Then there is the practical application of all of this-the form that one takes to have the philosophy and the life support and continue these frequencies. The daily living that supports these intentions.

PRACTICAL APPLICATION: The studio of creation is full of supplies. Paint of every tone and color imaginable. The paint is packaged in many sized containers best to do the job, from sixteen ounce plastic bottles, to tubes, to gallons, to five gallons, to fifty-five gallon drums, depending on the scope and size of the production. There are materials to draw and paint on in great abundance! Every color and size of felt tip! At least 2,000 yards of canvas available at all times! Five foot high stacks of paper of many standard sizes! At least the best pure pigments on the planet in fifty-five gallon drums! The mixtures and additives organic and all recyclable to make the paint! The paint and pigments evaporate as the brushes are cleaned. There is no waste. The studio is transported in two semi trailers to the new site. The supplies are unloaded. The seat of creation takes form. The materials follow a journey, a path where they are to be unleashed. The spirits use the liquids to create the surprises that they have in store.

Three thousand paintbrushes, from one hair to large brooms made of bristle, boar, sable, synthetics, straw and wood, with every size in between and combinations of such. The brushes have different length handles from a few inches to several feet long to create some distance from the painting. The palettes are as planned as the brushes-each palette creating the mood and energy for the paintings. Always an exploration with color unlike the time before. At least one hundred paintings are being worked on at the same time.

The purpose to know and touch each culture and person on the Earth. Each material and studio propelled by that desire. The promulgation and expansion of the creative spirit. This studio has been set up across the United States and many countries abroad. It is back home now to its native home of its beginning. The Heartstrings of northern California-the Artist's Haven.

THE PROCESS: Just to loosen up to get ready to paint, sketching is ongoing with pencils and felt tips and computer design. While talking or being, this process is ongoing with new observation always being the focus. See how this works, how does it go? What is this new observation of light, form, feeling, light and dark? Every millisecond a new insight is manifest. A new language of discovery is at work. These new languages are the basis for the upcoming paintings. The languages reach to the sound of the form of the energy that is being presented. The study is all pervasive and all encompassing with an excitement for discovery-like finding a new planet or a new race. Each new form and color is such. These discoveries give energies, as they are manifest. This energy supports the operations. There are hundreds of thousands of drawings that have contributed to this process. They have all been archived and distributed.

The Golden PortraitSseries: "The Hands of an Angel" by Moma De Louvre, Acrylic, oil, lacquer, and pearl on canvas, 4' by 8', 1998 Over grass as seen from outer space. Up close (as through a microscope) the silver space grid is behind 14-karat purple and magenta mandalas that form the halos of the golden portrait. The large image in the foreground is looking back through time to her reflection of past or future as she travels through space. A super-whopper space portrait technique derived from the cartouche series.

DISTRIBUTION: The art produced is as abundant as the materials. It seems as though the paintings have been created by thirty or forty artists in the space of one year. There is no specific style other than the theme of energy. The name of the artist is changed each year to listen to a new frequency. Moma De Louvre is the name for 1999-2000. Om, Mom, Ma is the female principal and the sound of creation. Louvre is for love and the Louvre in Paris, the resting-place of the greatest works of art on the planet. The Living Museum (the Museum Bank circa 1986) moves around the world and certifies and archives the art. The greatest works of art are roving. There is probably not enough room in most museums to house them, thus the Living Museum concept. The Living Museum brings the art to new destinations and undiscovered crannies. The art moves with the spirit of connection. It goes to all who call for it from the homeless to the heads of the largest corporations. Its presence in factories and corporate headquarters has changed the policies of these corporations to more creativity for humanity, inspiring social and economic justice. The distributors are from every walk of life and every race. They have a currency to work with that is based on creativity and abundance. Everyone has enough currency to ward off the inflation created by currency scarcity. Creativity is the currency of the future being created now. Open and clear communication is the key. Communication is the oil of the operations. In Vallejo in 1986-89 the art bought the old Masonic Temple building of 50,000 square feet. Here all aspects of the art and distribution were brought together under one roof. There were large events, films, videos and art events that created the Living Museum and Distribution Network. Thousands of people from the San Francisco Bay Area visited for events and inspiration. The distribution has also occurred when there was no large visible structure. It moved around the people like grassroots and a cottage industry. In Florida in 1997-98 the Museum traveled in its own plane. The paintings were created at night in private airports and left in the lobbies by day. De Louvre, then known as the "Art Pilot," became the "Ghost Artist of Florida." Skimming over the Everglades with paintbrush in plane. These stories cover the tip of the iceberg of the operations and creativity. Distribution is also about giving to charities and relocating currency to those events. Dallas in 1998 was the most successful time for this as over two million dollars was raised for charities there in that year. De Louvre, then known as Imma Jean Morgan, became the society artist of the year, a purely Dallas event. Distribution is about present-time communications, not holding onto assets. All assets acquired have been recirculated each year. Each year the paintings start again with blank canvases from a zero base. Each year lands, islands, jewels, assets, and treasures have been given away to clear the slate for new concepts to occur. From this stripping down has been born the greatest fortunes materially, spiritually, and artistically.

			ANGEL PAINTING SERIES Exploring form and dimension. The series illuminates spatial holographic optical illusion backgrounds, grounded by the celestial figure as static. The background is kinetic as in all Moma paintings. These pieces allowed Moma to explore in depth the drafting ideas behind the paintings. Seldom now do artists draw and then study what they are going to paint. It is a lost art to the Renaissance. The technique comes alive here as all the dimensions of the painting are visualized in these large scale Michelangelo type paintings. The Sistine Chapel comes alive in modern day. These pieces have been commissioned as walls and ceilings of spiritual dwellings to combine the fine arts of spirit, art and architecture.
	Moma De Louvre Self Portrait/Digital "Entering the Universe" "Maiden of Grace" xyline & lacquer on paper, 8 1/2" X 11" Purchased by Jed and Carlin Diamond Willits Center for the Arts Auction, 3/2000
Angel Painting Series: 4' X 8' on canvas, (corners: left to right top to bottom) Angel of Mastery of Light & Dark, Angels of Enlightenment, Angel of Inspiration, Angels of Creation.

