TRANSCRIPT – Quintessential Death Trip, Interdimensional Beings, Archetypal Love, & Art | Android Jones [EP19]

This interview was originally produced as a podcast episode. We strongly encourage you to listen to the audio, which includes emotion and emphasis that’s not on the page. Transcripts are generated using a combination of speech recognition software and human transcribers, and may contain errors. Please check the corresponding audio before quoting in print.

---

 
LL: Hello Visionary people of EntheoNation. This is Lorna Liana. Today, I’m very honored to be here with one of my favorite visionary artist who goes by the name of Android Jones. Android, I would love for you to share with us your evolution as a visionary artist and what led you to create the holographic images that you are so well known for.
AJ: Sure. I think it’s easy to categorize and kind of fall under the visionary art title, and for clarification’s sake, I don’t necessarily consider myself to be a visionary artist, I go by the term Electro-Mineralism. I define it more by the medium and the tools that I use which are electricity and laptops that are made of minerals like silicone, magnesium and quartz crystals.
The visionary, I fit really well in the visionary family and community because I found that different chemical tools in art supplies have definitely added a lot to expand my experiences but not necessarily, I don’t really work from a visionary state, it’s actually more of the different types of chemicals can induce a deeper sense. They kind of create a clearer channel.
They get a lot of me out of the way and kind of a deeper sense of intuition takes over but I never really worked from per se like a vision. My imagination isn’t visual. There are no real visions that I am seeing that I’m creating, hence it would be inauthentic to consider myself a visionary artist.
LL: So what inspires your art?
AJ: On a deep lever of humanity, I’m a big believer and the power of two dimensional and three dimensional images to have a really drastic change in people’s consciousness, I have seen the reaction of people after art, starting my whole life when I was a little boy, I saw the reaction that my mom had and my dad had when I made art for them.
I saw the reactions people would get to my art when I was in elementary school and I got enough positive feedback from those reactions to see that it was something worth pursuing and I think it’s really seeing what kind of a community in the world, the positive effects that art can have, the way it can change people’s minds and their thought processes. So that’s always been really inspiring me to kind of use art as a tool to communicate deeper messages and empower people and make us feel more connected.
LL: So I’m curious to know what your early art was like? Because one thing that I would say that seems to almost be a signature of yours are these images where they seem to represent these beautiful other worldly entities where when you look at them in one way because of the holographic medium in which they are imprinted on, you look at them one way, it could look like it could look like a beautiful Geisha woman and another way could easily be a Hindu deity.
So was there any type of experience that you had in your journey as a human being exploring the creative realms that caused you to shift from an older style to this signature style that you seem to have right now?
AJ: That’s an interesting question. Kind of going back to experiences when I was younger in my childhood, I had a pretty interesting young adult life. But some of my earliest memories are actually of, it’s hard to discern whether these are memories of actual events or memories of dreams that I had but I definitely had some pretty clear visions of an interaction with some type of a, I guess they’d call it like an entity. I was only five or six so I don’t know if was an alien or something inter-dimensional or it was just a dream that I had about that.
But really clear visions of these small bluish creatures that would come and visit me, and I used to kind of think that it might have been just a dream that I had and you never know how we’re kind of indoctrinated with pop culture and propaganda of aliens and TV and film which may or may not be true disinformation. But I remember going back into a series of drawings that my mom held onto for me in Colorado when I went back and I looked at some. She had this whole stockpile of drawings that I did back at that time and I found this one drawing of, there were two drawings.
One was on a flat horizon kind of like a side view and one was me and this particular small little bluish entity that I remember having this dream of. Then the next drawing in succession, it was the same horizon, the same little house was me kind of kneeling down inside of a giant triangle and there was like this rainbow that was coming out of the center of my stomach, like into the ship and I was flying through the ship over the horizon. I don’t have any memory of ever drawing that image but I remember seeing that and it definitely made me start putting more things — made me start questioning a little bit more of my upbringing and what I remember and don’t remember.
The caveat between this too, when I was 11 I had a major brain surgery for a venous anomaly which kind of turned into a blood clot and so I had to do like a pretty severe brain operation at the time and after that event, a lot of the memories I had as a child kind of wiped out some of the hard drive. So a lot of my childhood is something that has been partially relearned and remembered through stories and looking at photographs of myself. A lot of it I don’t remember it. I’ve kind of pieced together an identity through that but it’s not something that’s solid and internal that I can reference all the time.
LL: Do you still see the blue entities? Is it something that you have a continued relationship with?
