Today I have the distinct pleasure of interviewing JJ Starwalker, owner of www.dutchhexsigns.com and a self proclaimed Hexenmeister, which she describes on her website as being, "painter of traditional Pennsylvania Dutch (actually Deutsch or German) hex signs, commonly found at the peaks of barns in Pennsylvania and the surrounding area." and refers to them as 'painted prayers'
Question 1. JJ can you give us a little background, I know that you learned your 'craft' from your Grandmother. Did she have any connection to the Deitsch Kultur? I know now you are in Maine and also lived in North Carolina, what folk influences have played a role in your life? How long have you been creating 'painted prayers'?
No, Grandmother did not have any contact that I know of with any aspect of the Deitsch, beyond that she worked with the hex and – I suspect – did other healing and workings for some of the folk that came by. I was told she learned from her father, but he had passed long before my birth. From what I know of that part of my genealogy, the family was largely unconnected to any particular place, as they were not landowners. The great aunts and uncles, and my grandmother, were all born in different places, over several states in a several hundred mile radius. I was told that they were, at least in part, itinerant combine operators. That fits in well with the fact that grandmother painted her signs on furniture and other objects for indoor display.
You have to realize, also, that in her time (she was coming into her own during the time of the Great War – as she called WWI – which was followed by WWII – in which those of German descent in the midwest (Iowa, Kansas, Nebraska area where they lived) were under suspicion as much if not more so than many from the mideastern countries find themselves today. She all but refused to speak German, even amongst family at home, and my grandfather was of Welsh/French heritage so her heritage was not necessarily obvious to those who did not know her well.
I studied the craft of Rosemaling a bit. Their stylized brush stroke (used for shading), though not reflected in the more flat style of the hex, fit well into my painting style.
I have been working with the hex designs actively since the early 1970s, when I began interpreting designs I had learned from Grandmother with dye and wax as part of my batik work. I took a bit of a break during my “mommy years.” The only surviving examples of my hex painting from that period are on the head- and footboards of the cradle built for my babies’ bed.
2 JJ, I see many things in your site and in your work that is reminiscent of Hexenmeister Lee R. Gandee, What can you tell us about his influence on your work?
Gandee was a strong influence for me; his book, Diary of a Hexenmeister, was the first material I found beyond what Grandmother had taught me. After finding it in a local library, and a few years of digesting his thoughts, I began slowly putting together hexen of my own design, for specific purposes, for my family and others.
3. I see that you refer to Hexerei in regards to yourself and your, 'hexes' but the magic seems to be very christian, you invoke the holy trinity and such, How do you resolve these seemingly contradictory aspects? How do you view Braucherei for instance?
I was initially taught the craft within a Christian context. Grandmother was a practicing and believing Christian (a member of the Reorganized Church of Latter Day Saints) and she empowered her work with a Christian invocation. I was raised in a context of Christian beliefs, and even after I no longer counted myself in that fold, I continued to work as I was taught with the Hex signs.
Questions from a young Pagan friend got me to thinking beyond my original teaching, when she asked me for a sign and wondered “Can it be empowered in a Pagan way?” Upon reflection, I could see no reason why not, so when working on that sign I called on “the Powers of Earth, Air, Fire and Water” and sealed it “in the Names of the Lord and Lady” and from her later comments, it worked.
I do not see any discontinuities between what I was taught, and the bulk of the Christian beliefs nor between that world and working Hexeri in a larger context. The energy is there regardless of what words we use to speak of, or work with it. The tapestry of life, of the world, is independent of how we see it. Words are merely constructs of this plane, which may help us communicate (or not!) but not only do they not define What Is, they can at best only approximate it. I know, when I begin a sign, what the belief system is of the folks for whom it is painted and I work within that framework. One of the first commissions I got for a large outdoor sign was from one who walked the path of Raven Grimassi and the Arician Tradition of Italian Witchcraft, and we worked together to develop a sign using imagery and empowerment from her tradition.
As far as Braucherei/PowWow goes, the small bits that I almost remember Grandmother using wove together bits from the Christian Bible with ways of working that were decidedly different in nature. She was not around long enough to teach me that way of working, and I have not pursued it.
4. What are your views on Pennsylvania 'Dutch' wicca?
I haven't honestly given it much thought. I have worked with some Wiccans of various traditions over the years, both in public and private and have attended Blots with Asatrur friends. However, I am not Wiccan (and do not know any Pennsylvania “Dutch” Wiccans), nor am I an Asatrur. In that context I am not sure what label might fit and don’t spend much time thinking about it. Since I work solitary, I just do what I do.
