In The Beginning There Was Merlin
My first encounter with the Merlin energy was in 1974 while recovering in the hospital after my first spine operation and went through a psychic out of body operation orchestrated by what I believe now to have been 8 aspects of Merlin. The operation involved removing sections out of my body, reworking them and then replacing them. At different times in the evening I would be taken astrally to other levels, firstly in the lowest realms and the tragic beings who inhabited it and then taken soaring into the bright heavens. The experience was so profound that I completely changed the way I looked at my life and afterwards I resolved to dedicate myself to the beings who had worked on me, though was not sure where that road might take me.
 
It would take 3 years of searching to find my path and before the Merlin energy returned again into my life and would truly experience magic, both the pain and exhilaration that came with it.
In 1977 my father died and I needed to spend time looking after my mother in London. It was at this time I started to draw again, firstly my efforts were very heavily laboured pencil drawings full of deep symbolism with a strong influence of William Blake. After visiting an exhibition of pointillism, I began to experiment with this art form and enjoyed superimposing imagery on top of each other. The early pencil pictures had been very dark and troubled as I tried to express my feelings over the loss of my father, the pointillism and working with the fine ink Rotring nibs meant I could express myself in a more ethereal way.
I had been constantly searching for the new door to open,so that I could offer my service and hadn't realised that the art had already led me through without realising it had happened.
These new drawings I had created needed a border and after a lot of searching I found a book by George Bain on Celtic Art, Methods Of Construction and so began using and adapting the patterns as a borders in the book for my new art. My wife wasn't keen on my earlier figurative work and the ink imagery and encouraged me to work more on the decorative Celtic artwork  and so gradually the pictures became fully Celtic in style. The art was mainly b&w pen and ink and the creative process was long and laborious and I would still felt I needed to add as much symbolism as I could to empower the picture. 
 
I exhibited my work in 1977 at the first Festival Of Mind Body and Spirit at Olympia in London and one of the first people I met was Michael Joseph who wanted to commission a portrait of Merlin for a friend who was in communication with the the Sage. The only guide he would give me was to look at the Plough at night and ask 'M' (I always prefered to refer to him in this way rather than using his name.) for help.
I lived in Edgehill Street in Reading at the time, rightly named as a lot of the street had disappeared to the bottom of the hill through subsidence.  I stood on the edge of the hill one very starry night and looked up at the Plough in the night sky and asked 'M' for help on the commission and as I spoke the words, so a shooting star shot through the middle of the Plough.
 
Later that night when I returned to the studio, I began to see small blue lights touching the drawing board and when I sat down I felt hands resting on my hands. The lights started to direct me to how the picture by moving over the artwork and would stop if I tried to put in other pieces of artwork that I liked and although they could have fitted into the image, the lights would not reappear until I removed my addition. 
Unseen hands would rest on my shoulders as I worked and they would hold my hands when I stood back for a break. I was often impressed to add new inclusions to what I personally felt was was clearly finished and this often meant redrawing the whole picture again so the new piece could be accommodated. This often incurred a gentle poking in my back to encourage the change and wouldn't relent until I began the changes they wanted.  It was the energies way of teaching me to give myself over to them and even though often, a picture would look like it was going nowhere, that I needed to trust in the process and their guidance. This always worked though there were many times I was often frankly very surprised that they did.
From the commission I met Peter Quiller the recipient and we discussed using the messages ‘M’ had given to him and turning both the art and words into ‘Merlin The Immortal’. I decided to self publish the book under the name of my business Spirit Of Celtia. At the time I was working as a screen printer as my day job, in Reading, Berkshire and would dedicate a portion of my weekly wage to going to a local printer each week to have a hundred copies printed of each of the pages of the book I had worked on that week. It was eventually bound as a hardback and I packed in my job and would travel into London each day with a rucksack full of books to sell to bookshops.
  
