ABOUT THE AUTHOR

Artist & Designer

Speak Your Mind: "I Specialize in 'European Aged Walls', and It Will Separate Us from the Pack."

Joan Parrish Morency, author and publisher, has lived in Southern Nevada for more than twenty-eight years. On March 28, 1996, Joan arrived in Las Vegas, Nevada from Boston, Massachusetts, to assist a Trompe-l'oeil artist at Caesar's Magical Empire. Ten days of rendering realistic sunsets on dining room ceilings resulted in an additional three months of painting faux finishes inside Caesar's Magical Empire. This was where Joan honed her skills as a fast-track lead painter, which elicited the admiration of artisans, construction site supervisors, and general managers.

Joan began her career as a backdrop artist for professional photographers in the Greater Boston Area in 1985. Word spread throughout the advertising community that an artist was painting camera ready, one-of-a-kind backdrops 10'x16'. Within the first few years, Joan's clients included: Bose Corporation, Boston Ballet, Boston Magazine, The Boston Globe, Fed Ex, Filene's Department Store Boston, The Gap, Louis of Boston, Ocean Spray, Museum of Fine Arts Boston, Reebok, and Van Cleef & Arpels Jewelry. Joan's custom backdrops were inspired by Nature's weathering effects on building facades and stone tile floors throughout Europe.

By 1996, Joan's artistry received acclaim and with it came a myriad of painting projects in Las Vegas and Henderson, Nevada. Her portfolio attracted the award-winning internationally recognized Friedmutter Group Architecture & Design Studios. The residential project was the Street of Dreams in Seven Hills, Henderson, Nevada. Shortly thereafter, properties on the Las Vegas Strip came calling: Game Works, Forum Shops Phase II at Caesars, and Paris Las Vegas Hotel & Casino. These standalone projects culminated into the opportunity of a lifetime.

Introduced to the Japanese in 1999, as one of America's finest "European Aged Wall Specialists", Joan was contracted to design the wall finishes and train a team of ten artists to reproduce her paper samples (14"x 22") on the building facades inside the Venus Fort luxury shopping mall in Tokyo, Japan. As soon as Joan arrived at the construction site, she had to agree to be videotaped during group painting sessions. The Japanese were particularly interested in learning the "two-handed trowel sponge technique" Joan had invented while painting at the Forum Shops Phase II. (Large concrete buildings, with no air-conditioning during the summer months, can reach temperatures above 110 degrees. To achieve authentic 'European Aged Walls' on exceedingly dry and porous building facades, the team of artists needed to first wet the surface, and then apply watered-down paint in a specific fluid manner. "Wax on wax off." When done correctly, Joan's painting technique could reproduce authentic looking finishes quickly with minimal effort. This provided Joan and her team a competitive edge over the other faux artists). Looking back over the six months, it was team stamina over individual skill that determined the spectacular outcome of the project which was delivered ahead of schedule and within budget.

Joan's meteoric rise to success was tragically interrupted by an unforeseeable event. On August 6, 2000, at 7:30 a.m., Joan was traveling on the 215 freeway in Henderson, Nevada, when she got rear-ended and suffered a kneecap injury and a concussion. After three months, Joan was advised by her attorney to resume painting because it could be years before her case would settle. The power of prayer brought in her next project. In the spring of 2001, Joan was hired by Danny and Julie Gans to design and paint custom finishes throughout their estate and carriage house. She wrapped her left knee, took a cortisone tablet, and painted six days a week for the better part of that year. At no time did Joan reveal that her brain function seemed impaired. She concealed her inability to remember details by jotting down whatever Julie Gans told her.

Joan eventually underwent reconstructive surgery for her knee and physical therapy. Her brain, on the other hand, required a long-term creative approach. The neurologist had informed Joan that she experienced third-degree blunt force trauma to the brain and should anticipate short-term memory loss. "You probably won't be able to write a cohesive paragraph again," he said. Devastated by the thought that her brain was permanently damaged, she sought comfort by watching films by her favorite directors. In the summer of 2002, while recovering from knee surgery, Joan began writing a movie treatment based on lucid dreams, remote viewing, and actual events that occurred in her life between 1990-2015.

