Introduction
Orlee Stewart is a Gnostic Bishop who works professionally as a witch, priestess, psychic medium, author and artistic creator. Her occult paintings have been exhibited at galleries and events across the world as all her works are enchanted through the powers of spiritual realms, carrying gnosis like an event horizon of creativity from other dimensions to help people become spiritually stronger.
Orlee’s paintings and illustrations serve as icons to the forces of spiritual energy that exist beyond our world of forms. The purpose of her visionary art is to create an experience for the viewer that will lead to a subjective spiritual awakening. She has had her work published in many grimoires and occult texts while also publishing her own writing and artwork. Orlee’s art also manifests into video psychomagick as she studied experimental video arts in university and creates video content about her magical experiments. Orlee has undergone extensive spiritual training for over 20 years to refine her craft and is always learning more. She has spent that time training her psychic and tarot skills as a medium and also trains in traditional Hatha Yoga with a focus on Tantra and Esoteric Gnosticism. The motivation behind what Orlee does comes from a deep wish to help inspire the spiritual realms in all those who come into contact with her creative works, to reveal the secrets of the void.
Interview with Orlee Stewart

General Questions
PAA: What convinced you, philosophically, that consciousness extends beyond the physical organism?
When I was a child, I had many experiences with alien entities that would come into my room and inspire me to work as an artist. The way some of them communicate is through emanating themselves energetically out of my physical body into ghost-like formations. They helped me a lot with upgrading my mental and physical body. I also had direct and visceral experiences with non-human consciousness from the beginning of my practice. Through experimenting with ritual magick, before there was the ability to go on the internet and hear or learn about other people’s experiences conjuring spirits. My colleagues and I would try different grimoires and had experiences with forces that were of similar personality and characteristics, which we discovered after comparing notes.
PAA: Do you work Solomonic magick, folk witchcraft, and theurgy into a personal method? If so, how?
The method that I use is very personal but it does combine knowledge of how traditions such as Goetia and folk magic function but operating without Abrahamic systems. I combine training my physical body and creating artwork inspired by extraterrestrial forces heavily into my daily practice as well. The base of my spiritual work is Left Hand Path Hinduism with a focus on esoteric tantra.
PAA: How does your training in Hatha Yoga and Tantra blend into your other fields of work?
Over the last several years I have been learning traditional yoga and Vedic studies from my guru who is an Aghori. Becoming a teacher in hatha yoga helps me teach occultists how to integrate their physical selves into a holistic practice. This extraordinary and blessed experience of Sanatana Dharma allows me to have a unique perspective on these studies and apply it seamlessly into what I was learning before. A lot of the knowledge I have about magick came from being in Thelema for 10 years and that system was heavily influenced by Crowley’s fascination with Hinduism. It helped me a lot to learn about it directly and this gives energetic understating to all magical work on a technical level.
PAA: You’ve trained over 20 years in multiple disciplines. Did one discipline kind of unlock the rest?
Yes, in my case because I try to follow the synchronistic messages from the spirit realm that connect me from one area of knowledge to another. Often we discover that things are more connected than we would possibly conceive.
PAA: Necromancy is still the most stigmatized of all witchcraft arts. What do you think is the reason so many occultists avoid it while still romanticizing it in theory?
People are afraid of dying. They also often fear the truths that the dead hold or even the powerful energy of the cemetery when it is listening to you.
PAA: Is there something you learned from your work in necromancy that completely changed how you view life?
Working with the spirits of the dead as a catalyst to non-linear time and visions from other dimensions. The work from Leilah Wendell in her book “Our Name is Melancholy” haunted me so deeply after reading about her necromantic visions of Atlantis. The way that the dead will often come through and serve in a spiritual intervention to guide and teach us lessons if we do the work to help remember them.
PAA: What is the most emotionally charged encounter you’ve ever had with the dead?
When I lived in New Orleans, there was an area in a cemetery that was very old and full of collapsing tombs. I would go there often to do rituals and work with the dead or even just to hang out and smoke a cigarette and read. One day I was with my friend and she was telling me about a problem she had and she started crying. She confessed she had not cried in a long time so we sat together with the dead. The next day in a complete miracle, the problem she had was solved. We did not even ask to dead to help us but they heard her and helped in a way beyond anything imaginable.
PAA: Do you feel the occult community’s fear of demons comes from genuine danger, or more from inherited monotheistic trauma?
All real spiritual work or summoning is going to be dangerous for anyone who is not mentally strong to handle changing or trying to manipulate reality. Most people can not handle their own selves, sit in silence or be alone without a distraction.

