Cheryl Yambrach Rose

Cheryl lives in Mount Shasta, California and also feels a strong resonance with Glastonbury, England. She draws much inspiration from mythology, shamanism, goddesses, and Mount Shasta.  Besides painting, Cheryl also gives tours to the England/Scotland area, and will soon have a showing of her art in San Jose, California.  Details about this showing are listed below.

Interview with Cheryl Rose

Representative Images
by
Cheryl Yambrach Rose

"Sovereignty Goddess of the Grail"
by Cheryl Yambrach Rose

"Merlin Awaits"
by Cheryl Yambrach Rose

"Awakened Golden Solar Angel"
by Cheryl Yambrach Rose
This is the image used on the cover of
Iasos' "Timeless Sound" album.

"The Quest for the White Bird"
by Cheryl Yambrach Rose

Close-Up of:
"The Angel of Truth"
by Cheryl Yambrach Rose

"The Essence of St. Francis"
by Cheryl Yambrach Rose

All Rights to these images are of course Reserved by the Artist.

Interview with Cheryl Rose

Q. Why is your painting referred to as Art Through the Eyes of the Soul?

A. Many of my paintings are the result of what I have seen on the soul level, pure and unsullied. Whether young or old, everyone is so radiant and beautiful in that form. I begin with the eyes, as they are truly the mirror of the soul, and spiral out from that focal point.

Q. What is your personal philosophy of painting and is there an art term to describe it?

A. If I had to create a term to describe my art it would be neo-pre-Raphaelite. The Pre-Raphaelites painted beauty as divine but, generally speaking, did not take it beyond the sensual and all the way to Spirit. Now art is looking deity in the eye and asking - Teach me, show me the way. It is empowered and empowering. I have been criticized for painting straight-on, but that is exactly how beings and vision appear - not fleeting out of the corners of the eyes, not in the peripheral vision, but from and center. . There is something about that soul source connection of mind, brush and canvas. That is why my highest aspiration as an artist has always been the infusion of Spirit into matter.

Q. Would you please define visionary art?

A. The purpose of visionary art to bring back from the subtler realms high ideals and manifest them on the physical plane. The artist, as a vehicle, must be able to move between worlds consciously and retain as accurately as possible that which is to be infused into matter. The major difference between a vision and an idea is very plain: an idea you build on and evolve, while a vision come through whole and complete. IT ALREADY EXISTS. I use high frequency colors sparingly as I am trying to create a pathway from the mundane consciousness level, or that which is familiar, to an enteric level. I do not wish to bombard all the senses at once to overwhelm or to leave the viewer with nothing to do but look. I like to think my paintings are an interactive experience and the viewer will find the path and cross the bridge using what is relative to them individually. Using a realistic palette to being with creates a departure pint where the transition can be made smoothly to the higher realms and the subtler energies that lift the spirit and heal. I try to synthesize the levels in the painting as in life, where the psychic body and the physical body are fused.

Q. At the age of 16, you were already represented by two major bay area galleries. Ho do you account for the early success?

A. I never take credit for the magical things that have happened in my life because my guides have been present and helping all along. I will say that I was conscious of my purpose here from the very beginning. There was never any question that I would be an artist and paint as soon as possible. I remember a feeling of great urgency that weighted heavily on me as a child. In high school they were not teaching what I wanted to learn, so I bought art textbooks from San Jose State and cut school to study and paint. Focus and intention are required before our guides can make magic happen. They can’t do it all for us.

Q. How do you draw on the esoteric level in your art and could you provide some details about this process?

A. Because of constant questioning over the years of where do the visions come from and how does it happen. I began to do research and collected date on myself and I was forced to really look at this process. This is my understanding of what happens: When permitted to speak, the subconscious mind speaks in its own language of symbols and archetypes. These in turn posses an esoteric language or code that we have to decipher to unlock. Where words restrict, symbols do not. The subconscious is not separated from Source, so the wisdom and knowledge is unlimited. The archetype you received could be a thought form from Source that is to become manifest. The symbol that emerges is a living thing - pregnant with meaning. That is why symbols were painted on or carved into Temples wall. They were know to act as catalyst to the brain awakening ideas or realizations that may have lain dormant for several incarnations or sow seeds to unfold in future incarnations. These meanings may be impersonal, personal, or guidance, but do not require contemplation on our part. I thing the change from lucid dream to conscious visions is a natural progression that happens with time to increase clarity. Sometimes in the darkness you can see light blue light floating or darting around the room. This can be called spirit essence, which radiates throughout space form Source. This is an ethereal essence so in vibration that it does not form atoms and molecules of matter. What we wish to do is attract the Spirit essence into one central space. This is like gathering your chi or making a snowball. These electrons will begin to compact into a definite entity, shape or emanation from Source.

