In this scene featured in the Bank of America Corporate Center in Charlotte, NC, the golden pick-axe is the tau cross that signals the union of the sons of god with the daughters of men. I believe this ibis-headed tool also gives a nod to the god who mazes the eyes with deceptive enchantment, Hermes. He's represented among the gods of Egypt as Thoth, whose form itself closely resembles the pick-axe with the arch of the ibis beak extending across through his headdress. His rod, staff or scepter also resembles the pick-axe.
As I've noted in the Rochester, NY series, Hermes facilitates the reproductive work of regenerating Apollo and ascending him to his appointed throne through the agencies of pharmakeia, cloaking the work. In a parable, he facilitates the work of digging towards the groundbreaking and subsequent release of the giants from caves like a pick-axe breaks up the hard ground so the shovels can do their work.
It looks to me like all the workers are wearing something red or reddish, except for two. The red signifies the earthly daughters of men, as "Adam" means "red earth." The foreman of the crew wears the signal red downward pointing delta. This speaks of how we as the children of Adam have been engaged or employed in this labor scheme, the industry of Babylon.
Observe how the men on the lower level are separated into two distinct groups. The wrench held out in the man's gloved hand is two pronged, and the number two signifies division. The wrench marks the point of division in the scene and directs us to consider the reason for the division. The wrench is a mechanic's tool that makes reference in this panel to some unseen or hidden machinery used in the work. It reveals the central role of maintaining that machinery.
The hidden machinery involves levers in the sense that it relates to the manipulation of people by managing the relationships between two groups. Such a ploy is righteously exercised by the God of Abraham, Isaac and Jacob according to Romans 11 through the division of man into Jew and Gentile. Similar dynamics are leveraged in the contrasting counterfeit scheme by way of a continual series of managed conflicts involving the dualism of "us vs them." These always have a perceived veneer of good vs evil, but are in fact either one form of evil pitted against a contrasted form of evil, or merely two different sides driven into conflict with well crafted lies. Versions of the powerfully effective manipulation through conflict management include the good cop / bad cop scenario, the Cold War pitting Russia vs the USA, East vs West, Democrat vs Republican, Union vs non-Union and even the racial battlefield of black vs white and the gender battlefield of male vs female. The winner in all these contests is Satan, the official vendor of the mechanic's tools.
If you've never noticed such a dynamic at work, perhaps a day spent getting worked over at your local new car dealerships will provide a memorable educational experience. Allow yourself to be drawn into a negotiation for price involving you, your salesman and the sales manager. If you're not seeing it from the first experience, try another dealership. You'll catch on before long. Those who make manipulation for gain their business understand how the lever machine works, bankers most certainly included!
This explains the art panel's peculiar division of men into two groups that are engaged in a common effort. The work of freeing the sleeping giants from under the earth is facilitated by the hidden yet finely tuned machinery of the managed conflict of dualism. You may note while connecting the dots with the ibis-headed pick-axe that, "Thoth served as a mediating power, especially between good and evil, making sure neither had a decisive victory over the other." (Thoth - Attributes)
Among the workers down below are two who don't appear to be tagged with red, shaking hands. This is a secret handshake between two Freemasons on one level, both privy to the secret conspiracy. On the deeper level I see the red workers as descended from Adam and those who are not as those from the serpent tree, if you will. The enemy has sown tares amongst the wheat. I see the tares acknowledging and congratulating each other with a hidden hand shake at the accomplishment of their objective, celebrating the beginning of the end of the Great Work of the mystery traditions. One of them appears to be looking at us with a knowing kind of look. The handshakers are pictured as being closely associated to the mechanic, which is quite fitting.
I see another celebration in the panel pictured by a guy on the upper right side holding up his arms. This compares in the UN tapestry to a woman with her arms out, celebrating the illuminating light streaming through the arched portal as a man pulls out a being from the underworld. (Click the image to see the full size version.)
Those of you who have followed this blog for a while may recognize how the number 9 and the number 8 signal aspects of the Beast plot. There are eight shovels plus one pick-axe. There are eight gold standards below plus one above. Eight references a new beginning that counters what happened at the great flood in the time of Noah the eighth. This was perhaps the grand theme of the astonishing array of signs observed during the 2008 Olympics in Beijing. Nine gold tools signifies the triple helix DNA transformation that characterizes the Beast and the mark of the Beast.
On a related note, it may be that the lower set of eight golden headed tools alludes to the following verse.
And the beast that was, and is not, even he is the eighth, and is of the seven, and goeth into perdition.
As a final item, I'll propose an answer to the question posed at the conclusion of the Prophetic Art in Bank of America page. The odd red EQ sign really is a sign, as in signaling the meaning of what we're looking at. The "EQ" means "equal to" or "equivalent." What is the equivalence? It's crude, so be forewarned. The red sign that says EQ is graphically connected to the butt of a man who is bending over. The guy in the white helmet opposite him appears to be holding his big shaft, which hints at the nature of what we're looking at. What this esoteric panel conceals is equivalent to the workers taking it in the rear end! Those so abused are those of us who have been deceived into engaging in the effort to raise the giants, employed in the work of Mystery Babylon. Yes, this is a foul reference back to Sodom and beyond to the engagement between the serpent and Adam in the garden of Eden. This confirms to us the nature of the work as an extension of and instance of fulfillment of the serpent tree's plan.
There's nothing funny at all about the message this panel declares. There's no humor in knowing we are openly preyed upon by the wicked, who continue to enclose us in their net. I pray this post will be used in the work of opening your eyes, so you will see through the darkened mists of delusion and seek hard after the work to enter into the net fishing activity pictured in John 21.
Blessings and Shalom!