AJ: No I haven’t really, not in any sort of visual sense at all. I’ve seen little lights in the sky like I’m sure a lot of people have. I’m a kind of guy that likes evidence, I don’t know what that would be, I wouldn’t call them UFO’s or not. I think a lot of what we see up there is probably stuff that our government has created. I can’t imagine with of all the technology and cameras and iPhones out there, the fact that we don’t have any really hard videos or evidence of anything over the last 50 years is, that in itself is kind of an evidence maybe against that.
I’m also open to the idea that this might be something that’s more inter dimensional in nature or it’s a mystery that may lie beyond limits of our own consciousness to really understand. I’ve had an experience maybe in 2006, 2007, I was doing some meditations, doing — I went to a Qigong workshop on this specific type of meditation that you would to kind of channel different entities and I went to the workshop, I think it was in Emeryville or in Berkley. It’s like a two day workshop and all these people would start going into these really crazy trances.
I’m not really much of a meditator and nothing really came through with me at the workshop and I kind of left thinking that it was, that these people were probably just crazy or hallucinating or delusional. I was at a festival out in, I think it was in Oregon at this emergency festival and it was kind of the middle of the night and I was out in the middle of the forest and I was kind of — I figured I didn’t have anything to lose and I went in and I did all the motions of the meditation. You do the specific posture and you have your hands in this one specific mudra and I guess the key is you have to make a genuine request. And so you make a genuine request, you state your full name. Like, “I, Andrew Peter Jones genuinely request to make contact with the Qigong satellite,” and it’s like as the syllables of the last word were leaving my mouth, like, “A satellite…..” and something came like into my whole body.
It came through at first and it was like this just unbelievable vibration of energy and it was like it came into my body and as soon as it was in there after the last syllable was spoken, it went up and down like it was experimenting with the scales of what my voice was capable of. It kind of went up and down and did the whole scales, to high’s and low notes and for the next five or six hours I was, I guess what you would call kind of channeling. I got very specific direction to engage with individuals. I’d have to ask them if they wanted a transmission and if they agreed to it just sing-songy insecto Icarus Ayahuasca voice would give them some deep piece of wisdom that they needed in their life.
That lasted for, like I said, four to five hours and it slowly started to trickle off. I don’t know what that was. That was something, you know? I didn’t get like a — it didn’t leave a calling card behind or anything or any more information and I haven’t really gone, that’s happened a couple of times, never as that severe or that intense. But it gave me enough, like I said, that’s not really any kind of objective evidence for other people but for myself I know that that was not something that I readily had an explanation for. It definitely hinged on the more of a supernatural, inter-dimensional kind of element of consciousness coming through.
LL: Wow, that’s pretty intense and this all happened within this retreat-like environment?
AJ: No, at a festival.
LL: At a festival? Okay.
AJ: Music festival.
LL: Okay, wow. There was no entheogenic agent that could have been a catalyst for this?
AJ: I don’t know if I want to comment on that necessarily, but I’ve done it almost every entheogenic agent that can be around and none of them have ever — there definitely could have been a catalyst, you know? There might have been a cocktail catalyst but I’ve gone to the bar a lot and nothing like that ever happened before.
If anything, there might have been something — I think, whatever the catalyst may have been, the catalyst would have been something that had actually put me in a state of humility, to be able to make the sincere request like when I was probably taken the workshop, I was too much of me, too much in my head, too much of judging other people and uncomfortable, I probably had a mental story like, “This isn’t going to work.”
I wasn’t really in an authentic state and I kind of theorized that because of maybe being in some type of under the influence or something out there like whatever my state of mind was that an entheogen might have gotten me to a place where I actually made the humble request but whatever came through was completely unfamiliar to me and has never happened before under any type of influence of any substance.
LL: Has that particular entity ever returned to you to communicate or?
AJ: It’s come through a couple of times just in the vibrational sense. I’ll kind of do the scales and do some singing but it’s never came through on the level of approaching individuals and giving them this spoken word, like I said, insect alien poetry, life guidance, never been like the inter dimensional life coach mode.
LL: Wow. The entities that you are known for creating in your art, do you think that they exist in some way and another world or dimension? Do you feel like that they coming through and being expressed through your art, do you think that gives them life or do you think they already exist or?
AJ: That’s an interesting theory. I’ve heard from people’s experience like there are some images that I have done that weren’t necessarily, like I said, it wasn’t like I saw it in a dream or a vision. A lot of the images I’m making, they really appear to me in this creative state of making them. There’s not a lot of preconceived ideas that go into, I really try to approach most of my images with a completely blank digital canvas and mental canvas and kind of let whatever wants to come out through intuition and music and whatever the external influences are around me at the time.
