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Thursday, November 21, 2019

An Artist On The Fringes

An Interview With Paleo and Paranormal/Crypto Artist Warren Port

Dorraine Fisher

Most artists we encounter seem to have a particular genre that they stick to that we can easily recognize when they present new works. But Warren Port is different. Having known Warren for a while now, I know he’s very multi-faceted and has had some interesting experiences. And his art more than reflects that as it twists and turns gracefully from precise anatomical and paleo sketches to aliens or bigfoot to the more mysterious “fringe” aspects of the universe.

His art goes in many directions and he makes no apologies for sketching whatever subject speaks to him in any given moment. And he makes no apologies for his unconventional life experiences that inspire these works.

His art is only limited by how far his mind can reach, which, so far, hasn’t found its limit.

Dorraine: Where are you from?

Warren:  I live in Shaftesbury, Dorset, England.

Dorraine:  Is that where you've always lived?

Warren:  No, I’m from London but have also lived in Somerset and Kent.

Dorraine:  What kind of artist do you describe yourself as?

Warren:  I am a self-taught and passionate artist. I like to include my interests in fringe topics in a representative art style.

Dorraine:  When did you first become interested in pursuing art?

Warren:  From at least the age of 4, maybe even earlier.

Dorraine:  Do you have a favorite medium for your art?

Warren:  Yes, charcoal. I like the fact that Early humans used it too. I do also use soft pastels, colour pencils, graphite, acrylic paint and digital.

Dorraine:  You do very precise anthropological sketches of early humans.  Can you tell us about them and how you got started doing them?

Warren:  Before the days of the internet it was easier to find illustrations of Neanderthals and Homo erectus than it was to find illustrations of Sasquatch. So from when I was a boy wanting to learn to draw Sasquatch I would practice drawing Paleo-people partly out of necessity. Presently I consider Neanderthals and other hominins to be a legitimate source for contemporary portraiture. We carry their DNA. That is why I try to give them life and personality. I see it as an artistic endeavor about us and not just paleo illustration.

Dorraine:  Did doing those kinds of sketches lead to sasquatch art or was it the other way around?

Warren:  My interest in Sasquatch came first. When my parents bought their first video recorder in around 1979, the first video they hired was a documentary about the Loch Ness monster and Bigfoot. I was 4 or 5, had never heard of Bigfoot but from then on became obsessed.

Warren helped a friend sort out an encounter she had with an “apeman” when she was a teenager.
Dorraine:  Have you ever had a bigfoot encounter or sighting?

Warren:  Unfortunately not.

Dorraine:  In understanding the strange nature of bigfoot are you open to the idea that you may have had an encounter and didn’t realize it?

Warren:  I have seen Sasquatch through remote viewing/etheric projection experiences. I have also found two footprints, one fairly clear,  and found many structures.

Dorraine: Can you tell us a little more about that stuff?

Warren:  The Etheric projection thing really started when I had a spontaneous out of body experience when I was 13. At the time it terrified me but certainly piqued my interest. I was in bed waiting to fall asleep when I realized the ceiling was getting closer. I got closer and closer and then also realized I couldn't detect my breathing or heart beating. I started to become scared and when I started to travel further up and through the ceiling, I thought I might have died and was on my way to heaven. I was just a young boy after all. The panic sent me straight back into my body and I didn't sleep the rest of the night.

When I reached my late teens and in my early twenties I started learning about and practicing etheric projection (wondering our waking day world in my subtle body) and Astral projection as well as practicing other forms of magic. I continued with the Etheric projection and especially and frequently with lucid dreaming right up to the age of 39. I now only do it every now and then.

