In March 2012, a blog post on The Chive concluded that “something is rotten in the Denver airport.” The photos and italicized text below were lifted directly from this incredible piece, which we’ll let speak for itself:
You are greeted at the airport by “Mustang,” by New Mexico artist Luis Jiménez, who was one of the earliest public art commissions for Denver International Airport in 1993. Standing at 32 feet tall, and weighing 9,000 pounds, “Mustang” is a blue cast-fiberglass sculpture with red shining eyes. Jiménez died in 2006 while creating the sculpture when the head of it fell on him and severed an artery in his leg. (The sculpture is more commonly known by the nickname ‘Blucifer’)
The murals are fairly shocking. Here we have refugees living in a basement and the Lord of Death, brandishing an AK-47, killing the dove of peace. Gray waves pulse from the figure. The waves pulse outward, killing everybody in its path. The figure wears a gas mask, implying the gray waves, the instrument of death in this case, is a biological weapon.
At a glance, AU AG would logically be the symbols for gold and silver. But that meaning is called into question when you find out that one of the founders of the airport also discovered a new, deadly strain of hepatitis known as Australia Antigen, also called AUAG. It has been rumored that AUAG could be a potent weapon in biological warfare. This symbol rests on the ground directly in front of the biological warfare mural.
Nobody really knows who paid for the Denver Airport construction. Besides the fact that this dedication stone says it’s covering a time capsule for the people of Colorado, it also says the airport was paid for by the New World Airport Commission. The New World Airport Commission does not exist.
Set against the backdrop of a solar flare and horrific destruction, not to mention the extinction of various species including whales and sea turtles, children are in the center sobbing over three open caskets.
You’ll notice there is a little girl in the back right holding a Mayan tablet alluding to Dec. 21, 2012, the end of the world. But the Mayans also predict a ‘rebirth’ which is why some life, such as the penguin and bird, are being preserved. Oh, and let’s not overlook the city being destroyed in the background.
All of the children of the world bring in the weapons from their country, handing them to a German boy. The gas mask man from the previous scene is now dead, two doves perched on his body. All of the children appear to be relieved. The deeper metaphor is the return to peace, a rebirth; there will be no more need for weapons in the new world.
Nothing says welcome home like a demonic figure crawling out of a suitcase.
The final mural is oddly reminiscent of the Garden of Eden, the world now lives in peace after the horrific events that have taken place. All the murals, when viewed in sequence, depict a massive genocide followed by the formation of a now less-populated, harmonious new world.
Finally, let’s return to those bunkers. The photo below is a blueprint of 5 buildings that were mysteriously buried during the early days of construction on the Denver Airport. These five large buildings were fully constructed and subsequently deemed to have been ‘positioned incorrectly.’
Rather than being demolished, the buildings were ordered to be buried, yes buried. The ‘underground bases’, as they are referred, are currently being used as “storage” according to airport authorities. This fact is not debated. We already know there is an underground structure beneath the airport. The real question is how deep the worm hole goes. We may never know…
It has long been theorized, with credible supporting evidence, that there is a network of underground tunnels, and perhaps even cities, beneath the civilization on Earth’s surface. Robert Sepehr produced an excellent video on the subject earlier this year. Underneath Denver might be an important hub where the elites of North America could hunker down while what’s depicted in the artwork plays out above them.
At the time this piece was published, many theories connected the artwork with the famous Mayan calendar, as noted above. Clearly, the world did not end in 2012, and we never suffered under an AUAG pandemic. Nine years later, however, this artwork is startlingly relevant.
Interestingly, artwork seeming to depict a similar unfolding of events can also be found at the Bank of America Corporate Center in Charlotte, as reported by The Vigilant Citizen in 2010. It illustrates the world going through a period of turmoil, and prominently features a blond-haired boy, very similar to the German boy shown smashing weapons in Denver, standing on Masonic tiles, in front of a pyramid, an eclipse, and other occult imagery. Who could this boy be?
