MERLIN AWAKES

1984
1990
1991

When I met Peter Quiller, the recipient of the commission, we explored working with the messages ‘M’ had given to him. These messages, through art and words, became Merlin The Immortal. I decided to self publish the book under the name of my business, Spirit Of Celtia. At the time my day job was with a local screen printer and each week I would dedicate a portion of my wages to printing one hundred copies of each page of the book as I finished them. When it was eventually bound as a hard back, I packed in my job and travelled into London every day with a rucksack full of books to sell to bookshops. After the first edition hardbacks were sold, the book was published in paperback. There were boxes of books under the bed, in cupboards, and in every nook and cranny in our house. My wife was worried the floor would collapse under the weight of all the books. At this point in my journey synchronicity stepped in and opened a door. The George Bain book that had fired my inspiration in 1977 was published by Constable with steady sales. One of Constable executives had recently moved to Blandford Press and was proposing the idea of creating a complete range of Celtic books. About this same time I had written to Blandford about any potential interest they might have in Celtic art. My letter was sitting on the desk of one of their commissioning agents when his young daughter came home from school with her latest art project, a coloured-in picture. It was one of my pictures.

The Celtic Art Source Book went into 24 reprints followed by ten more books published with Blandford, which would be taken over by Cassell and eventually Orien. Publishing ownership would come and go but my book sales remained constant.


 

Balance 1982
Challenge  1982
Hills Are Hollow 1983

For the next thirty years I worked mostly in seclusion. Seven days a week, twelve hours a day. In that time I created fifty books with the aid of ‘M’, the Mage. Through those years I never had to sell a book idea to publishers, they always came to me with offers. But by 2008 they believed that the Celtic bubble had burst. New book commissions dropped away and one-by-one the books went out of print.Throughout the years of working with ‘M’ I experienced many shifts of consciousness. These occurred mainly when I was working on significant pieces of art and needed to re-tune myself energetically to complete the art. But as the book work slowed down and I turned to creating individual pieces of art, the shifts intensified. I began to feel that I was being reprogrammed for something new. I felt the energy was now encouraging me to leave the safety and seclusion of my studio to step back into the world. I was being called to share my experiences with others and offer them the opportunity to experience this energy for themselves.

Sword In The Stone 1981

Over the many years I collaborated with the Merlin Energy I was always aware of the constant vibrational changes occurring within me and the effect of that resulting transition to my relationship with the outside world. This heightening and expansion took me through numerous periods of rewiring to fine tune my bodies subtle energy systems to the new frequency that was now working through me.
 

With these dynamic alterations occurring on a pretty regular basis, I began to recognise that they were actually coinciding with a particular challenging painting that was being undertaken at the time. I realised that the execution of a particular art piece was literally a reflection of the moment. As I engaged on the painting it highlighted and as if to make the point very clearly, it often intensified an uncomfortable situation I was going through. I began to accept the challenges as grace and this grace would help to release me from perpetual experiential cycles that had been associated and dogged me through most of my life.
 

Rather than listening to the constant ramblings of the thought process I had taken as who I was, through a new awareness that was drawn from a still space within and a greater acceptance of the guidance that came from a deeper attunement to my bodies guidance and advice. With this clarity it was clear that although Courtney had been on his 'spiritual path' for many years, as the embrace of the Beloved deepened so Courtney's part in this clearing shifted, the association to the physical world altered from a position of deep involvement in its complexity to a point of deeper awareness and a greater detachment from the grip of the drama of the world outside that can so easily can draw you in. 
 

In the darkest moments, at no point do you become detached from stillness, the whole point is not gaining anything, it's remembering what you are that's the key, and the awareness of the fact that you are one with everything. Experiencing that connection is truly magical. After years of the urge to gain some kind of enlightenment, at its flowering, Courtney loses out and with realisation, relinquishes his hold to the Universal Spirit, God, the Beloved. Of course this is an ever changing scenario as the ego doesn't give up easily without a fight, so random thoughts will catch you and build upon a simple incidental thought in a very creative manner and hook you in. For your development many situations will arise that will shake any complacency that you have reached some plateau beyond reach of any unresolved patterns, there's nothing that can be swept under the carpet, hidden in some secret place that's insignificant enough to be brought into the light and resolved. The process of a closer union is the shedding of that which doesn't serve you.
 

Dodging re- occurring obstacles impede growth and at some point they will be addressed. Viewing them as a grace rather than an a painful challenge and obstacle to your peace of mind will turn the situation from something that is to be feared to a blessing that can be liberated. The key that resolved its eventual liberation seems to be embedded like a microchip into the art itself and connecting with the painting seems offer an invitation to anyone who is particularly drawn to it, the ability to facilitate  their own clearing and healing to anyone who becomes hooked by its presence.
 

