Wilkerson, Richard Catlett (1997). Man against Eternity:
The lucid dream wall art of Epic Dewfall . Electric Dreams 4(1),
www.dreamgate.com/dream/ed-backissues/ed4-1.htm (Jan 30, 1997)
Man against Eternity:
The lucid dream wall art of Epic Dewfall
Interviewed by Richard Wilkerson
"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,
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 are lucid?
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
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 process?
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 toward health.
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
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 strength.
You can view about one third of Epic Dewfall's collection at
Richard Wilkerson (Jan 30, 1997)