"I think you'll need a calendar that holds the
heavens hues and all the clocks that time forgot
and the hourglasses too and start them all at once
to time my love for you..."
From Tic Talk
Epic's art work really speaks for itself, and the wonderful world that he
creates is impleached with poetry and text that expresses itself in a way I
haven't read since Henry Miller's _Into the Night Life_. I was immediately
struck by the art's ability to express a particular balance of tension and
revelation that I often have with dreams and especially lucid dreams. I kept
saying to myself, "I'm on a sea of..." but could never verbalize the
sea. Perhaps this is due to the flow of a transpersonal element I experience in
the work that never stops to become calcified, but just touches the essential
and move continual onward.
"I get ideas for my paintings from lucid dreams. About once a month when
I'm dreaming, I will realize I'm dreaming, and when I do, I then walk around in
the dream looking at art on the walls. I usually find many paintings on every
wall. By the time one of these lucid dreams ends, I usually have one or two good
paintings memorized. I always recreate them in pastel on 12 by 18 inch paper.
I've been doing this as a hobby since 1986." Epic Dewfall
Richard C Wilkerson (RCW): Epic, you mentioned that this work has been going
on now for over a decade. Did you have lucid dreams before this process started?
Were there any particularly significant ones that you could share?
ED: My first lucid dream was on the job. I would fall asleep on the job and
in my desperate struggles to stay awake I was having false awakenings. This was
12 years ago and before I ever read about lucid dreaming. Soon after I read
LUCID DREAMING by Stephen Laberge. Ph.D. Then I was able to tell people what was
happening with proper names for the phenomenon.
RCW: Do you have favorite dream books or influences?
ED: I listened to a book on audio cassette once about Edgar Cayce and Dreams.
Everything other than that I've ever tried to read has never held my attention.
But I've always learned a lot from books just with fragmented, random openings.
RCW: Isabelle Allende says that in dreams she would sometimes see her
grandmother writing and look over her shoulder and read the text. But she
doesn't remember it as clearly as you recall the paintings. Do you always find
the art on *walls* in your lucid dreams?
ED: No not always. 85% or so of them are from the walls of my dreams as art
hanging in traditional fashion within rooms of strange houses and buildings and
just as often the familiar rooms of my home. But when a painting presents itself
in other ways I am lucid enough to know not to dismiss them. I once rummaged
thought pile of loose unframed art on a table outside a building and came across
#39 SLICED UP MOUNTAINS. #57 CANOES ON TOP OF MONOLITHS was being held up by an
easel. #93 A HORSE FLOWER WANTING TO TOUCH A WOMAN was from a book.
RCW: Many people who practice lucid control struggle with the ability to stay
lucid. Castaneda suggests looking at one's hands, Laberge suggests spinning
around. Do you have a special techniques or advice for increasing the time you
ED: Just keep moving. A remarkable good coincidence with getting art this way
is that when I have found a painting I really like I will wake up after I look
at it for about 6 seconds. I suspect this is because I have stopped moving from
painting to painting and my stillness wakes me up. But this is really more of a
terrific benefit than a problem. It allows me to wake up with a very clear
vision in my memory. If I were to keep lucid dreaming for another four minutes,
the painting I liked so much would have disappeared from memory or at least not
be so clear. Its quite a useful coincidence.
RCW: There is an internal consistency in your work, yet each piece you do
seems so fresh. Your poetry also has a fresh flow. What artists & poets have
inspired you over the years?
ED: I like a painting by Dali called METAMORPHOSE DE NARCISSE, and the first
four lines of a Blake poem called AUGURIES OF INNOCENCE. My energy goes more to
finding beginners I like more than masters.
RCW: Jung and others have said that bringing dreams into material form,
especially art forms, is very transformative both spiritually and
psychologically. Have you noticed changes in you personal, social or spiritual
life over the span of your creative decade that could be attributed to this
ED: Most definitely. My early works are very filled with unhappiness and
disparity. I don't put them on the web site because they are like old bandages
and better left for the historians to deal with. At first I made some paintings
from traditional inspiration but they are different. When I made them up myself
without the aid of dreams they were extreme with ether too much unhappiness or
too much happiness. But when I stick to art from lucid dream inspirations they
never hit either of those two awkward extremes but show a balance between the
two. I think this activity has acted like a directional beacon for me to follow
RCW: Stephen King recently said that he used dreams in writing to express
things that he wouldn't want to just come right out and say. Jung however,
thought the best part of symbolic imagery was its ability to express that which
could not be expressed any other way. Would you say your work falls more under a
preference to silence, or best possible expression?
ED: I think its all about perspective. Within two seconds you can have one
thought. It's like a brick. You don't know where you put it until a dream shows
you the whole building. A symbol has a silent feeling to it because you're just
too far back to see the words.
RCW: Do you have any suggestions for those who would like to explore dream
inspired art but need a little encouragement?
ED: I use Stephen LaBerge's Mild method but I add the words "and look at
art" to its incubation statement. Don't add the words "and look for
art". Because you would end up looking for art instead of at art.
RCW: So what's on the planning table for your gallery next year?
ED: I'll soon have to split the main page and turn the site into a two page
tour as I add new paintings and poems. Other than that nothing will change. But
I'm probably wrong. I've learned that things must change. Things like electronic
devices couldn't work without it. I might get up the courage to display some
graphs of Usenet news love hate statistics, I've done that prove a theory of
mine that the slanted trees and slanted row boats in my lucid dream art are
graphically showing us what the number pi looks like when you turn it into a
percentage and then show that percentage as an angle within 90 degrees. This is
not to likely though because mostly I just want to maintain the sites quiet
You can view about one third of Epic Dewfall's collection at