Sunday, February 19, 2017

CRESCENT

If a picture is worth a thousand words then a drawing from a close encounter eye witness is worth its weight in platinum. No human has ever taken a picture of an extraterrestrial, that we know of. This puts immeasurable value on the drawings and scene recreations coming from eye witnesses who have had first hand interactions with beings not of this world and perhaps not of this dimension. Cameras are not allowed into legal courts, as such character artists are the only visual window into secret chambers and proceedings. Likewise, hand made drawings are the only window into the world of human-ET interaction and these illustrations are cherished records and will go down in human history as some of the most significant pieces of art ever created. In most cases, CE4 eyewitnesses lack either the tools or skills necessary to create striking visual recreations of their experiences, however in a few rare cases exceptional drawings do materialize. Whitley Strieber worked with Steven Neill to create the famous Grey Visitor bust that has become a cultural legend. Another eye witness that many UFO readers may not be familiar with is David Huggins, a 56 year old CE4 eyewitness who has recounted his mind bending story as well as having created dozens of paintings directly from raw memory.

If anyone could have taken a picture of the visitors and their UFOs it would have been Whitley Streiber considering the numerous, documented and verified interactions he has had with aliens, hybrids and dead people. Whitley was never successful in taking photographs of the Visitors and this is most likely because they prevent photographs in all interactions for unknown reasons. Let's jump over to a parallel reality where I must correct myself when I say no person has ever taken a picture or video of an ET as this may not be entirely accurate, at least no person deliberately setting out to take an ET picture ever succeeded. But in the early 1990's a group of paranormal researchers in the UK assembled and conducted the "Scole Experiment". During the closed circuit digital camcorder experiment known as "Alice" an image was indeed obtained of what appears to be a "Grey" being with the typical large head with enormous almond shaped eyes. I believe this is in fact likely the only actual visual recording of a Grey being. Incredibly, the image of the Grey, or baby blue in this case, is actual video and the being is recorded over several seconds deliberately looking into the camera, which would indicate "they" were aware of the experiment and aware of the camera's ability to capture visual data from another dimension.

David Huggin's experience fits quite neatly into the entire puzzle that CE4 eye witnesses have presented for us. Though the interactions are surreal and extraordinary, the sequence of events and characters involved jive with many other witness stories. These paintings are not physical evidence and many would argue that David could have simply read the story of others and is painting from the human collective imagination. There is one painting in particular that I believe dispells any notion of imagination, fakery or copying. This is the image David Huggins painted of several nude Grey-human hybrid beings standing against a wall holding very small hybrid babies, accompanied by several enormous insect beings who appear to have visible auras. Something very interesting happens if you take the original painting and covert it to black and white and then reduce the size of the image. The painting looks like a photograph. The visual quality of the original painting is not that extraordinary and I do not believe Huggin's set out to paint a masterpiece with this
particular canvas. It is clear when one looks at the body of David's work he certainly has gotten into his groove and found the canvas size and pace and choice of paint and brushes that work for him. He has the methodology and technique that allows him to produce, from memory, an astounding number of close encounter and UFO scenes that are so accurate and blatant, at first glance the scenes seem frankly impossible. I have been studying David's paintings for many years. I have not seen these paintings in person, but I have made a great effort to look over large, high resolution pictures taken of his work. Gather up pictures of Huggin's paintings and you will see a repeating theme. Small, grey beings who appear to be assisting surface missions, tall insect beings who appear wise and graceful and of course, we have Crescent herself and other female aliens who appear to share Crescent's exact likeness down to the last detail. The hybrid females are so identical in fact, they appear to be clones or hybrid children birthed from deliberate technology.

This magnificent female being presents an absolutely perfect mystery. We have so many questions regarding her. Why is her face absolutely bone white and her head and eyes are classic black, tall grey in appearance, yet her body is portrayed as tan and so fundamentally homosapien it arouses the human sexual psyche. Are these woman wearing white makeup and black wigs? Do these hybrid beings in fact have thin, grey anatomy and thus have a need to create a false visual image inside David's head in order to obtain a normal level of social interaction? This mind image theory is immediately challenged, as David has stated that he has had sexual intercourse with Crescent and this would suggest Crescent in fact does have a human body with female genitalia. The hyper-surreal anatomical combination of a black and white head with a voluptuous tan body in itself produces an unexpected sexual presence and David manifests this physical energy through the canvas with eye to eye, face to face, body to body pieces that allow us to zoom in... literally... into alien eyes. There is no denying the visual scenarios are sexual and intimate in nature and interestingly mirror, perfectly, the verbal and written description Huggins has put forth over the many years since he has come forth publicly with his story.

We all know from our own lives and experiences that a genuine mystery is sometimes much more sexual and alluring than ordinary reality. Crescent appears over and over as the central theme of David's paintings, is she inviting us to enter a parallel reality - perhaps outside of time and space as we know it. Inspired by David's work I have created my own painting of Crescent as an homage to Huggin's work and I would invite everyone to take some time to read up on David's mesmerizing encounter and let the imagery and unspoken story sink in. Agent D



AGENT D RECOMMENDS ALSO:

The Surreal Art of David Huggins VIMEO