Artistic Mysticism
PAA: Your art is said to come as an “event horizon of creativity from other dimensions.” What, in your view, is the metaphysical mechanism that allows a painted icon to function as a living gate?
The intent behind the manifestation and process of its creations, as well as influence from anyone else giving energy into the work over time.
PAA: Some viewers report paranormal encounters triggered by your art. Which artwork has the strongest power, in your experience?
I would guess that phenomenon is happening because the artwork can become further enhanced by whatever the individual’s life and practice entail.
PAA: Have you ever created a piece so powerful you were afraid to keep it in your own home?
When I was a little girl at summer camp, my friend and I caused a frenzy of fear among the other kids after playing with a Ouija board that the camp hand. The counsellors took it away from us so we painted our own. Other kids were crying and seeing their dead grandparents so we buried it in the ground under our cabin. After that I always have been able to handle things haha.
PAA: Can you speak more about your process of translating mediumship visions into visual symbols?
I studied a lot of classical paintings when I was in art university. There is a lot of use of metaphor that serves as a symbol that can then be applied by a witch into a painting with a magical intent, through creating our own symbols and their hidden meanings. When I create an artwork I do not really know how it is going to manifest, I look at the blank paper like a scrying mirror and pull things out of it with a brush stroke until they form something. It usually begins abstractly with color formations or an organic border where life blooms inside.
PAA: Do you believe the act of witnessing art can be a magical initiation?
All mediums of art, musical, visual, dance and other methods of creation have the ability to be infused with the energy of magic. Those who view or experience the artwork are then filled with some inspiration or thoughts that cause change and bring that experiencer into the current even if it is just for a moment.
PAA: And do you believe all true magical paths eventually become artistic, and all true art eventually becomes magical?
Yes, I believe that a path which raises the life force energy and mystical powers leading to spiritual contact causes inspiration and will make a person develop some abilities artistically or willingness to train themselves in the arts with the energy that transmits from other dimensions through us.
PAA: What artistic influences contribute to your art?
Some of the biggest artistic influences in my artwork come from the Renaissance, in particular the morbid religious artwork. I also really love the architecture from the classical Roman, Neoclassical and Gothic periods which are used in alien ways.
Advanced Occultism
PAA: You’ve trained in exorcism. What’s the most unbelievable possession case you’ve ever encountered?
I have experienced a person move in ways that no human physically can, flying up into the air and into furniture, eyes glowing and the entire body moving and speaking in foreign voices. This was an extremely dangerous experience that taught me about how serious exorcism is.
PAA: Do you use ecstatic trance in your evocations, and how do you calibrate its depth?
Yes, I use a lot of mantras in my rituals and that allows me to go into deep states. I formulate the path of the experience through training in classical yogic meditation, working through pratyahara, dhyana and mantra to achieve samadhi for spirit contact.
PAA: What distinctions do you make between interior silence, void-contact, and entity-induced gnosis?
With a lot of practice and discipline in training the mind to experience silence, turn the senses inward so our life force energy, our prana is going within instead out outwards allows us to gain a deep understanding of the landscape of our mind. This allows for a familiarity with the self and sensing differences that come through in their unique voice or visualization or feeling.
PAA: Do you believe the soul has a native cosmology, or is the magician a perpetual builder of inner worlds?
I believe that the soul is the Atman, it is not existing here in our bodies or our energy fields that exist here with us on earth but it is part of us. Reality has its function outside of the common human magician’s understanding to comprehend its quantum mysteries. The magician can use magick to discover true will and refine the self to experience inner worlds and also serve as an artist in building them with maya which is illusion and also the goddess.
PAA: Is the dream, to you, a higher ontology than material waking consciousness?
Not necessarily, depending on the dreamer. The dreamscape functions with providing a bunch of either messy or symbolic aspects of the mind or the person’s life that are atavisms in their subconscious. When a person can work past those things they can access deeper avenues of the dreamscape to higher dimensions than the material plane.
PAA: The title of your book, Mother of Abominations, exhibits a primal femininity. What does motherhood mean in the context of spirits, demons, and dream-forms?
It is the concept of bringing them into incarnation here in the physical world so people can witness them. A big aspect of the artworks are things that go beyond any explanation in language but rather what the image evokes out of the viewer for a unique experience. The accompanying pieces of writing are invocations that the reader can use to help focus on the visualization of the artworks in the book.
PAA: Finally, what is your current magical research, and what are you preparing next?
Currently I am continuing my education as a yoga teacher and studying the Upanishads to learn more about Vedic scriptures and ancient philosophies of spiritual energy. I also have been roughly planning a tarot deck that will be a long adventure.
Thank you!
PAA: Thank you for sharing with us.



Orlee Stewart creates artwork in many forms, transcending dimensional boundaries to awaken our hidden power. She is a painter, certified hatha yoga teacher and a professional psychic and video creator, teaching holistic spirituality and yoga on her YouTube Channel called Cyber Witch
Cyber Witch on YouTube: https://www.youtube.com/andromedanine
Website: https://thecyberwitch.com/
A Guide to Sphere Quabbalah
This book covers aspects of The Key to True Quabbalah, by Franz Bardon, and expands them. It is divided into four parts that serve the magician, the theurgist and the learning quabbalist.