TESTIMONY: Dallas Operations of De Louvre/Weston 1998 by Donna La Soya:

I have often been asked by my friends to describe the operations of Moma De Louvre aka Pamela Weston. When I have told bits and pieces, they in Dallas and all over Texas have responded with skeptic disbelief, so I am writing this story of how I observed Weston/De Louvre's working operations in Dallas, Texas 1998.

I first met her at her house in Dallas. At that time she told me she was an artist and would open a huge warehouse office complex in the industrial, commercial area-the financial district for corporations. I listened but did not pay much credence. Soon after, she invited me to come to her studio, which was exactly that. A fifty-thousand square foot warehouse with huge fans and high ceilings. It needed work. There was a 5,000 square foot living space and 5,000 square feet of office for her business management.

I was amazed at the hugeness of the scope of her dream for Dallas. Two weeks later I visited again. The whole place had been remodeled and was ready for production. Still I was not prepared for the next experience. I was there when she started painting.

Semi trucks brought all the supplies, including fifty-five gallon drums of the finest pigment money could buy. Canvas arrived in huge eight-foot rolls weighing 2,000 pounds each. The canvas was cut and gessoed in large five foot by nine foot pieces and pinned to the walls for her to paint on. At one point I saw her working on one hundred pieces at the same time, going from one to another. She had live models and was constantly experimenting.

It seemed at each moment that when supplies or cash were needed they arrived immediately, as she spoke the need. This went on for six months. I became caught up in the process and found myself arranging the event of the year at the studio. I brought the Broadway Musical Stomp from New York to perform at her party.

By now the studio was filled with production and trucks were coming daily to pick up finished product. Dealers would come by and dig through the trash to see if she had thrown anything retrievable away. They would bargain with her manager for paintings. It seemed that they wanted as many pieces as possible to use on international transactions. It was pretty complicated and financially above my head.

After about a year she told me that it was time for her to move; that she had given as much creativity to Dallas as she could. It was time for her to return to Northern California, after a long absence of travelling around the world.

The ending was as remarkable as the beginning, and again, I was part of the process. There was a five-day marathon of packing and loading all extra supplies and product into three semis that were parked at the three dock high doors. In addition many Hertz Rent-A-Trucks and trailers arrived. As quickly as it started, it was over and Weston/De Louvre was gone. The studio had seemed a movie set, and the movie of the production was over.

The Museum Showroom, twenty thousand square feet of magnificence, with phantasmagorical imaginative design, in addition to the studio with all the paintings, was disbanded.

I feel her absence and inspiration even more now. She is still with me and propels me in the direction of my personal creative path.

TRAVELS: INDIA 1992 (Detail)

The sun beat down on the sea of humanity that pushed their carts and baggage carriers towards the train. Trunks were dropped unceremoniously on the dusty dirty ground with no record of where they were to go. The finders of others' goods crowded around for a piece. The lady in white (De Louvre) was imagining how to get all the trunks somehow moved to safety. No lodgings had yet been found. She was alone now for one year following this path. One hundred pounds thin. Three bullock carts appeared and the trunks and supplies were loaded. The trek to find the colors in the mountains began. The caravan moved slowly and disjointedly thirty miles north to the spot where Buddha gave his first sermon. The trunks glowed like mirrors in the sunlight, almost blinding where they were going. Each carrier had a different pace and seemed to go off in his own direction. It was hot. All were exhausted. De Louvre walked behind keeping track. At 7:00 p.m. all wanted to stop. She gave water and food to the people and animals and asked to go on. In the darkness, after three more hours of travel on unknown country paths, with no one but her caravan in sight, blue eyes in the darkness appeared. The eyes beckoned to her as a guiding light. She stayed for one month in the small rock cave with the keeper of the Buddha Temple. As he prayed, his people brought materials and supplies for her painting. In the evening the laundrymen would pick up the paintings and take them to dry by the river with the laundry of the village. In the morning they were pressed by the women who did the sheets. In the evening they were framed by the wood maker. They then were hung in the Buddha Temple at the time the bells chimed and the morning chant began. The journey continued.

DOCUMENTATION:

Each year a book called the Certificate of Authenticity is produced to validate each painting. The book covers the provenance and history of the art. Each year it as taken a different form. This year it will be the Passport to Creativity. A Passport Book that validates the art, its past, and its provenance in a very abbreviated form that can be in the wallet. Instead of a passport to a country, this is a passport to creativity. It is pocket currency. The books have been from one-of-a-kind, gold four-inch thick manuscripts with hand painted pages of individual drawings, to small Certificates of Authenticity printed with only one hundred pages. Some years there has been one page documentation with an engraved stock certificate format. The intention has always been the same: to communicate the art and its value each year-to keep a record. These books are archival records to keep track of the production and validate that the paintings are originals by De Louvre and her other names. Each year videos of the studios and CDs of the music are produced/also books of art, poetry and writings. Originals and prints of the artwork can be ordered through the website at www.momadelouvre.com, an expanding chronologized documentary of the prodigious works. Audio tapes, poetry and writings can also be found and purchased here.

CERTIFICATE OF AUTHENTICITY FOR COVER PAINTING