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STEP 1 - First a Brusho water colour background was created, a chaotic cloud of potential, of many vibrant colours in the void. Then I had the urge to create circles in random locations. 3 'major' circles resulted, each a container and also a point, placed a-round a central copper circle. This middle copper circle is the focal Point of the painting. Creating accurate circles with clearing defined edges is tricky. Any slight deviation or indent immediately shows. Straight edges are much easier! All the circles were made using 3 layers of lustre, applied with circular strokes, then polished and sealed.  STEP 2 and 3 - More circles of copper lustre were added, moving freely about the energetic domain. They all lie outside of the space delineated by the Trinity. Each of the 'major' circles in the Trinity were haloed by a geometric shape - red circle:green square (space), green circle:pink circle (time), rose pink circle:green octagon (Directions). These 'major' circles are bound by force fields (symbolised by the yellow lines) to create a sacred space. 3 is the number of creation, of Mind Body Soul, different states of Being (such as liquid, solid, gas). From the Centre of 3 a created Being emerges. The central copper circle, or sphere, has a crystal code within it that is the basis of the structure of the Being emerging out of the quantum field. In Step 3, gold lines and patterns where then added around each of the shapes. Recognising the sacred nature of the creative process through the use of geometry and colours from light.
QUANTUM BEING - So much like the emergence of a form of being out of the Void, constructed out of geometry and light, so too did the geometric grid in the painting Quantum Being emerge out of the canvas. Using it as a meditative tool for visualisation you can either focus of the centre and move outwards to see what form of being emerges, providing you with some insight for interpretation depending upon what is created. Or, you can choose your own body, or that of another object/animal/person/plant, and move inwards into their central code in the quantum field. At the end of your meditation move back to the point where you started. Reflect on the impressions you had as you move in and/or outwards, and also any insights you gained. by LiterArties Karen L French 
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Our visionLiterArties vision unites us. Each of us is 'Capturing our Creativity' through many modes and mediums. Change is a feature of every moment and as creative people we strive to 'capture' the essence of a moment, or moments, in our transient lives using our 'creativity' in words, images, music, clay,... any vehicle possible. Not only is this creative process very rewarding, but through it we can share our inner worlds and experiences with others, hopefully to make their life more pleasurable as well. Mixing it upNaturally we can explore our creativity through individual mediums, such a writing a book or taking a photograph, but mixing up mediums to convey our inspiration as an integrated whole is a wonderful challenge. Maeve Bayton - sound, images and words
"Among those in the know, Maeve Bayton is something of a local hero, or, rather, heroine. She has a long and distinguished musical record in Oxford, fronting the city’s first all-girl band, 'The Mistakes', in the ‘70s, while her second band, 'Jane Goes Shopping', were also a regular fixture. She remains a respected blues artist, has lectured on music at Ruskin and written on the subject of women in rock. That experience comes through in her second solo album – a collection of sweet, whimsical folk moulded in the tradition of Joan Baez or Sandy Denny. Featuring only five tracks, each tune has space to breath, particularly on the title track, which weighs in at eight-and-a-half minutes long. And it is genuinely lovely and uncommercial. Maeve’s heartfelt, pastoral songs, exploring sadness and loss are soothing, pastoral and, at times almost psychedelic in their simplicity and naivety. The title track even comes with a birdsong soundscape recorded at dawn near Maeve’s Otmoor home. The heartmelting lyrics, meanwhile, were written about her husband’s terminal illness. The standout track is opener 'Missing You' – with Jane Griffiths’s dreamy Celtic fiddle. But really the record works as a whole. The beauty of the music, Maeve’s clear voice and the sparse instrumentation by Griffiths and guitarist Ian Wycherly lend it huge charm. Here is music to soothe most frayed of souls." (The Oxford Times Review, May 2013) © Copyright 2001-2013 Newsquest Media Group
 The view from Maeve's window
"Gazing from my window this morning, I see verdant swathes of green: many species of trees (viridian, olive, sap), then meadows and fields (pea, salmon pink, yellow ochre) gradually turning into the misty blues of hazy far north Oxfordshire. The few distant village houses and church towers are toytown small. Whilst above, the vast dome of sky fades from cobalt to cerulean to pearly chromatic greys. In the wetter months this colourscape is further heightened by a reflected silver and blue from the wide flooded fenland of the RSPB Otmoor Nature Reserve. Closer to hand, I spy three rooks and a green woodpecker, spiking the grass for ants. A horse, a pony and two pheasant, like me, are at breakfast. Above, two whistling kites slowly circle. At other times I have seen March hares boxing, a row of newly fledged owlets strung along the fence, swallows having their first flying lesson, a fox stalking a rabbit, and deer of course. But today there is sparse activity and also little sound, for it is August and the birds have quietened. Later, dusk will bring bats and a pre-roost gathering of rooks. Spring is very different. I shall never forget my first May morning here. Living on main roads in cities all my life, yet always yearning for the country, I took the leap in ’97, leaving noisy crowded sociable Iffley Road for pastures new. I was woken by a cacophony of birdsong. There was a clattering of jackdaws on my roof and a clamour of rooks in the trees. A great spotted woodpecker was hammering a trunk and I counted many sparrows, a wren, a robin, blackbirds, a thrush and a blackcap amongst others. The church bell tolled the hour, 4 am, and I thought, “This is paradise”. I walked down into the nearby copse and recorded the woodland song. This magical experience fed directly into two of my songs, 'The 2nd of May' and 'Missing You'. A photo of the blackcap adorns both CD case and disc and the title track has my recording of the dawn chorus (with robin) running though its entire length. How blessed am I….." (Written for the Writers in Oxford newsletter)
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