It later went into a paperback format when the first edition hardbacks were sold. There were boxes of books under the bed, in cupboards and every nook and cranny. My wife was worried the floor would collapse under the weight of all the books and we needed to spread the load.
I have always been a firm believer in synchronicity and unbeknown to me it was very busy on my behalf. The George Bain book that had fired my inspiration in 1977 had been published by Constable and had sold steadily. One of Constables executives had moved to Blandford Press and spoke to them about creating a range of Celtic books. I had written to  Blandford Press about the same time asking if they were interested in Celtic art and the letter had landed on their desk. Also around that time their commissioning agent was at home when his daughter came in from school with one of my pictures she had coloured in from school. Synchronicity is great when you look back at the passage to completion.
The Celtic Art Source Book went into 24 reprints and I worked on a further 10 books with Blandford, later taken over by Cassell and then Orien.
For the next 30 years I worked mostly in seclusion seven days a week 12 hours a day and together I created 50 books with the aid of the Mage.
Through the years I never had to sell a book idea to publishers, they always came to me with offers, but by 2008 the new book commissions dropped away as publishers believed that the Celtic bubble had now burst and one by one the books went out of print. 
Throughout the years of working with 'M’ I went through many shifts of consciousness and this occurred mainly while working on various significant pieces of art and saw these as times when I needed to retuned energetically to complete them. As the book work slowed down in 2009-20010 and I started working on art for its own sake, the shifts intensified and I began to feel that I had been reprogrammed and now needed to leave the safety of the studio and start to share my experience with others. It felt that the energy was now encouraging me from the seclusion of my studio and my art and to now step into the outside world. I wanted to share with others and to offer the chance for them to experience the aspect of the energy I was working with for themselves. 
So I set to work on planning the format, creating workbooks and promoting the series of events at different levels of attunement.
The Merlin Seed attunement happened purely by chance one day while I was accepting healing from friend, I realised after a while that the energy was slowly shifting and that now I was being the healer on him. The effect on him was quite profound and caused major shifts in his energy body over the next few days and this enhanced his healing capabilities and his Merlin connection. Its activation seems to create a direct connection with the Mage, and works in a creative, self-healing and inspiring way. Healing and creative abilities seem to become enhanced and that power can be drawn on through daily life. This dynamic energy seemed very potent and the acceptance to it being placed seemed to cause people to deal with their lives with more awareness of who they were.
The Merlin Star followed on from the Seed and I became very cautious when I was asked to perform the attunement as I sensed it's enormous awakening power. Where the Merlin Seed works on a level of dealing with the physical world the Merlin Star seems to almost shift planets!

"after receiving the Merlin star, I have found considerable guidance from Merlin. Perhaps one of the best attributes of the star is the clear communications with Merlin, increased connections. The star for me can be used to connect with Merlin to receive blessing, healing and manifestations of magic and transformation. There have been clear signs of change, involving healing, manifestation, clairvoyance and clairsentience.
Merlin may even go so far as to open new pathways for you, everyone's  different, so how this may be experienced is entirely individual. For me this is exciting times, I look forward to seeing future communications and thoughts on what Merlin has given us in the Merlin Star."
Best wishes
Franklyn ~ London

I had always been aware that I was not the sole recipient of the Mages guidance over the years, that I was one of many who are open channels to Merlin at this time and each have their part to play and I acknowledge their individual thread in the great tapestry of life we are each part of. I viewed the energy as a crystal with eight facets and it's one of those facets that has inspired me through my life. 
It's always been a energy of creativity and growth though at times a rough and painful ride when I didn't learn the lessons I was working through. There has never been a divine voice in my head guiding and directing me ( or at least not that I physically heard), my connection with the energy has always been experiential and inspiring.  I only ever passed on my understanding of my experience to others, with the understanding that, what I felt was truth at this moment would all change in the next, nothing is set in stone. 
By 2010 I had completed a few workshops in various parts of the UK and then Merlin disappeared from my life and I had to cancel the further events that were still set up and for the first time since 1977 the paintings stopped as well and my life went into meltdown.

 

WHAT HAPPENED NEXT
 

 Tara Open Studio, Hill Of Tara, Meath, Ireland   Telephone +353 (0) 87 395 4580   Email: courtneyontara@gmail.com

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Enjoy the art but please don't steal it, that kills creativity