5. What Hexologists or as you say, Hexenmeisters have influenced your work?
I cannot point to any other than my grandmother and my having read Gandee… I seem to be drawn to work with designs that are less busy and ornate than what I have seen associated with Zook or Ott, for example.
6 Can you tell us a little about how you 'charge' your hexes energetically?
The charging process is something that goes on through the entire drawing and painting of the sign. From setting the first point and inscribing the circle to the drawing of the lines, arcs and elements, I work on the Tapestry (or Web, if you prefer) of life, adjusting threads and pulling the energies into the design. As I paint, I see the framework filling with energy and life. When the painting is complete, I leave the space with a simple “so be it.” The final bit is put in place by the recipient of the hex with their energy and invocation.
7 Lets talk a little shop, since I rarely get a chance to do so with others of my kind, Six and eight pointed stars, symbolically what is the difference? Do you employ five pointed ones and if so for what intent? What thoughts do you have regarding the rossette? For what symbolic purpose is the droplet on a more multi dimensional level?
In my working three and 6 pointed designs have more to do with matters of Spirit, the non-material world. The 4 and 8 pointed designs relate more directly to the material world. Twelve points include both three and 4 and therefore cross boundaries and are inclusive of both.
I have used 5 pointed stars, specifically for protection and specifically for those on the Pagan path and my design for awakening the heart chakra also uses a 5 point star.
To me, the Rosette design (whatever number of “petals” pulls energy in, and works in a more subtle, gentle manner. Where a blessing is asked for – as opposed to protection and defense of some type – these seem more suitable. Protection signs call for the more direct, active energy of the star-type forms.
8 Where do you see Hexerei/Hexology going today, perhaps on an international level?
Good question! Many of the basic symbols are found around the world, but Hexeri seems to only be beginning to receive wider recognition. Even here in the US, in Maine, I spend a lot of time explaining “what;” not everyone is even aware of the designs as being found on barns in PA. However, in the past few years – largely due to the Internet, I think – I have seen more folks practicing and talking about the craft, so I can only imagine it will grow both domestically and internationally as folks learn more and connect the tradition with symbols from their cultures.
9 Any thoughts on the transmission of 'hexes' via the internet?
I would not expect this to work very well. One of the strength of the hex is its permanence. It is, in essence, a working (prayer, invocation) made manifest in physical form. The Internet seems as transient and nonmaterial as a thought or a verbal expression. On the other end of the spectrum, I am beginning to work with painting on stone, using one of the abundant resources of my local environment. These signs are not shipped, but may be delivered locally and I often paint them on boulders brought from the owner’s land.
10 You mentioned the impending harvest in our email correspondence, what role does the harvest, and plants, animals play in your work? Do you use them symbolically?
Harvest plays an integral, though not necessarily obvious, part in my work. In the sense that “you reap what you sow,” I counsel those who receive my work that it does and can not work in a vacuum. As a very wise Christian pastor that I knew once said “God cannot lead if you are not moving.” I find that to be a universal truth, whether your walk is with Elohim or Odin, Frigga or any other deity. So if one asks for a sign for “change” they must be willing to (at least) receive and accept it.
Plants and animals are incorporated in my work both for symbolic reasons (such as the rooster for watchfulness, the moose and oak for strength, the pomegranate and grape for fertility) and as a focus for the blessings as with the bloodhound silhouette centered sign asking strength and protection for these working dogs
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Additionally, I would like to say that unlike some who work with the signs, I see my work as both spiritual in nature and folk art as well. I do not mind being called a folk artist, and some of my signs go to those who by their own statements are “not believers.” Will they get the blessings as well? I think so, though they likely will not see and realize it.
Whether I am painting “just for pretty” or working a specific prayer, I always put the energy in the designs. And I know it shows to those who are the least bit sensitive, even if they would claim status in the non-believer’s circle. Time and again, at farmer’s and artisan’s markets, I see people drawn in to my booth who have no idea what they are looking at or why they are there, but they comment “there is just something about these designs…” or “… they seem to glow…” even though painted with flat acrylic paint. I use the teaching moment to share a bit of my heritage and open minds to the concepts with which I work. This, I have been told by The Powers That Be, is part of my mission – to speak to the world beyond just the Deutch and Northern Tradition, communities.