I have other experience of people seeing some of the images when I mentioned like wonder awake I did that was, I think I finished that one in I think it was New Year’s, like 2008, 2009. I’ve had a lot of people tell me that after seeing that image, that it came alive in their dream space or in their meditation space as like I realized three dimensional world, this character came in and talked to them. I think a lot of these images can be triggers for other people’s subconscious on a suggestible level. I don’t have the experience of any of this where they’re existing prior to my creating them. I wouldn’t necessarily consider myself to be the inter dimensional stenographer or sketch artists of other entities like on a literal sense.
I think that there is kind of like a Universal creative spirit that’s alive and conscious and if I can create the right type of conditions around me that I have probably more access to that kind of energy to come through on a place of kind of full surrender and not fighting and kind of being at one with that moment. That’s kind of like writing, that’s like surfing like a huge wave. You can kind of position yourself and kind of wait and see if it comes and then sometimes you’re riding the wave and it’s kind of like lucid dreaming when you get into the sort of state, it’s like the moment you realize that it’s happening. Sometimes you can get so excited that it’s happening that the wave dissipates and sometimes you just try to ride it as long as you can.
LL: How long does it take for you to complete a piece?
AJ: It’s weird, I don’t know? I’m always surprised that’s the number one question. If I aggregated all the questions people asked about my art that would be the 90th percentile of all questions, “How long does it take?” It’s something I don’t really keep a lot of track of, they’re all different. Sometimes it’s different, usually the general main sort of momentum of a piece like the initial inspiration, there’s different stages.
There’s like this, when it’s first starting off, there’s like a very energetic dynamic kind of vibrant just kind of explosion of colors and shapes and lines and forms that happen at the beginning and I would say that would constitute to 90% of the finished image and that could take two, three, four hours to five or six or eight hours within that state and like I said, that’s 90% of probably the visual real estate on a piece.
The fine tuning like the mastering of an image, once that explosion of creativity is finished then the details and bringing all the different elements together and finding and kind of exploring like a narrative to get it into a finished product, that will take 90%, like 900% more times than that. Like 90% of the entire image time which can take weeks or months.
Some pieces I’ll start and I’ll often multitask different pieces just depending on what radio station I kind of want to tune into at the time and whenever it feels appropriate to work on something. I’ll finish some pieces in a night, some pieces have stretched on to six months to 12 months until they kind of gestate and are ready to be released.
LL: What are some of the more exciting projects that you’re working on?
AJ: One of the bigger projects that I have right now is I live in Colorado and I live on a farm out there and we’re in the process of doing some renovations and converting the farm, getting on a — working on a big solar panel array to take our barn and all the printers and tools and laptops and monitors off grid, and I’m excited about. And since I’m an Electro-Mineral artist, electricity is kind of the main vein.
So I’m excited about the purification of my medium and seeing what will come out once all the energy is directly coming from the sun. That’s kind of a long term project to get this piece of land, I don’t like the word — I don’t like permaculture. I mean I like the principles of permaculture or sustainability or sustainability but I believe in the entropy of the universe and that nothing is sustainable or permanent, and I think culture is kind of the enemy.
So none of those words really work for me but I just like the word responsibility. I vision a day where I could be responsible for the majority of my food and my energy usage, at least on a small scale, I’ve got chickens and an apple orchard and so we’re trying to work on getting more animals and livestock and things like that. So that’s a pretty exciting project to be working on.
LL: Yeah, that sounds absolutely beautiful. Yeah, that’s my dream too. I’m also hoping to be able to move off grid and find a beautiful place some place that has fresh water and will be off grid and just be able to really not depend so much on the international system, which I kind of feel is very precarious right now. I was just in Brazil and right now Sao Palo, which is the most populous state in Brazil and one of the biggest. The city of Sao Palo is actually running out of water.
AJ: What a nightmare.
LL: Yeah. So when I think about things like that, I just feel like there’s real urgency that we’re going to have to figure out a solution fast and I don’t really have a sense or a feeling of trust that our governments can really resolve this because these issues are so politically difficult to address. Even right now, Sao Palo has not even officially begun water rationing, which is a big denial. So I really do commend the lifestyle shift that you’re making.
AJ: The only trust I have in any kind of governance is I trust them to be consistently deceiving us.
