There is a
spiritual dimension within each of my paintings, although it
until the fall
of 1991 that I ever considered the possibility of
designating an exclusive spiritual purpose to any of my
works. Essentially, I was a secular painter, well
established with a successful profile in the contemporary
art world. Through
a series of
serendipitous events, however, the direction of my life was
changing, and as a result of powerful spiritual infusions
and influences it was becoming necessary to confront a
mandate from higher guidance.
I was being
asked to paint a portrait of Jesus Christ. This was a most
unlikely project for me, and my reasons for feeling that way
were outlined with great logic. After careful deliberation
of the issues connected with such a project, I made a
counter-mandate: If He shows up, I'll be privileged to
paint Him. Such a calling
in dialogue with such an attitude
facilitated a profound evolution of character as well as
invoking the presence of Sacred Phenomena.
On November 23, 1991 I sat quivering with frustration...
like a wild horse in a box canyon, full of vigor and no
place to go. All I could do was pray. I pleaded to be shown
how to paint Him or else to have this commission taken from
me. At that moment, a presence entered the room unlike any
I've ever experienced. He stood
at a distance
from me in His own space. Although He was transparent, there
a radiant glow,
and He displaced the air so conspicuously that I could see
currents of pressure waves rippling about eight feet in
front of me. Was it the Holy Spirit...
or perhaps an
angel? At that time, I had no reference points from which to
discern, but later experiences and insights were to reveal
that it was the Master, Himself,
spiritual form. The Presence called my name, though in no
human words I know, and then shot a beam of energy from
Himself to a point between my eyes.
I presume He
implanted something into my optic nerve, for a radiant
picture projected before my eyes. It was the exact visual
prototype of the painting to be done. Every detail was
there, and it was available for reference from that moment
until the painting's completion. That was the source of the
final image you see in
the painting. No
human subject was ever used.
As the days passed, our experience of being together was
like that of friends.
And His presence
became increasingly real. The events of each day unfolded
perfectly, as they should, and each hour of work was a
living dialogue with the Master. We spoke of many things,
large and small. The experience was both peaceful and
dynamic, with every moment bringing a special fulfillment.
The painting was finished on March 12, 1992, but the story
of its miracles was just beginning.
As prints of the
painting spread around the world, letters and calls came in
daily bringing stories of its blessing to the lives of
others and the miracles that followed
in its pathway.
There is no order of importance in the realm of miracles.
Nevertheless, an event of extraordinary scope and importance
July 19th and
20th of 1992 which would highlight, with stellar brilliance,
the miraculous nature of the Master's portrayal.
The painting was being installed for exhibition on Sunday
morning at St. Francis
Episcopal Church in Willow Park, Texas. Without warning, the
main flood light fell and crashed into the painting. It hit
on the left side, just between the divided trunk of the oak
tree. Those of us who saw it happen screamed in terror
hit the floor in an effort to avert the damage. As I beheld
the fallen painting, its damage glared at me. There was a
four-inch dent with a one-inch incision in the center of it.
There was a complete tear in the canvas through which
I projected my
little finger. I was so shaken it was difficult to continue
with the program, although I persisted in honor of the
greater purpose for being there. When the day was over, the
painting was gently placed in its case and taken home. I
couldn't bear to look at it any further that night, so I
went to sleep and postponed the final evaluation. The next
morning I reluctantly removed the painting from its case. To
my amazement, there was no cut! Then I looked at the back
and observed that the canvas weave was as tight and perfect
as the day it was stretched. The emotions I felt--from
disbelief to exaltation--would fill a book! Only Father
Hermann of the church was not surprised. He and others have
now filed written testimony to the fact of the painting's
injury and subsequent healing. This is good! For to look at
the painting today one would find no trace of damage
remaining. Truly, July 20th was a joyous day of Divine
revelation, that in the Master's hands all things are made
The painting is now in a little chapel of the Christ Truth
League in Fort Worth,
chapel is open 7 days a week from 8:00AM -8:00PM. You can
contact them for questions or directions at (817) 451-2612.