202. The vividness of the present moment

Radiating

Radiating

This time I’m not going to write about this painting and the other one down the page. I added them here to decorate. Maybe they are connected?

These words came to me:

As long as you send out, you do not receive.

The elaboration is below.

I am doing short meditations during the day, of relaxing all the focuses. I look inside and find where I am focused and let it go. When I first came to a state without focusing, it felt a little frightening, because as it turns out all or most of our habitual focusing is about wanting to be safe. We are afraid all the time and watch out for whatever might happen. This is why, when I relaxed the focuses, I felt the fear from which they came.

After some time of doing this, I suddenly felt the vividness of the present moment, in a way I have never felt before. I felt how much it is alive. I can’t describe this in words but it is wonderful. So now I understand what it means to be in the moment.

It means first to let go of the fears and trust that you are okay without being on guard. And when the experience of the vividness comes, you know experientially that you are much more than okay. You are in wonderland.

Connect it to your intuitive flow method, says my inner guide.

So I do.

Being in the now happens on its own when you follow only your sense of beauty while making art. It is much easier to be in the moment through artmaking, than to do it mentally. When we do this, we also feel that it is okay to be without our fear focus. Instead we go to our interest, curiosity and love. This is a good way to let go of the fears. You can’t act out of curiosity and out of fear at the same time. If you act out of curiosity, you are not afraid.

And as we go on following the sense of beauty, we stay in this state of experiencing the vividness of the moment for the duration of the artmaking.

When we read the art, we do this while being-in-the-now for a second time, and experience the vividness of our artwork. This is experiencing how it felt to be present a few minutes ago. But the experience of this happens in the present, because it is based on looking at the art now.

Another issue that arises is the idea of “the present.” This idea belongs to the way of understanding that thinks that there is time, there are past, present and future. But what is meant by saying “to be in the present” is not to be in the middle of that line of time. It is about being in a different, deeper state, in which the understanding that there is time does not happen. When we look at it at first we think that this is a strange way of understanding, and that we need to shut off some important capacities in order to imagine that such a state, in which we do not know about time can exist. Eventually this strange state, we come to realize, is the truth of how things are. And the thinking process that we developed as humans, and that has the idea of time in it, is one ingredient of the state of affairs and not the basis of everything else.

Now I think that it is a very good idea to read the art, to find the fears or any other unhappy feelings, and paint them.

As we paint them, we release them. And I have written about this a lot.

In this way there is a complete practice: Draw what is going on inside of you now. Be guided by your sense of beauty only. Read the art, also from the state of awareness and flow, as I teach in many other places, including the book “Opening Intuitive Flow Through Artwork.” Find fears and draw them to release them.

End with a new drawing of “what is happening now” so that you can see that you have changed. When you know that you have changed, the change stays.

Floating landscape

Floating landscape

Curiosity, as it turns out, is openness to receive. It is a burning desire to receive experiences from the universe. Being open like this and receiving experiences is abundance. This is what abundance boils down to. We want to be rich so that we can be unafraid and open up to experience the present moment. We don’t know that this is what we want but it is so. Experiencing the present moment with all its richness and depth is happiness. We do not have to wait until we are rich or until something that we believe will make us experience joy will happen. We just have to release our fears and open up now.

The fear and the caution are defensive activity aimed at what we perceive as outward. It is a pushing away activity. As long as there is this pushing away, there cannot be a receiving.

The trust in the truth of now starts when we discover experientially that the truth has to do with love, with acceptance, with fun, with fulfillment. When we discover this, our attitude starts to change from fear to a desire to have more of the truth. So if you want to help people change their attitude toward the truth, you have to bring them to experience the love, the fun and the acceptance that are in the truth of the moment.

By making art from your sense of beauty, you yourself become the accepting and the curious entity. You experience being awareness in action. You don’t make art from the feeling of wanting to push things away, but from the openness that wants to experience.

So the question now is: How do you bring people to realize that what they do in the artmaking, as they work from their sense of beauty, is the expression of the truth. And how can you bring them to the knowledge that they can become that entity that acts out of the sense of beauty all the time? How can you bring people to relax their judging, and let themselves be this eager and accepting curiosity?

200. Someone is riding the playful waves

Someone is riding the playful waves

Someone is riding the playful waves

I do not plan.