LL: Yeah, that’s for sure. So I’m curious to know, what drives you in creating art? Do you feel like in the art that you create, there may be a message that you’re trying to communicate or an intention that you are trying to convey through your medium.
AJ: I have guiding principles that are kind of the compass of my life and they change sometimes but I think the reoccurring ones are truth, creativity, and human freedom. So those are always elements/messages that I’m trying to speak to. I try to filter the majority of my decisions kind of by that type of compass. An event, is there the ability to create more freedom for people, am I able to explore truth in this and able to share creativity and inspiration? Because inspiration is good to but it’s really enthusiasm that is more important to cultivate.
Enthusiasm is the action of inspiration. Inspiration is just an inspiration, inspiration and 50 cents will get you a bag of chips. But an inspiration that actually motivates people into taking some kind of an action or I think that’s what a lot of really great art does is it does something to make us question whatever kind of paradigm or system that we’re in. It’s pretty important for people and there is a huge need for that in the world. There’s a great need for a real art that kind of touches those things whether it’s the sublime or the transcendent and even like the dark and the shadow I think that all different facets there is a space to be represented there for people.
LL: In your engagement with your community and your fans, what do you think are some of the most common themes that people experience where they view your art? Themes around how your art might inspire them to take certain actions.
AJ: Some of the themes that I’ve been focusing on kind of the last two years have been like a series of these archetypal loving couples together, which has never been something I would have anticipated a few years ago that’s what I’d be doing, but I’m really fascinated by kind of the alchemy that images have as conflict these visual talismans and what they can create.
There’s an image I did, it’s called Union of These Two Lovers, it’s kind of become my free bird of digital images that’s gotten out there. So as far as pieces that I feel have had maybe like messages that have the greatest impact, impact as far as almost measurable positive results in people that are not just necessarily like “inspiration”.
The image that the union image that I’ve done, it’s been measurably the most popular image that I’ve created in the last few years and as I was saying it’s kind of like my free bird of visual song. I know that this images had a really deep impact in lots of people’s lives and their relationships, it’s created kind of an archetypal, like the highest version of the self within a relationship between a man and a woman.
It’s created a deep amount of measurable increase in the amount of love a lot of couples have and I always kind of find it fascinating. I know that whether it’s a print or whatever version that comes out with, I know it’s just a piece of paper on the wall, someone puts into a frame but the ability that has to change the vibration of a room and if it can increase the commitment and the devotion and intimacy like a couple has, that’s a pretty — that’s a contribution that I feel good putting my name behind.
Sometimes there’s images that I make that speak to maybe darker elements of our society or our world or our government and put it into kind of visual narratives and those are also important images that everybody, the nature of our — you know, you kind of look at what needs do humans have? A lot of people have a deep need to feel connected to something. They want to know that, and everybody wants a voice, everybody wants to be able to kind of scream out like into the void that they’re here and identify with something and art can really be that voice for a lot of people that’s why we see like a big phenomenon of people sharing images.
I’ve got an unbelievable community of fans that through Facebook as kind of probably the main portal I interact with people. When I make images, it’s not about showing off or how cool this thing is or look at me, I don’t post a lot of photos of myself, maybe because I’m shy or introverted but my philosophy with sharing images is I want to be able to give the art that I make, it’s like tools for people. It’s tools for them to gain a mirror, it’s like a mirror where they can get a deeper understanding of themselves. Some of the abstract things that I do, people look at it and whatever’s going on in their neocortex, stuff like shape recognition, that can give them some deeper insights into themselves.
And when people like and especially kind of share the images that I do, I’m trying to give them a deeper vernacular of voice and a message for them to share. You know, when someone share something, I think a lot of the times it’s because they identify with it so much they want to express themselves through the image with whatever their community is, they feel something they really resonate with, it’s much easier to just hit a button and share something than it is to try to encapsulate that and write it into a paragraph because that takes time and everybody seems like they’re 20 minutes late for something all the time. So I try to make the job that people have to express themselves, easier and more fluid and more creative.
LL: Do you attribute any of your creative inspiration to work with entheogenic agents or visionary plants at all or would you say that most of your inspiration just kind of comes from your own natural state of consciousness?
AJ: I got on the artist pathway before I was ever introduced to any type of entheogens of any sort. I think the first time I experimented with marijuana, I was maybe 15 but I was well on my way towards filling up sketchbooks as fast as I could. I guess I was really attracted when I first tried marijuana, drawing was my most natural kind of state of being to begin with. So under different influences of plants and different medicines I was really fascinated the way that marijuana would completely change my thought process around first creative experiences I had with entheogens was around 15, 16, I started experimenting with marijuana and what I appreciated about it is that I could still enter a very comfortable space of drawing and being creative but it would completely change the thought processes I had.
