Collected Works of the WingMakers: Introduction to the Wingmakers Chamber Paintings

The continuity of the twenty-three paintings seen as a whole seem to be inviting the consciousness of the observer to quite literally step into the world of the WingMakers. As though they were portals, and I’ve experienced this myself.

The Second Interview of Dr. Jamisson Neruda

As previously discussed in “Chamber Connections,” the Ancient Arrow site consists of twenty-three chambers arranged in a helix pattern, with a twentyfourth chamber hidden behind the site’s antechamber at ground level. We also learned that all twenty-four paintings are depicted in vertical, portrait mode except for chambers twenty-three and twenty-four, which are laid out horizontally or in landscape mode.

We also speculated that the landscape depiction might symbolize expansion and distribution, as the setup suggests moving outward from a specific center. Now we will follow up on this reasoning by suggesting that the portrait mode represents the grounding of energies from higher dimensions to our physical dimension. This orientation suggests the descent of energies and/or information onto the physical level where it can be distributed horizontally or onto the level it has reached.

The human genome, according to James, is much more than the physical chromosomes contained in the trillions of cells comprising our physical bodies. The implication being that DNA is multidimensional. If this is indeed the case, then we might say that the densest portion of the human genome is contained in the cells of our physical bodies and the least dense portion emanates from the Entity itself—the “first source” of our Human Instruments. What does this mean in relation to the chamber paintings?

It may possibly mean that these paintings are illustrating the higher dimensional qualities and characteristics of each physical chromosome as it winds its way down through various unknown dimensions into our physical dimension. Following this possibility, we may have to expand our thinking in regard to the paintings and their many symbols; we cannot assume that everything in them is purely physical. Their twenty-two vertical layouts may symbolize the coming down, densification, or decreasing frequency of the chromosomes in their “journey” to the physical plane.

Naturally, nothing is moving down and moving out spatially, but rather— energetically. Therefore, we are left with the more satisfying idea that the physical chromosomes are manifested end products resulting from a densification and slowing frequency rate of the energetic level of the chromosomes.

This is a good place to see James’ explanation of the paintings characteristics:

The Chamber Paintings, as they’re represented on the WingMakers website, are translations of the real paintings. The original works reside within the Tributary Zone near the galactic center of the Milk Way galaxy. The original “paintings” are photonically animated by an advanced technology that permits the art to morph intelligently as dictated by the music. In other words, music is the engine that animates the painting. The original environment in which the art is stored requires that I, the translator, take a “snapshot” of the painting that best represents the dynamic image statically. These original works are not “classified” by any government organization I assure you. They simply exist in a different dimension and are visible to a different range of senses. The DVD “Meditations in TimeSpace” is an attempt to capture some sense of how the paintings are actually presented in their native environment.(*)

Besides the interesting information James provides about the paintings, he also comments on the questioner’s curiosity about secret government involvement with the materials created by James. This most probably stems from the suspicions born from the Ancient Arrow Project novel and the Neruda interviews that the WingMakers site is some kind of conspiratorial plot. There is no real basis for any of this distrust and as discussed in the Collected Works of the WingMakers Volume I Introduction, James is best judged by the quality of his work, the years of dedication he has put into the materials, and your own intuitive sense of the integrity of him and the material.

Also of interest in the above extract is the effect of music on the paintings. This brings to light the interconnectedness of all the materials related to the WingMakers presentation. Later in this introduction, another example of this interlinking appears that relates four particular paintings to the WingMakers poetry. These subtle details are important in that they convey a real sense of the deep, underlying connections of these materials based on sound and light.

It is not the purpose of this introduction to analyze each painting, but we can explore a few points of interest in some paintings.

One instance involves paintings fifteen and twenty. Fifteen appears in portrait mode and there is apparently nothing in it that sets it apart from the other paintings.

Chamber Twenty is different from all the other paintings in that it is square and not rectangular. There may be some symbolic reason for this, but whatever it is it’s not immediately obvious. One thing we can say is that since the Chamber Twenty painting is square, in terms of orientation, it is neither portrait nor landscape in its depiction.

There is however, a very interesting connection between these two paintings and that is the fact that they can be joined to form a larger painting. The only fly in the ointment is that there is no other painting in the WingMakers paintings that completes the composite image. The paintings need to be scaled to fit together and they are illustrated below.

Perhaps there is some link between chromosomes fifteen and twenty that is solved by the missing section, but an explanation of these two chromosomes at Internet websites does not reveal any particular connection. Obviously, we can go deeper into this mystery, but for the purpose of this introduction this is enough.

The next example of the multidimensional nature of these paintings comes in the form of an exercise found in the Chamber Four Philosophy paper. The technique is called “Mind-Soul Comprehension.”

For our purposes we only need the following information: