Cat #1:
This is the first drawing Wendy saw in 1972. The human face behind the feline fur engaged her heart, mind and soul. She knew she must meet the artist, Alma.
Cat #2:
Alma did two cats. Cat #1 has a human-looking face behind the fur and looks at you no matter where you are in a room. Cat #2 has the tilted head of the Cheshire Cat in Alice in Wonderland. It seems to be saying, “Hmm... I know the secrets of the Universe. What would you like to know?”
Pegasus:
One of Alma's writings declared the pegasus " the flying horse, whose duty it is to act as guide when darkness falls."
Life With Aba:
This is a clear depiction of Alma’s spiritual guide, a ‘genius’, named Aba Pasha. She believed him to be a friend of Jesus’. Here, she may be showing us life with Aba, her constant companion, who spoke to her and directed her. Socrates had a ‘genius’, apparently one of the highest forms of a spiritual guide afforded a human, - one who is on her last incarnation on Earth.
Warrior Mask:
Early drawings were done as this one, in coloured pencil and wax crayon. This is one of the rare examples of more masculine straight line drawings. The figure feels North American Indian, with full headdress; the mask carries the warrior energy.
In 1972, Alma said to Wendy, “They are telling me you are the one who is divinely inspired to be the one to take the drawings to the world. There are a number of figures with Wendy’s youthful face depicted. This is one of that series. It is as though Wendy was ‘expected’.
The Firmament:
The realm Alma inhabited seems to lie somewhere between Heaven and Earth, in the sky, fixed above the Earth. She could draw and write rapidly, as she watched The Hand in anticipation of what it would do next. “My Hand just goes like the wind,” she said. The wind also resides between Heaven and Earth, in a place known as The Firmament.
Vegetation Spirit:
In the Celtic tradition there has always been a beneficent, fertilizing spirit of vegetation or tree spirit associated with the May Pole. The newly awakened spirit of the springtime is symbolic of the cycle of the year; he is expected to die again each autumn. The masculine pole is decked with fresh flowers and garlands of green to remind us of the living essence of the tree. Sometimes the Vegetation deity is represented in human form, as The Green Man.
Starry Stairs:
This drawing is a transitional piece, where Alma’s consciousness was still present enough to choose the content, before “The Hand” took full authorship. It does indicate the direction she has chosen, that of ascension. This drawing is featured in the documentary, “The Alma Drawings.”
Garden of Eden Series/Spores:
Alma wrote about scenes in heaven and original states of perfect harmony, where lush gardens abound. This image offers a close-up view of possible foliage, bursting with the fertility of life.
Communication Series-1:
Some of the beings Alma saw were connected by tubes from the mouth. She said they were communicating. She referred to the figure in the bottom left as the Christ figure she had seen many times, clairvoyantly. He is here communicating with her spiritual guide, Aba Pasha. The third character is unidentified, but often Alma refers to the Holy Ghost in her writings.
Pixie:
Alma said she saw the ‘little people’, as well as angels, with full feathered wings. She had always wanted to illustrate for children’s books. This pixie-like character speaks of the magic and wonderment so readily accessible to children. Alma accepted all her strange experiences and visions with a child-like innocence very similar to that of a young child.
Garden of Eden/Chrysalis:
There are several Paradisiacal drawings done in pencil crayon. The lush vegetation houses a chrysalis or cocoon, with life indicated within. Another Garden of Eden Series, featuring Spores, was recognized by a toxicologist to contain renditions of viruses, as he sees them under a microscope. Alma drew from the macrocosm and the microcosm.
Garden of Eden/Fuscia Joy:
The lush vegetation seems to explode on the page and we are drawn to the central fuscia flower, akin to a 'bee balm,' that acts as a magnet for birds and bees alike. Hummingbirds especially love this flower and in the Medicine Cards 'Hummingbird' means 'Joy'. The semi-domestication of the foliage is reflected in the vague blue vase shape grounding the picture. Alma spent some time decorating the vases in Toronto. This perfect garden scene cannot be contained though.
Garden of Eden/Garden Diva:
Findhorn, in Scotland, grew majestic gardens in rock and sand by following guidance from Divas, spiritual archetypes of the plant kingdom. The Fecund Diety, explodes in colourful energy that is flower medicine. She is composed of stigmas, styles, pods, stems, petals and seeds.