It had a really drastic effect on my problem solving skills, because a lot of times making art and working with images, it is a problem solving experiment. You kind of create different problems and challenges and however you find the way to solve and come to a resolution is how the piece gets created and I just really appreciated how it made me see the same thing from totally different perspectives, it’s like a lot of art is really seeing.
There is a technical aspect and an academic aspect of making images, an anatomy and form but really the way that someone sees the world is the greatest impact and influenced on my art that they make and so I really appreciated the use of I think some of the allies I’ve had in my path of being creative, marijuana was one, LSD definitely, it kind of takes your neocortex meaning making machine and puts it on steroids as far as like the insight, that it’s almost like it kind of externalized my creativity.
I could just put down some random shapes and colors on a canvas or on a digital image and it was like I could almost see the image finish before I even started and that was always really exciting. But there are all different types of teachers. I’ve gained a lot of really powerful insights into image and shape and mark making on different heavy experiences and those are all the things that I’ve learned far outlast the effects of these experiences when they wear off.
But I think with any type of tool like this that’s so powerful, they also require like a lot of responsibility. I kind of had a deal with myself that I would not think — the only time I really entered into these entheon based states were my sort of deal was like, I would let myself indulge in this as long as I was being creative at the same time. I’m not really much for taking a handful of drugs and hitting the dance floor.
There’s nothing wrong with that, but that just wasn’t really my — they can quickly become very hedonistic and I’ve done what I can to try to avoid that and try to use them with as much respect as possible. But yeah, all of my different experiences, they have added a lot too. They’ve had a drastic effect on how I see the world. Like I said, how an artist sees the world is what dictates and narrates the majority of their product that they produce.
LL: As an artist who basically accesses deep levels of creativity much more frequently than ordinary people do that have noncreative jobs for example, do you have any advice for us on how we can live more visionary lives?
AJ: I don’t know necessarily know what a visionary life is. I don’t know, maybe I’m not really sure how I would define a visionary life. The word seems — I might have a bias toward the word because it just gets thrown around so much, I think for me it starts to lose a little bit of its meaning, you know? I mean I understand that the world works off of visions. We think something before it comes into being and our imaginations are incredibly powerful tools for creating reality around us.
Definitely consciousness is the first step in the building blocks of this type of world, but I also think that kind of like we can all — when I think of the term “visionary lifestyle”, it sounds like, it seems like it could be fantasy life. If we’re always just visioning and fantasizing about the world we want to live in, that’s only half of the battle. I’d love for people to take more responsibility for themselves and their resources and their impact and have a very positively impactful type of life.
LL: So Android, we’re coming to the end of our segment and I’d love to leave you with my favorite question to ask. In your experience as an artist and working with different entheogens, what would you describe as your most far out experience and were you able to capture that visually?
AJ: Far out experience like being on…
LL: Out of this world.
AJ: …entheons and making art at the same time? ‘Cause a lot of the times what my practice was was being in a really deep psychedelic state during the art process. I think that’s one thing that distinguishes my work from a lot of other of the visionary artists. Many of them do but my personal sort of technique and ceremony was to, kind of like you, kind of tie myself to the mast of the Wacom pen and go as far out as possible and I would use within the digital realm, and I don’t have to worry about linseed oil and paint and brushes.
I have the whole inner work space of my software like pretty mapped to my muscle memory. So I would be able to make art in that state and create this kind of this feedback loop where as I’m working on the images, I can actually see them in different dimensions, I can see them moving and I can see more space between all the layers. So the laptop screen or the monitor screen would almost literally, figuratively kind of become a window into one other dimension. It was a very co creative act where I would put strokes down and then it would start changing.
And there’s many times where the goal within a lot of those is for really, a lot of people get a little hung up on mediums essentially. But with this medium, the goal I had was really to kind of transcend and include and have everything else but that raw creative expression like totally dissolve. If I could get into a state where I dissolve my identity, my ego, everything goes away, I’ve had moments of just being in pure communion with the creative spirit.
No second guessing, no judging, no mental gymnastics of trying to understand or contextualize what’s happening. Just being in this free flow of creative, not even exchange just like a transmission would come through. But I guess far out type of experiences, I think for a number of years that was really focused on kind of the quintessential death trip was really a big deal for me, kind of going to that place and at first it was about…
LL: What is it, what do you mean by quintessential death trip?