I make what wants to be made.

I listen in and do and do

Until I know it’s finished

I still do not know what it is

I prop it up and look.

I realize I like it.

I find that it’s a happy painting.

Someone is riding the playful waves and is feeling very good.

He comes from green.

He is close to the clouds and can touch them if he wants.

He is bursting with energy

And radiating

Love.

199. The painting of the pain

Make believe pain

Make believe pain

The pain was strong and unrelenting. I decided to paint it.

In the stage in which it was a drawing only, it expressed the craziness and strength of the pain quite effectively. When I added the colors the effect became somewhat weaker. The power of lines to affect the areas that they point at, was hindered by the viscosity of the colors and also by the effect of the colors. A body of color has an effect of its own and when you place different areas of color next to each other they influence each other and create yet another effect. All these added effects weaken, relatively, the effect that the lines had when they did not compete with the colors. Nevertheless, you can still see the craziness of the pain, the way it spreads in all contradicting directions. This contradiction creates a feeling of struggle and chaos. The chosen colors also cry out from the page. They radiate energy that refuses to settle. This adds to the expression of the power of the pain and the chaos. When you hold this picture in your hands you want to drop it or put it quickly in a box and cover it with a black cloth, to stop that radiation and protruding thorns.

Well, this is how I feel when the pain is so strong and persistent. And since I do not have any way to smother it, as I would have liked to do, I have to come to terms with it. And the most important part of coming to terms is to learn that my mood is not dependent on how my body feels. I can have this pain and still be in a good mood. I can even feel thankfulness to the pain for giving me the opportunity to learn that this is possible.

You may notice that the painting has this air about it of having been done for children. As if fear, danger and threat have been depicted here for a children’s book. Do you get this feeling?

This is due to this distance that I took from the pain, allowing it to be, and taking care of my mood separately. It is still very impressive in its effect, but its power to make me fear is reduced to a make believe fear. It is like a monster in a puppet theater. Even if death will result, it will be a make believe death.

There are two places where the colors that were used are dark and contrast strongly with their immediate environment. One is in the blue that is darker than all the other areas of color and contrasts strongly with the red lines that are touching it. It could have been an opening to the sky and a window to escape through, but the restlessness of the texture is pretty deterring and the strong red lines all around it make it feel dangerous to pass through. So there is no escape.

The other place is in the lower left corner, where the dark violet made the lines stand out so clearly that their drawing character is emphasized. The feeling that these lines give is more like wanting, longing, needing and complaining. Maybe the pain asks for attention, as love was not given at some point to something that wanted to be accepted and loved?

198. The difference that awareness makes

Programs in the subconscious

Programs in the subconscious

I prepared many colors that were to go into many shapes. But when the painting got to this point, I knew it was finished.

There is an area where most of the colors are concentrated. From there, spreading to all directions, this pattern of things-added-to-things, where there are no filled-in colors, goes on beyond the area that we see.

It passed through my mind, before I started writing, that the most important thing for me in making the art is to look very precisely at the experience of the moment. This is what intuition does automatically but it does it in different degrees of precision, based on preparedness, openness, concentration and other conditions. This idea came to me some time before, when I saw, in other cases, that when the art was true to what was experienced in the moment to a greater degree, the art looked very beautiful to me. This makes “beautiful” equal to “what is true now.” I have found this to be true not only in regard to my own art but in regard to the art of clients too. When their art looks very beautiful to me, I know that it is a very good description of what is happening with them now. Interesting, isn’t it? But this time I am thinking about other characteristics of this state.

When the description is precise, the looking itself releases the perceived state completely. The state leaves and a new state rises in the field of experience. The new state that will arise is a response to my vibratory state. If I am confused, a confusing state will arise. If I am happier than before, the new state that will appear for me, will be happier.

If you look at the artwork again, and consider the empty shapes as a structure, ready to be filled out, but not yet filled, then it is like looking at the blueprint of my subconscious. Every empty cell is a belief that can be activated. For the time being, I have focused only on those cells in the middle and they have gotten activated.

Now two things can happen.

If I am not aware, then the entity that sees and experiences the thing that appeared in my experience is my blueprint. My blueprint can also be called my autopilot (or the subconscious). It has habitual responses. Most of the autopilot’s responses have to do with a not-so-good feeling. It is not an empowered state. The responses are not inspired or passionate. They are just automatic. Then another response will arise to the new state and it will go on like this automatically, one response after another, strengthening existing tendencies and leaving me a bit more entrenched in my beliefs, or less flexible.