Garden of Eden/Bird of Paradise:
This sample of paradisiacal vegetation captures the essence of pollination and plant reproduction. The central flower reminds one of the Bird of Paradise, but the picture may be turned upside down and then one is equally lost in tendrils and tentacles draping scene, in ribbons of lush growth from a central, rare black plant.
Fairy Lake Fairy:
Alma lived on the shores of Fairy Lake in Huntsville the entire time she drew her inspired drawings. There is a magical feeling about the beautiful lake and she drew her inspiration from the surrounding scenery to be sure. Alma said she saw the fairies and the 'little people' as well as angels. This is one of the few oil paintings in her collection.
Aba's Mission:
This is a picture of Aba Pasha, Alma's 'genius' or spiritual guide. He is shown here amidst the highly charged electrical impulses surrounding him. For some it may be interpreted as Aba's mission to bring Light to our planet, through Alma's drawings. The drawings are said to be in the Sacred Language of Light.
Exotic Bird Bath:
Alma saw many planes of existence; some had exotic animals and birds in lush tropical gardens. There is an entire series of The Garden of Eden. These hummingbird and peacock-like birds hover over a spherical bird bath, indicating they are domesticated. Alma also wrote about the fruits of The Tree of Life and the birds may rest, camouflaged in the rainbow colours of the vine in the background.
Emerging Maid:
One piece of writing says, "Alma came to Earth as Joan of Arc". This young Maid of Orleans seems to be emerging from the collective mists to fulfill the prophesy of a young woman saving France. The sun shines on her endevours and a strange critter, perhaps an elemental, stands by her side. One of the main characters in the royal court of the Dauphin belonged to the Order of the Porcupine. Alma drew several stylized porcupines. The mystery remains as to whether the maid who heard voices was a simple country girl or a member of a powerful royal bloodline herself, one who commands armies.
Nativity:
Alma was a devoted Christian. She says the beginning of her journey with “The Hand” was a directive coming from a vision of Jesus, that she must draw and she must write.
These Mary and Joseph-like Biblical figures appear to be gazing at a colourful geometric light body, that could be symbolic of the Christ ‘light of the world’, inherent in the story of the Nativity.
Jesus:
Alma was a devoted Christian. She says the beginning of her journey with “The Hand” was a directive coming from a vision of Jesus, that she must draw and she must write.
Jesus is a central pillar of her belief system and she incorporates his name in many writings. She claimed to have seen his face many times.
The 3 Magi:
These three figures resemble the three Wise Men from the East, known as Magi. They appear to be focusing on a crystalline essence, reminiscent of the love and light inherent in the Christ energy.
The Manger/Temple:
In keeping with the representation of the Christ light as coloured geometric forms, this enclosure could represent the humble manger or the sacred temple. Ultimately we are to prepare such a place within us.
The Good Book:
This is the only rendition of a book featured in Alma’s work. It could be representative of the Book of Life, similar to the Tibetan Akashic Record, or it could indicate the source of her own belief system, the Bible.
Gabriel:
Alma says she saw angels, with full wings. It is not surprising she honours Gabriel here, as the Messenger, whose realm of influence is Paradise. Gabriel is said to be the Angel of clairvoyance, visions, intuition, the direction west and the element water, as well as the season of winter. Gabriel is said to have been responsible for the Annunciation of the Virgin Mary and the dictation of the Koran, sacred to Mohammedans
Joan of Arc:
The Hand’ wrote across one drawing, ALMA CAME TO EARTH AS JOAN OF ARC. Alma did not believe in reincarnation, but she too heard the Voice of her guide, Aba Pasha.
Akashic Record:
The Great Cosmic Computer, similar to the Book of Life, that records all thoughts, words and deeds. Our lives are said to be reviewed there, following our death.
Wendy’s Pair #1:
These were Wendy's first two choices of those given by Alma. They form a couple, like Colin (2) and Wendy (1) or Atlantis and Lemuria. They are always exhibited as a pair, each balancing out the other.
Wendy’s Pair #2:
Some beings Alma saw had tubes coming from their mouths. She believed they were communicating.
Lone Pretty Lady:
The unerring perfection of ‘The Hand’ that moved by itself, is revealed in this restful piece. Alma accepted no credit for the drawings, saying, “You see I don’t do them. ‘The Hand’ does.