Merlin was insistent throughout our time together that I didn’t absorb additional knowledge from books, but keep this channel clear for the illumination to flow purely. I can certainly attest to numerous ragings on my part over the years and much shaking of fists into the air, as situations befell me and frustrations at the supposedly lack of support where needed. Of course in hindsight it was me that needed to side to the challenge and to complete the task rather than the wave of some metaphysical wand to clear my way.
 

At the beginning of our relationship I often tried to incorporate what I thought was a neat bit of design into the work, firstly the small blue lights that always accompanied our joint effort would stop and if I was still insistent there followed a distinct poke in my back. Purity of the energetic connection was paramount and when the piece was finished, all the creative instructions in my head were erased like chalk being wiped off a blackboard and I retained very little of the description of the specific work.
 

It's this disengagement from need to know to a point where you are opening to a clear position that's uncomplicated with irrelevant facts that only obscure the opening of the portal embedded in the painting. People think I am the wellspring of knowledge of all things Celtic and are amazed at how little I actually know.

The Merlin energies practise of guiding me away from any outside influences and I deeply resented, actually encouraged a deeper appreciation of our collaboration together. Each day as the energy drew close and overshadowed me and recognised subtle changes according to the subject of the art piece. It's easy to say it was the Merlin Energy each day but the movement of these external energies and its effect on this physical frame made me aware that trying to pigeon hole the name became increasingly more difficult. 

I became mindful over these past few years that the understanding was coming from a place truth as I had actually experienced and perceived rather than from some second hand source. This vehicle that we claim as who we are, isn’t some solid mass but made up of layers of vibrating energy, each of those layers have a specific vibration and purpose and are important to the bodies overall balance and well being. The physical body only appears to our physical eyes as solid because the energy vibrates more slowly. Merlin altered my focus from seeing my form in a purely physical way and recognising that it is actually created from the same source as the Universe itself. There was no division but everything was a whole.
 

I realised that I had been waiting for this new door to open. Waiting for the chance to be in service to others.
I didn’t realise that my art had already both opened the door and led me through it. So I set to work planning
the format, creating workbooks, and promoting a series of events focused on attunement.

The Merlin Seed attunement happened purely by chance. One day while I was accepting healing from friend, I
realised that the energy was slowly shifting and that now I was healing him. The effect on my friend was profound, causing major shifts in his energy body over the next few days which both enhanced his healing capabilities and his Merlin connection. It became clear that activating this attunement creates a direct connection with the Mage which in turn works in a creative, self-healing, and inspiring way. Healing and creative abilities become enhanced and this power can be drawn on through daily life. This dynamic energy is very potent and when people open up to accept it their lives are filled with a deeper awareness of who they truly are.

The Merlin Star attunement followed the Merlin Seed. Yet I was very cautious about working with and sharing what I sensed was an enormous awakening power. Where the Merlin Seed works on a level of dealing with the physical world the Merlin Star seems to almost shift planets! “…after receiving the Merlin star, I have found considerable guidance from Merlin. Perhaps one of the best attributes of the star is the clear communications with Merlin, increased connections. The star for me can be used to connect with Merlin to receive blessing, healing and manifestations of magic and transformation. There have been clear signs of change, involving healing, manifestation, clairvoyance and clairsentience. Merlin may even go so far as to open new pathways for you, everyone’s different, so how this may be experienced is entirely individual. For me this is exciting times, I look forward to seeing future communications and thoughts on what Merlin has given us in the Merlin Star.”
Franklyn ~ London

 

Walker On The Maze 1979

I have always been aware that I am not the sole recipient of the Mages guidance. I know there are many who are open channels to Merlin at this time. We each have our part to play, each of us threads in the great tapestry of life. I view the Merlin energy as a crystal with eight facets, one of which has most inspired me throughout my life. It is the energy of creativity and growth and at times it’s been a rough and painful ride, especially when I didn’t learn the lessons I was working on. There has never been a divine voice in my head guiding and directing me. Not one that I heard in the physical sense. My connection with the energy has always been experiential and inspiring. It has always been truth in the moment that might change in the next. Nothing is set in stone.

By 2010 I had completed a few workshops in various parts of the UK. Then Merlin disappeared from my life. I had to cancel scheduled events. For the first time since 1977 the paintings stopped. My life went into meltdown.

                            TARA OPEN STUDIO, HILL OF TARA,  MEATH, C15 AVY8 IRELAND
www.taraopenstudio.com                      courtneyontara@gmail.com                                   +353 (0) 87 395 4580
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