This was published in MKZine, the print magazine about government mind control programs, for which I was the illustrator
Art to Break Illusions With
“If you just think that evil instuitions and bad government
and inhuman corporations pushing their programs people, then the response is
way: the people must push back. And although that is true, it is only a part of
the story. The truth is, the Formula of the Secret society and ultimately
organized life on this planet consists of art that is dedicated to deceiving
and then controlling people. Whet you really see this, you begin to glimpse the
fact that these artists can be outcreated by us‑and if we do that, we build and
evolve institutions that are not simply pushing back, they are outflanking and
outdistancing and outcompelling the controllers. Then we really have done something. Then we have taken giant steps
toward re‑structuring the whole basis of society. Then we have built another
world. Other worlds. That is called victory.”
‑Jon Rappoport
The Secret Behind Secret
Societies 1998
A startling number of
traditional symbols and geometries in the world of art have been given to us by
ruling families and secret societies, by religious cults, black magicians, and
murderers. So what will we do with them? By looking at them more clearly, we
may be able free ourselves from them and also understand our heritage inside of
them. To do so will take great discrimination and clarity of vision, as well as
extensive research, if we expect to free ourselves from their subtle control.
My illustrations often attempt to free up these symbols so
they can float around, do what they want, move in relation to each other in
different ways, so that they lose some of their potency as rigid mind control
tools. I like to take the liberty of moving beyond the symbols by deeply
thinking through the relationships between the various images of people, creatures,
and objects for long periods of time before arranging them in ways that create
the best message I can find. I try to keep the compositions open enough for
viewers to bring their own meaning to it as well, and put together the
relationships between the images in ways that are useful to them.
My compositions portray the seriousness of mind control with
respect, without making saccharine platitudes about recovery. Even seeing horror
portrayed by someone who is trying to understand it can be exhilarating,
because we can feel that we are not alone in our feelings. While some of us
have not been mind‑controlled by a specific program, we have all been mind controlled
by our present civilization all our lives, and to see an artistic reaction to
that fact can sometimes be much more comforting than looking at a placid
picture of flowers. I acknowledge my desire for freedom through making and looking
at art. I recommend artistic self‑expression as a way of strengthening the
self to counteract the
disempowering fear we may feel when we learn about subjects
like mind control. I like to make pictures that go beyond referring to specific
CIA/military programs, but also go to the heart of mind control itself.
Government mind control is a topic I have researched for 20
years, though my interest in the general topic has haunted my whole life. I
could see societal mind control from the beginning. I used to wonder, How can
people view this manipulated world as normal? I took this question into the
arts from the beginning, throwing myself into experimental writing, reading,
studying, learning the background of it. As a child, I liked the way this
question often broke up the linear way of looking at the world, broke it into a
variety of perspectives. I fell in love with the spaces between chapters and
poems. In the void, life was huge and pulsating, beyond the passages from which
the passages came, in which they could be arranged if freed up to play within
it. I felt suppressed by literature and films that made each moment rise
inevitably out of the last, instead of letting it pulse anew out of the
creative urge. I wanted to unglue all moments from each other, so they would
not portray reality as stuck together seamlessly in a rigid unchanging whole
supposedly representing normalcy. Movies and books and art like that pushed
against my body like barbed‑wire fencing. I didn't want to be trapped within
mendacity's single official perspective on what reality is comprised of, the
story that is supposed to represent the way life unfolds while totally ignoring
the profundity of it.
Although I was ignorant of his methods, I was taken by the
poet Rimbaud's admonition to systematically disorder our senses. Trying to
interpret his advice thrust me into the surrealism that wants to break apart
the whole "movie" culture puts us in, the "movie" that
makes the workings of this world seem like just the way things are and the only
way they could be. By going into the void that images rest upon, the absolute,
I could feel freedom from the "movie" I was supposed to be in; I
could juggle it around, collage it however I wanted. I could be in the void if
I wanted, just as easily as in the illusions, because the specific illusions
were no longer blocking the view. They were just playfully manifesting out on
the edge of the void, or created by people and other beings who had the desire
to keep the movie seamlessly "real," so that people wouldn't see past
it into the much larger background of our being. For some people and beings
want power over us, and if we can just get past their movie screen,they might
lose us.
During World War Two, artists who didn't portray the solid,
inescapable monolithic image of reality were persecuted as Decadent Artists.
That is what I consider myself, for the Nazi regime has continued, and given
that my art questions that reality, it is threatening to it. The Nazis
continued working through programs such as Project Paperclip, and came to
America to design deeper mind‑control programs here, after making the OSS/CIA
indistinguishable from the SS. Think of them as magicians casting spells on the
world called "perception management." My art is a protest against
these spells.
Although most of the images within my art are my own, one of
my favorite ways to expose the mind control from all sectors involves collaging
symbols/images from the past and present. Mind control has been passed down
through history by people holding control through royalty, priesthoods, and
secret societies. They have created a kind of artifice, which we can easily see
in the architecture and facades of buildings made by Freemasons and similar
orders, but less easily see in media advertising and movies. The repetitive
symbols on all the walls, obsessive geometric shapes around archways and
windows, and sculptures of grotesques and angels impact modern consciousness
like a kind of hypnosis. By juxtaposing old and new images, I open a dialogue
in viewers' minds. By making an unconscious image conscious, the relationship
between image and viewer begins to vibrate, and if the images are out of
context i.e. not glued to the setting they are normally portrayed in ‑what
happens? The angelic and heroic begin to look very similar to the demonic and
alien, and religious icons throughout history begin to look very much like
copies of each other. Those who know well how to mind control use the
appearances of the benign, but really play both sides so as to stir up conflict
and war and thus control us. Official art has created the
pictures we hold of history. It is time to rebel against the
very idea of reality the elite have created for us and re‑envision the world. Liberty lies through
making unconscious images conscious.
My art in general includes illustrations of ideas I believe
in passionately. My website, www.Tantragarden.com, has an educational section
on such topics as government deception, government involvement in 911 serving
as an excuse to control the population more thoroughly and destroy other
countries, the plan for forced smallpox vaccinations, Satanism in high places,
reptilians, the CIA, and a long section on mind control. It also embraces the
rest of life as a whole. {Note: my Tantragarden site was replaced by someone
else’s porn site, but it may resurface at a later date. However, I do have some
information in my lens,.http://www.squidoo.com/mindmanipulators and my site,
http://lucidvision.mosaicglobe.com.} My art is most often called
"haunting" and is often intense, enigmatic, subtle, and sensual. It
is receiving international attention.
It is important to face the truth and learn what we can. It
is also important to keep joy in our lives, and art can do that for us, as I
have seen over and over. To stay strong and keep cur souls intact, we must
bolster ourselves with beauty and enliven ourselves with vision. And when the
art we seek out is all‑inclusive, addressing the difficult issues of our times
as well as creating personal excitement, we can be atone with ourselves more
easily and link the euphoria of spirit with the discernment of intellect, which
will liberate us from the puppetmasters so that we are at last large and free.
1. Jon Rappoport, The Secret Behind Secret Societies. San Diego CA:
The Truth Seeker, 1998, 355‑356.
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