Chariot of the Gods:
In the documentary, ‘the Alma drawings’, Carmen Cereceda, Chilean muralist and one-time assistant to Diego Rivera, remarks that some of Alma’s figures look like “beings from other worlds – our brother beings, from other universes.” This piece reminded me of Von Daniken’s book, Chariots of the Gods, as well as the Nazca lines on the flat plains of Peru. I have personally seen similar native peoples’ petroglyphs, etched high on the cliffs of Utah, with similar space-like beings in helmets.
Cheyenne’s Lady:
This was my daughter Cheyenne’s guardian while she sleeps. Alma said she was as excited to see what ‘The Hand’ would do as anyone else was.
Spiritual Warrior:
This figure is androgynous in appearance. Alma drew several figures in helmets and armour. Some may refer to Joan of Arc, others to a Christ figures she claimed to see clairvoyantly. The colour indicates this figure might be a spiritual warrior.
The sense of movement permeates this drawing. It is as if the figures are spinning out into other dimensions, encapsulated in an energetic cocoon. Ancient Jewish mystical traditions speak of a ‘merkavah’ or ‘chariot’ in kabbalistic teachings. Revered secrets regarding the attainment of higher consciousness, through contemplative practices, involve the workings of this merkabah. Current energy healings utilize the same energy capsule.
Muses:
These varying faces appear to be renderings of figures of inspiration for Alma. One resembles her spiritual guide, Aba. Others look like ‘bubble babies’. There are countless pages of these cherub-like, often winged young beings, in capsules. I wonder, “Are they the ‘new children’ come to guide us?”
There is a seasonal feel of autumn and the symbol of pumpkins in this drawing. The cross-quarter day of Hallowe’en (Samhain) tells of the veils thinning between the worlds, when masks are worn to represent the other- worldly beings or ancestors communing with this world. Outer sight weakens as inner sight holds sway. Perhaps this is an aging being, in the autumn of her years, and she is letting go of her personal vision in lieu of a greater one.
The Veil:
When the veil between this third dimensional, physical world and the other world of Spirit thins, some are blessed with "eyes to see, sometimes called "second sight". Alma became clairvoyant as The Veil disappeared.
Yellow Submarine:
Alma always wanted to illustrate for children’s books. Many of her works speak to children and they run with their imaginations as they gaze into the pictures. The whimsical nature of this print suggests movement, water, marine life, including coral and tentacles. I imagine we are inside the squarish box, peering out whilst singing the Beatles’ song.
Guardian of the East:
The four Guardians of the Directions were identified by the spiritual advisor to the Dalai Lama, Kalu Rinpoche. This one feels like music.
Guardian of the South:
Kalu Rinpoche, spiritual advisor to the Dalai Lama, identified seven figures out of Alma’s twenty drawings as Tibetan deities. They were the Guardians of the four directions, Male and Female Indra, and God of All the Gods. This one, Alma also identified as Aba Pasha, her genius, who guided her.
Guardian of the West:
The spiritual advisor to the Dalai Lama, Kalu Rinpoche, identified this figure as one of the four guardians of the directions. This one is Guardian of the West.
Guardian of the North:
The spiritual advisor to the Dalai Lama, Kalu Rinpoche, identified this figure as one of the four guardians of the directions. This one is Guardian of the North.
Male Indra:
The Hindu god Indra was identified in both male and female aspects, by the spiritual advisor to the Dalai Lama, Kalu Rinpoche.
Female Indra:
Kalu Rinpoche, spiritual advisor to the Dalai Lama, identified seven figures out of twenty shown to him. Two of them were Male and Female aspects of the god Indra. This is the Female aspect; however a swami said he was unaware of a female aspect of Indra.
God of All Gods:
Kalu Rinpoche, spiritual advisor to the Dalai Lama, named this unique profile God of All Gods. Representations of the Creator can never be shown full face forward, in any tradition.
Chakras:
The meaning of the word ‘chakra’ is ‘wheel’. There are chakras, or energy wheels, within our body, running up our spine, each governing certain organs. When healers have looked at this drawing, they are reminded of the turning discs, each with their own colours, (red, orange, yellow, green, blue, indigo and purple). The energy body gives off an aura that can be seen by seers and can be cleared by healers, for greater wellness. Alma has drawn many discs; she called them ‘insignias’.