickey, a letch, a rogue, a dissenter, an exile, had effectively performed his point. With the very subject of his seeming disdain positioned firmly beyond his pulpit, he exhibited a tremendous affection for its cause and well-being by demanding of it something greater. The Canadian art world and its academe suffered the point, one all too rarely made in this sector, and one never issued at its establishment: be better. As Hickey refrained, “how do you be brave? How do you be brave?” Likely those most angered by Hickey’s lecture will be the ones answering him in spite, and to good effect, in the years to come.

see what I consider to be art form a true artist- not academic -http://www.napob.com

Death Valley Scorpio place, star scapes landscapes painting and film

Badwater, Death Valley by Napoleon Brousseau 1998


Death Valley sounds like a Scorpio Goth place. It  is a beautiful awe inspiring place. My husband Napoleon Brousseau turned me onto it. He used to go quite often and camp before it was a National Park. The landscape is varied, with names like “Devil‘s Cornfield.” There are mesmerizing salt flats, feels like you are walking on the Moon. Surprisingly there is also water and a species of tiny fish that thrive in the super salinated waters.

Death Valley is a misnomer- it was intended to keep prospectors away as it was believed there was gold there. There is a lot of silver and abandoned silver mines litter the valley. Borax- you know 20 mule train borax– was mined from Death Valley. It is a flame retardant and cleanser. Nowadays there are modern hotels, date palms and lotsof tourists. The night skies are amazing as no inerfering city lights.
For an artists view of Death Valley- see Napoleon’s contemporary landscapes at http://www.napob.com
Zabriski Point- Painting by Napoleon Brousseau

and also this wonderful film.


Behind the lens: Star trail time-lapse over Death Valley