Over the next six years, several residential painting jobs took place with well-known and established families. Remarkably as Joan's left knee was healing, she was involved in another serious auto accident. She sustained shoulder, neck, and head injuries and was treated for blunt force trauma to the brain. In 2008, she underwent surgery on her left rotator cuff. The constant pain after surgery compounded by whiplash and memory loss put her in a fragile state of mind.

Author & Publisher

When in Doubt: "Shift Your Perspective to the Intended Outcome."

In 2010, Joan noticed her eye-hand coordination hadn't improved. The right hand kept jumping impulsively in front of the left, causing her to reverse the spelling of words ("the" became "hte"). A PPD evaluation on Joan's left shoulder resulted in a permanent-partial disability rating. She was advised not to lift anything more than 30 lbs. for the rest of her life. Joan's artistic painting career, which had lasted twenty-five years had officially ended, and with it, her livelihood and peace of mind.

While Joan was still in recovery, she continued to write her movie treatment in preparation for a professional critique by a producer in the Film Industry. After reading Joan's work, Bonnie Solomon, producer and gatekeeper to Steven Spielberg advised Joan to author a novel from her movie treatment. According to Solomon, novels are considered more valuable as intellectual property and less likely to be misrepresented and/or reinterpreted as someone else's story. Given that Joan is dyslexic and was diagnosed with PTSD for a second time, the thought of writing a literary piece was both daunting and seemingly impossible.

The world around Joan had significantly shrunk, and so had her circle of friends. No one wanted to associate with a person with such Bad Luck. Joan became a recluse, and turned to her childhood confidant, God, and his Archangels, for inspiration and guidance. Every time she sat at the computer, Joan said out loud, "God show me where I'm going? What's happening? What are they saying?" Through this approach, she was able to enter multilayered timelines, flashbacks and future premonitions.

From the get-go, Joan simply wrote down what was being channeled to her. What seemed lacking in the movie treatment—the clear voice and motivation of the narrator, Quetzal Hunahpu—now came alive through this method. For Joan this was magical! Joan developed a vivid and detailed writing style, as if she were on a movie set while filming, writing down everything she saw, heard, and intuited. Except for Quetzal Hunahpu's Prophetic Resurrection Hymn (which was written in one sitting in a downstairs recliner) every scene was written on the computer in the master bedroom of her home.

Seminal Being: Mirrors of the Gods was written from an ancient soul's point-of-view. Joan was able to access another aspect / attribute of her Seminal Being Soul / Godly Soul by shifting her perspective to the intended outcome of the narrator, Quetzal Hunahpu, a female Toltec Warrior who lived during the 10th Century AD. The majority of the novel was written in "Imaginal-Vignettes®—mythopoetic scenes"—and is told in narrative flashbacks.

Mystic & Philanthropist

Moment of Truth: "Your Place in History: Then and Now?"

"Joan Parrish Morency, author / publisher, is the owner of Epiphany Artistic License—Essential Archetypal Literature—and

Founder of Imaginal-Vignettes®—novels and short stories in the field of Art and Entertainment."

"The Brand, Imaginal-Vignettes®—mythopoetic scenes—reinterpret ancient myths that are related to our personal mythology (inspired by Joseph Campbell's "monomyth", the hero's journey) through symbolic imagery (dreams) and implicit memory (insights)."

Core Message: "Our Mythology Transcends Perceived Limitations."

Mission: "Establish a Trust in 2025 that generates a sense of belonging inside of a thriving Art and Entertainment Fellowship. The Fellowship is comprised of seniors, 55+, whose purpose is to encourage authors to source and create Essential Archetypal Literature. The Fellowship's fundamental directive is to disseminate the literary-works and have them be adapted into movies, TV, stage plays, and musicals."

Vision: "Cultivate stories that restore the integrity of the Soul, while healing the debilitating effects of trauma, and expand the Seminal Being Soul / Godly Soul's awareness throughout each lifetime."

"Seminal Being: Mirrors of the Gods is the first novel, second chapter, in the Seminal Being Trilogy. The overarching theme for the trilogy is Restitution—the return of the soul to its original Self—the Seminal Being Soul / Godly Soul."

Seminal Being: Mirrors of the Gods

An Imaginal-Vignettes® Novel

“Re-form The Girl, Revisit The Seminal Being, Restore The Soul”