If I am aware, everything becomes different. First, the awareness makes the experience beautiful. Then, if the state that is experienced is less good feeling than the state of awareness with the beauty that it perceives, the not so good state will dissolve into the better feeling state. This new state will be the state that invites the next experience, so the next experience will be better than the one before. It is a big difference, isn’t it?

So we see that being aware changes the course of events toward better feeling states.

Now imagine that the area in the middle of the artwork that has colors in it is experienced by awareness, as it does in this case, through the artwork. In my mind now, the state that awareness looks at is changing into a better feeling state. And now, everything in its environment has to change too, to match the better state in its midst. This area around the middle is the whole blueprint of expectations, all the potential “work orders” for the autopilot to operate from. So, based on the small change in part of it, the whole blueprint becomes different and we have a different person. I am becoming a different being. Only my habitual thoughts believe that I am still the same.

197. Seventy

Transparency

Transparency

One day before, according to the Gregorian calendar, I am 70.

A good friend asked me how does it feel, and I did not have anything special to say.

It feels like something lived in this body, that is never the same body, and this body is almost transparent, it is not real. It floats in endless space, which is full of life and interest. Things happened to it. There are many stories about it and they seem to be lined up in some complete version, but even in this version there are many parts that have been forgotten, or that have been told in different ways over the years.

More and more and more I want to feel the endless.

There is a source for all that is experienced now.

196. The Family

The Family

The Family

I called it “The Family.”

This is what I thought when I made it. I started with the figure in black, which is the man. Then the child in brown, leaning at the man and I felt then that I wanted to add the woman in pink. The man is frightening. He wears a gown, like a king or a lord. He is very proud and intense and angry.

The woman seems to be powerless, supposed to support the man but to always be too weak to stand in his way, if this becomes necessary. But she has independence in the area of softness and subtleties. This, actually, gives her true power. Not the power to fight but the power to be happy, if she chooses.

The boy admires his father, wants his support and protection. Maybe wants to be like the father, but he is soft too, like the mother. He makes an intense face like the father, but in his stomach he is soft. His points of power are in his connections to nature, where there is a potential for growth and unexpected strength. He may become free of both his parents with their tendencies. But at this moment that the drawing describes, he does not know yet what he can do, and he takes on the roles that his family and society expect him to take. But the knowing that is already in him, already gives him power that he is not aware of. A small spur of growth would shake the balance in the family, but his growth is not of the kind that competes. It is the kind that is kind and loving, and that says yes to all. Yes, be that. Yes be this. Yes, as your free will gives you the opportunity to be.

Yes..

Is there a dance in this? Yes, the dance of subtle potentialities, already communicating with each other, already allowing each other to be as they want. Already seeing the big and deep picture in which everything is alright and even perfect. Living the pretend life that the autopilots dictate, but unable to stop the flow of uniqueness.

All is good, in the midst of conflicts and obscuration. Clarity steps silently forward to be itself. You don’t have to wait and see. It is already in its best.

A note: I do not agree with the roles that society assigns the genders. If every one fulfills their true potential, they are happy, regardless of gender roles. This drawing describes the gender roles as society sees them, but also the clarity that invites what is unique and true, to come in and be lived.

195. The screeching is terrible

Old clunky machine

Old clunky machine

The drawing was done at 10pm, the painting – in the morning after.

It is like a very big puppet. The head is too big and heavy in the composition. The mechanism is old. It stood outside in the rain and plants started growing on it in some places. You can almost hear the clunking of its mechanism, the screeching of its rusty metal, in friction with other rusty parts. It used to be very beautiful. Some of the paint is still there.

The face is stubborn. Even though parts of it have fallen off, it still insists on moving forward. It works without an operator. It used to be the fascination of the community. Now it only walks alone, with much effort and nobody is watching. It is hard for it to move. The screeching is terrible.

It thinks.

Thinking is the essence of its engine, the oil and the fuel.

And now I know who it is: It is my autopilot.


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The healing process

Entries 1-58 show how I use the method of Intuition Through Art to heal myself from Peripheral Neuropathy.


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