Oil on Linen.

80cm by 122cm by 4cm

2026

The Weaving of the Epinioa explores the Gnostic Aeon Sophia, meaning goddess of wisdom, embodied here as a mother presence suspended between the material and divine worlds. She is calling forth Epinoia the luminous faculty of intention, insight and inner knowing that survives beneath the apparent limits of physical existence.

Within Gnostic cosmology, the blind creator god, the Demiurge, deceives human spirits into believing the limitations of the material body are humanities total explorable domain. This separates souls from their divine origins. Yet within humanity, the luminous Epinoia remains hidden. She is not a commanding external deity, but a quiet internal thread: a spark of gnosis woven into consciousness itself. Through thought, intuition and imagination, she gradually awakens us to what we have forgotten, guiding the spirit towards recognition of its true origin and an ascent back towards the divine.

The three orbs within the work extend this idea of consciousness and are inspired by the writings of Harold W. Percival in Thinking and Destiny. They can be understood as the Thinker, the Knower and the Doer three interconnected aspects of the human being through which thought, knowledge and action are experienced. The Thinker represents the faculty of conscious thought and discernment; the Knower suggests the deeper, more enduring dimension of knowing that exists beyond ordinary intellectual understanding; while the Doer is the embodied self that acts, experiences and moves through the material world. Together, they form a relationship between thought, inner knowing and lived experience.

The three orbs therefore suggest that awakening is not simply an intellectual process. It is a movement between thinking, knowing and doing a gradual bringing of these aspects into greater alignment. Suspended within the composition, they become both planetary and psychological forms, existing somewhere between the celestial and the human. They echo the cyclical and interconnected nature of consciousness, while also suggesting the possibility that what appears divided may ultimately belong to a single underlying unity. In relation to Epinoia, they become vessels through which hidden knowledge can emerge into consciousness and eventually find expression in the physical world.

The acorn becomes a central symbol of this hidden potential. It contains, in miniature, the possibility of an entire tree, just as the spark of Epinoia the intention towards awakening exists within humanity before it is consciously recognised. The acorn therefore represents the latent divine impulse: small, concealed and seemingly ordinary, yet containing the possibility of transformation.

The act of weaving is equally important. Philosophically, the weaving of Epinoia can be understood as an act of resistance. Epinoia does not operate according to rigid, pre-existing systems of logic; she works through imagination, intuition and lateral conceptualising. In this sense, she embodies an anarchic intelligence the mind’s capacity to escape imposed definitions of reality and imagine alternatives.

To weave is therefore to resist the fixed oppression of the material dimension. It is to create connections where none previously existed, producing new possibilities, philosophies and forms of art. Sophia’s thread passes quietly through the human mind, continually constructing a path out of confinement. The painting becomes an image of that process: consciousness weaving itself awake.