These experiences may have absolutely no true representation of real events or they might. I have no way of knowing for sure. I do know that through my former practices of what I am going to loosely call remote viewing that I was able to get hits or discern accurately real places and events that I could later verify. However this was not the case with the Wildman remote viewings. In case you were wondering why I said former practices, I haven’t done any remote viewing for some years because my life has changed a great deal in the last three years and I have different priorities now. I had three experiences that included the Wildman, two of these I felt, if at all real, were in Russia. All though I did see things in these visions that led me to believe it was Russia sometimes a feeling is just as important when trying to discern location in my experience. The first one I would like to recount was in the Mendip hills in Somerset. And it’s quite a simple vision. I saw a man and woman, that I could tell were an orchard owner examining large bare footprints in their orchard. They also discussed apples that had been bitten into like a human would but were still hanging on the trees. The second one I saw a large helicopter flying over what looked like the Siberian steppe. The people in the helicopter were wearing military clothing. The helicopter flew a long way and I could sense the altitude increasing and when they found what they were searching for, which it seems they knew exactly where it was, I was stunned and the emotion ended the vision. What I saw before the vision ended was a huge Wildman lying face down near a small stream obviously dead. My feeling was that he had been killed and was being retrieved. In the third vision I saw an obviously young, small Wildman being kept securely in what I took to be a military hospital ward. This young individual was being observed and looked depressed. It was sitting on the floor with its head on its knees. It was in a small room that had a large window through which it was being observed. Make of these visions what you will.

Dorraine: I’m thinking you should write a book or have your own TV show.  But your paranormal experiences seem to influence your art a great deal. Can you tell us about one of your early paranormal experiences and how it may have changed your artistic perspective?

Warren:  I’m not sure that any of my paranormal experiences have influenced my art beyond igniting a deep interest in the paranormal and other fringe topics which some of my art is about.

I suppose that being a boy who remembered living before and having such vivid memories of it, that I would talk about it openly from such a young age has had a huge influence on who I am as a person. From the age of 3 or 4, I have spoken openly about my memories of previous lives.I have, since a very young age , remembered one life in much greater detail than the others. The details of that life are rather tragic. I remember some details of 3 others and scant details of 2 more.

Dorraine: Sounds like a fascinating topic for another day.  Are there any more recent paranormal experiences you've had that you'd like to share. And if so, have they made their way into your art somehow?

Warren:  One that happens fairly frequently with me and last happened just last week. I was at work when I knew there was someone in the room with me even though none of my colleagues were present. I looked up and saw, for only a split second but clear as day, a young woman wearing slippers and a heavy-looking dressing gown. She was looking at me and I felt she came to me for a reason but was gone quicker than she came. I spoke out loud to her but felt no reply.

I haven’t as yet included my paranormal experiences in my art but you have given me food for thought in terms of future works.

Dorraine:  What's involved in imagining and depicting subjects, paranormal or otherwise, that you haven't actually seen for yourself. How does that creative process work?

Warren:  A vivid imagination helps immensely. Getting as much information as possible, be it a witness description or multiple accounts of a particular cryptid, is important. Intuition also helps. As an artist I do try to feel a connection to any subject I’m working on.

Dorraine:  Does your home in Shaftsbury keep you inspired or do you find yourself looking elsewhere for your inspiration?

Warren:  I love my home town and do find it inspirational but there is much beauty in this world of ours.

Dorraine: With all these “fringe topics,”  cryptozoology and paranormal subjects, do you have any insights or philosophies you'd like to share about any of them?

Warren:  The one thing I would say is that from my experience our world is filled with layer upon layer of lies often much bigger than many could ever imagine. And that the result of us being kept so far from outright truth is that way by design. That whoever or whatever is behind this wants us to be as near to powerless as possible. They must be afraid of us. So keep seeking the truth.

“Forbidden Archaeology” Theme

Dorraine:  I couldn’t agree more.  I think more and more people are beginning to feel that way these days.  Do you have any other pursuits, artistic or otherwise?

Warren: Yes, I am a dancer and absolutely love it. I am also a musician but I haven’t played for years.

Dorraine:  Do you have  "day job" or do you pursue art full time?

Warren:  I work full time as a picture framer in Shaftesbury.

Dorraine:  Is there anything else you'd like to share with us?

Warren:  Only where you can view my art or contact me; which is on Facebook; Warren Port – Artist. And on Instagram as warrenportartist


This Post By TCC Team Member Dorraine Fisher. Dorraine is a Professional Writer, photographer, a nature, wildlife and Bigfoot enthusiast who has written for many magazines. Dorraine conducts research, special interviews and more for The Crypto Crew. Get Dorraine's book The Bigfoot Research Journal

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