Using your will and intent, focus on the mass, but do not manipulate it. Use your will to focus only. The mass will flow and move about and eventually form visual images. Try to observe these images as delicately as possible: allow them to be passively reflected in your mind as they unfold. Don’t try to hold on to the images, but watch without attachment or desire for outcome. This is probably the most difficult part of the process to master and probably the most important - to become a detached observer. The archetypes and symbols you see in this cloud of electrons and essence will be important personal keys for you and researching them will lead you to information you never thought possible. This might be about your life purpose and work you are to do here. From the state you can allow yourself to be passively dawn into the imagery and go into lucid dream sate or an out of body experience and gather even more information. Sometimes, in the middle of the blue mass a faint pinpoint of light will appear. When I focus, it grows larger and larger until I see that it is not white, but a greenish white. It becomes so blinding and intense that even with my eyes closed I want to blink. It takes all my will to hold the gaze and not turn away. Holding this focus is important as the light always heralds a special message. Within it I have seem merkabahs, prophetic visions and angels.

Often the painting I am working on will appear complete and animated like a living entity that is just waiting to be infused into matter. The alchemists called the greenish light the green light of divinity, the ancient called it benedicta Viriditus, the blessed green, and in ecclesiastical symbolism, it is the color of the Holy Ghost. The most conductive body potion I have found for these event, is what I call mummy position. That is laying flat on my back no pillow with feet together and arms folded across my chest.

Q. What have you intuited from painting the sacred ceremonial sites around Mt. Shasta?

A. I know and have experience very powerful vortices here, which often manifest on the physical plane as lenticular clouds for ALL to see. But the ones I am referring to are dimensional doorways for me. My conscious visions for painting occur in many different ways, depending on the situation. For instance, in daylight, it may be a physical manifestation or a clairaudient experience, because the backdrop of night is not there to delineate forms and images against and because your senses may be busily engaged at the site. A good example of this is the painting of Queen Califa. I had taken Geoffrey Ashe to see the Lemurian Petroglyphs way up the mountain. These contain extraordinary symbols that are not local Indian. He sat down to rest in a natural seat in the pyramid rock when I heard it - Queen Califa over and over. I ended up painting her in the same seat. Not many people know that California is named for this Lemurian Empress of the Golden Isle. What I have learned living and creating here, is that Mt Shasta is a temple of initiation and in the traditions of the ancient mystery school a temple without wall!

Q. Can you share what Geoffrey Ashe has written about you.

A. Geoffrey Ashe, England Arthurian scholar wore: “I first became aware of Cheryl when looking at a collection of work by several artist associated with Mr. Shasta. Her work stood out from the rest and aroused my curiosity. Afterwards I happened to meet her when she visited Glastonbury and used pictures of hers to illustrate a book of my own. I have helped in guiding several of her tours. Much of her work has been related with notable vividness and originality to the lore and legend of Arthurian Britain. While many artist have interpreted Arthurian themes it seems to me that they have seldom come as close as they might to the reality of actual places or evoked the kind of imagery these can suggest if they are allowed to make their impact freely. Cheryl has been highly successful in this way, beautifully exploring the reams of myth and symbol without ever sacrificing firmness outline, graphic power and closeness to visible fact.”

Q. Please explain the quote, “My current work is the result of reaching into the continuum of the ancient sacred sites and painting what is held within its grid. Is the grid you refer to a painter’s term or a reference to ley lines?

A. I have never actually used painter’s grids. The grids and ley lines are my inspirations. They are the veins and arteries of the planet. Many of the presenters on my tours are experts in this field. We find the temples and stone circles placed on these energy lines or where they cross or form patterns. I paint three-dimensional experience of the sacred site along with historical date then juxtapose the higher dimensional experience within that parameter. I do this over and over again to show people this is real. It is all-real, the veils are that thin and the experience is accessible to all. The painting Arthur Continuum is a good example: I was standing on Wearyall Hill in Glastonbury beyond the holy thorn tree. I could see and feel Arthur’s presence all around me. His face was clear and detailed down to the eyelashes. Suddenly a streak of sunlight came out of the clouds and lit up Cadbury Hill - ancient Camelot, 10 miles to the southeast. I felt him calling so strongly so we went there immediately. We approached the path leading to the ancient castle. It was soft dirt and it used to be the old Roman road. THEN IT HAPPENED, hoof beats, so loud, we wanted to jump out of the way! You could hear the hooves hitting the stone road that was no longer there, and then a secondary noise, like Arthur’s shield slapping against his back. It was amazing. This is an example of time and different places bleeding through to this time reference.