AJ: The shamanic journey through death where you, whatever happens, whatever entheon you’re on, usually kind of an ayahuasca or DMT based would kind of get you there where for all practical purposes, the thinking machine considered like the meat body like totally dead. My first Ayahuasca journey when I went into that, I didn’t really know what to expect and within 20, 30 minutes of the experience some part of me had, I was under the belief that I definitely, I was pretty convinced I definitely died and kind of went to another side, went in to a bardo state.
Those are always really — they can be unbelievably terrifying states of mind to enter into. But I’ve had a few that follow a really beautiful kind of story arc of going to another side, seeing, having like the full life review. I think those are always really valuable experiences, you can kind of see the — any experiences that help me see my life as l guess you can almost consider it like a fourth dimensional paint strokes through time.
As artists we have these little images that we make that serve as kind of bookmarks into different experiences, but I think an artists’ true movement is his movement through time and space. Everything that he touches, everyone that he influences, every victory and triumph and failure like that is I think what really creates the real masterpiece of our work. In some of this states during that life review, the death trip, you’re able to come and see that or experience that in a way for the first time.
So those have kind of been probably the furthest out that I’ve gone and at the beginning, some of them can be incredibly terrifying. I’ve had this one that I had, I went through this really unbelievably kind of terrifying sort of like a bardo state that needed to kind of rip everything that was me away and then I remember just like my consciousness just kind of being an infinite black space out in the universe. Totally cold and alone and that was also whatever was left of me that had fear was in a state of extreme terror around that. I’ve been to places that were just as real as this world and even more real. I’ve been places that makes this seem like a dream.
LL: Yeah. Are they typically good places or scary places or both?
AJ: Scary places. Yeah they’re alway really terrifyingly scary places. Well that feeling, it’s that feeling of being totally isolated, totally separate from everything and the fear I think I’ve had in those places is like, “Is this what it’s going to be like forever? Is my consciousness just in this space for the rest of all time and eternity,” kind of a situation? Because it feels infinite, ad sometimes that infiniteness feels familiar which is even more scary. During kind of the DMT experiences, that initial “what the hell did you just do?” As it’s like rising up it’s that archetypal, “you’ve been here before, you know what’s going on.”
But sometimes, like in that one experience, kind of being in deep space, just there, my consciousness and then there’s a moment of, “Well, I guess this is it, maybe the books were wrong, maybe I read the wrong books, maybe this is just what happens.” I remember in the first time there was like after what felt like an eternity, it’s like the sun just kind of came out or there was a star and I could feel the warmth on my back and that warm feeling was just the infinite love of all creation, loving and forgiving me and that feeling of oneness overtook and that was how I kind of exited the psychedelic space back into reality with the Icarus. That was pretty phenomenal that I’ve incurred for sure.
LL: Is there any piece of art that you’ve created from that specific experience that communicates what you went through?
AJ: Well that was my first Ayahuasca experience in 2006 and I did make an image, it didn’t really cover that part of the story, that one was called The Purge. I had a series, before Ayahuasca, a lot of my work had a much kind of a darker feel to it before I had this sort of, what you kind of call an awakening. It was kind of an image of myself kind of a side view and there’s this massive, huge, dark, organy, tumor-ish just like explosion happening from my stomach.
That illustrated like the initial part of the trip for sure, just that release of all those, every negative interaction and judgment and any kind of sharp shadow or darkness that I was Identifying with the time, kind of seeing it come out, and seeing that this is something that came out of you. That was something that really came through as kind of an illustration and I did an image called the Aya afterwards too. That was kind of an image, it wasn’t a vision I had of the divine mother but it was more as I went back into the memory, it was more kind of the energetic experience of it.
The image ended up becoming kind of like the calling card of mine. I still use a lot of it as my logo, it’s kind of a — I kind of keep it around so I can always kind of remind myself and kind of keep me humble to understand and kind of remember that I’m very fortunate, and very grateful for the wide variety of different experiences that spirit and creator has made available and intersected into my life.
LL: Thank you so much for sharing with us these stories and your experiences and inspiration. How can we best stay in touch with you Android?
AJ: I’ve got a website, AndroidJones.com and Facebook, Android Jones Art is where I probably make the majority of new art and updates and I’ve got all the newsletter and type of accoutrements that come along that.
LL: Awesome. Well thank you and you have a beautiful rest of your stay in Costa Rica.
AJ: You do the same. Yeah, have a great day. Pure vida.
[END]