An introduction to the book "PARADIMENSIONAL SPACE ART" by Bret Colin Sheppard and Karen Christine Patrick.

book is at

In 1982, Bret Colin Sheppard was 15 years of age and an aspiring art
student, when he was asked to stay after school with another art student
and view a slide show presentation of some very strange art. The woman
who showed him this art was from SRI, Stanford Research Institute and
Bret felt a strange sense of deja’ vu as he was shown the images and he
never forgot the experience. Bret went on to have a professional career
in art, his art style being of a surrealistic type, a dream scape of the

Years later, Bret is strangely compelled to pursue research
into space images of the moon. He founds the Lunar Anomaly Research
Society and, along with other anomalists, peruses lunar imagery looking
for structures, unnatural architecture and other types of anomalies.
Then, he is confronted with an image that stirs his memory and he is
seeing an image that he remembers seeing as a teenager in that darkened
room. This sends him on a quest, looking for more of this surreal,
embedded imagery that is found in hundreds of space mission photography.

Over time, Bret becomes convinced he is seeing what may be
extraterrestrial or extradimensional (ET/ED) beings in contact with
humanity by embedding imagery into space photographs using advanced
holographic technique.

This book is an art book, he has not created the imagery but rather finds it and highlights it as a unique art form. He discovered the subject matter this art is based on, visualizes it, and then colorizes it to share with others. At first, he
shares this with his Lunar Anomaly Research Society (LARS) cohorts. Now
this fascinating imagery is available in this volume for others to
enjoy. Karen Christine Patrick, Bret’s writing and research partner,
helps to uncover the mystery of these images as an astonishing
paranormal paradox, suggesting that the imagery Bret has painstakingly
illustrated quite possibly is Bret’s own work, made into a slide show
and sent back to his teenager self for him to see in 1982. The
collection of these images may be, in fact, a body of work sent back in