Q. You travel to Ireland, Scotland, England and France for your work. How have your travel influenced your paintings and your spiritual quest?

A. On the tours we are living outside time. Moving through space and detached from all that is familiar - a change takes place - we become pilgrims. Out on the land the old bonds are shaken off and a sense of freedom takes their place. Inspiration may come in a fairy glen, or from the sweet scent of damp stone and moss, or in the darkest recesses of a silent ancient cairn, or from the encrypted stores in stones at Gothic Cathedrals. We move through the landscape and places knowing we will be forever changed by our pilgrimage. Last year I returned from Rosslyn Chapel in Scotland, a college in stone of the Templar/Essence mysteries. It was built on the ancient foundation pattern of the Temple of Jerusalem. Working with the board of trustees and the Templar archivist, I created a piece for the new visitors center at Rosslyn, which is on display in the museum there.

Q. Could your share more on Rosslyn Chapel?

A. Rosslyn is the most awe-inspiring site of all to me. I was led to it completely by visions and events orchestrated by my guides, over the last decade. In 1995, I began to have conscious visions of a Templar life (or lives) I had there. I was also shown specific sites I did not recognize, but documented, and DID find in my travels as wells, additional information on those sites. I had had a vision to paint Mary Magdalene in 1994 and finished the piece in 2000. I know it was the knowledge of the lost bride that caused the Cathars and the Templars to be exterminated by the church. Restoring the bride and bridegroom could help heal so much in our society. I know this is also a part of my work. For me Rosslyn is the prize of the Tempars and it contacts so many secrets that were left for us to see.

Q. In your painting of Mary Magdalene there is a special quality that radiates from her. What is your passion with Mary Magdalene and why do you think this energy is important today.

A. Mary Magdalene is very important to me. She represent the mysteries, archenemy and what is hidden and that is coming to light. When I painted her last year it was though the painting painted itself and she came alive and it flowed through me easily with grace and truth. With the tremendous awakening and spiritual renaissance that is taking place throughout the world now, I feel that the return of the Divine Feminine principals will be the saving grace for our world. As we incorporate these energies and remember more of who we really are the outer world will change to reflect those values.

Since that creation of Mary I have been literally compiled to co-create the Mystery of France and Rosslyn option with my partners Vanda Osmon, sacred site consultant and Diana James of the Acadamie of Sacred Aromatics and mystery school in Sedona, to follow the footsteps on the masters for greater truth. In The Angel of Truth 1998 painting I have the pillar of Truth and the DNA spiral at the compassionate heart to reflect the new paradigm.

The Gnostic Cathedrals are coded books of stones built by master masons over sacred sites and energetic vortices. We will be activating our eternal codes our DNA potential by experiences these coded places at the Fall Equinox and Full moon 2001. Time and place, art and light, alchemy/transmutation and dimensional doorways to the ancient knowledge encapsulated in stone and stain glass for all to see and know for themselves. The true Gnostic way of learning. Walking the land, will I know, stir up ancient wisdom, soul remembrance and visions for all of us. I will be doing research on this journey using the essence of they mysteries and the group energy and will be creating a painting of our experiences. It will be gifted to each one as our creation and a way of honoring Mary Magdalene and her emerging energies. I see this journey as an opportunity to come together activating our inner codes and greater potential and returning home inspired with the light and art from our own souls to create the world we hold dear.

Q. Overall what is the purpose of your art?

A. Expressing truth. Restoring the Divine feminine, returning the bride to the bridegroom. And most importantly assisting in bringing a balanced evolution upon the earth.

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For more information on our sacred Cheryls art and the Mysteries of France and Rosslyn journey or please call Cheryl Yambrach Rose at 530-926-6738 or see her website: www.cherylrose.com or Call Vanda Osmon, Joy Travel at 1 800-579-5010 or fax 760 944-9915 or e-mail Vanda.

“We will experience the sacred places and touch into the living stories of the Grail, Mary Magdalene, Black Madonna, the Knight Templars, the Cathars and the people and places of great mysteries that make this sacred journey so pertinent today. Encoded in the art, cathedrals, sacred geometry, ley lines, pilgrimage routes and landscape are the clues to these Divine mysteries left for us to discover and embody. Come join us”, Cheryl Yambrach Rose.

If you need to interview Cheryl, more art or need more information please call her at 530-926-6738.