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Aine, (pronounced AW-neh), was originally worshipped as a Sun Goddess. Like so many Celtic goddesses and gods, Aine has assumed many other roles over the years, being seen as a Moon Goddess, a Goddess of Love, a Fertility Goddess, a Healing Goddess, and a Sovereignty Goddess. Aine is also known as a Faery Queen. She is often called Aine, Goddess of Love, Light, and Fertility. Her name means “brightness, glow, joy, radiance; splendor, glory, fame” and she is associated with the abundance of summer.

I don't have what many would call a devotional relationship with many of the deities I paint, but that doesn't mean there isn't a divine connection or other kind of relationship.  Often I tap into other people's devotions for those deities, or have an interesting conversation with those gods for a short time. 

Over the weekend, I just finished a series of 5 small goddess paintings, and wanted to share with you all a little behind the process of making them.

First a little background:
Friday (June 16th) is the opening for the Goddess show at Gargoyles Statuary in Seattle. I think it may be the 4th year I've participated in this show, and this one's a little extra special as I'll also be doing an author talk and signing for my new book, The Witch's Cauldron. However, I'm leaving the very next day for a 6 week long book/workshop/performance tour, so I was concerned about getting art done in time.  I had planned to get one new painting done for it - which I managed to finish last week.  But it's a large and highly detailed painting with a very high price point (if I make it available at all for sale at this time.)

Waste Not, Want Not
I was contemplated how to create a few more pieces at a friendly price-point when I spied the small stack of pine pieces I had cut off a recent batch of panels for shrine prints. Under 5"x8" and lightweight, they were a great size.  Even though I was going to be at an event all weekend, I knew from past experiences that this event tends to have slow periods.  So I painted gesso on 5 pieces, sanded them, then did some color washes on each from the leftover paint sitting in my palette from the big painting I just finished. (It's acrylic, so it would have gone to waste.) 

Once dry, I tucked the panels, a couple bottles of paint, some brushes, and pens - to take with me to the event. 

Calling All Goddesses
The next step was figuring out who to paint.  So I put a call out on my Facebook page, asking folks for suggestions on deities that I haven't painted yet, or haven't done in a long while.  From that list, I wrote down about a dozen of the suggestions that stood out for me.  I did some light research on the backgrounds of the goddesses and historical art made for them. 

Once I was situated in my booth, I pulled out the panels.  Because I had done random color washes on them before I left, each one had a different "mood" to it.  I looked at the list, and the panel in my hand, and one name jumped off: Anahita.  And so she was the first painting, emerging out of a wash of deep Prussian blue and navy pen work. 

The next panel I picked up was a mixture of greens and browns, and Pachamama's name leaped off the page.  In the wash, I could see her peeking out at the viewer with a full pregnant body of earth and greens. 

As I was working on that piece, a third panel nudged its way out - the wash looking like a powerful swirl of deep waters.  Yemaya leaped off the list and on to the panel. 

Two panels left.  A warm purple/earthy panel was chosen by Pele. I started work on her before I had to finish for the day - 3.5 paintings is pretty good for one day's work while tending to a booth!

Next Day
In the morning, I finished up Pele, adding a little bronze paint into her skin, and trails of flowers.  I thought 4 was good enough - in fact, I would have been happy with finishing 3.  But then the 5th panel fell to the floor from where it was sitting under the table.  Well, I still had a few hours....

The panel was mainly a light blue wash and didn't speak yet to any of the names on the list, but I still had purples, yellows, and rust left over from Pele. So I did another layer of color washes.  Suddenly, Ereshkigal leaped off the list - I could see her body in a lamia-esque form swirling out of the colors.  

So in the end, I got 5 of these little paintings done, and made contact with 5 very different deities from all over the world. 

A Visit with the Asynjur: Frigga’s Handmaidens

I have been delving deeper into seeking out lesser-known goddesses for this little project of mine, and decided that the Asynjur, also known as the Handmaidens of the Norse Goddess Frigga were certainly deserving of attention. I began to try and read through Snorri Sturluson and the Eddas as my first source for Norse lore, however it because abundantly clear that something was probably missing. Anyone who has tried to view these ancient writings with a modern eye can discern that most of these stories were re-told by Christian monks with an eye to selling them as pre-cursors to Christianity. Naturally, preserving the stories of female characters was not at the forefront of their minds. I do not consider myself Asatru, nor do I consider myself a reconstructionist of any kind, so I will apologize in advance for any unintended offenses I may make in my own re-interpretation of these Goddesses. I have a love for deities whose stories are not fully known or told, and as such, I am also open to UPG. As I create my own images of the Goddesses, please know I do so with utter respect and love for the cultures from which they came.

People sometimes ask, Why would a god want a human godspouse? Or, why would a god be a human's patron?

Sometimes I think we're the cats of the gods. Asking why a god would want a relationship with a human is like asking why humans adopt cats and bring them into our homes. Because we love them, of course. Why do we love them? Love or do not, there is no why.

I am a hard polytheist. I believe "the gods" are really real, that They are discarnate beings with whom we can interact. They may be fractured pieces of one extraordinary energy form and so may we. That knowledge is unimportant to me so we needn't argue about it.

If you believe something other than that, that's cool with me. Ah, let me add the tiny caveat---that's cool with me... as long as you are not all up in my face telling me how to be a polytheist.

Cities are powerful beings. In the Roman world, they were thought of as goddesses, depicted wearing what are called “mural crowns”: crowns composed of city walls, with towers.

In the largely unsacred landscape of secular modernity, this seems inconceivable, almost a joke. To take an example:

In ancient Sumer one could say:

From Her temple in Uruk She turned Her ear to descend into the Underworld.

From Her temple in Nippur She turned Her ear to descend into the Underworld.

From Her temple in Shuruppak She turned Her ear to descend into the Underworld.

But surely it is impossible to say