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.

193. Excited arising

For a few days I did not make many panting in my daily working on myself, as I used to do. It felt that I was doing a lot with each one and needed some space between them.

Excited arising

Excited arising

This is a painting I started very late at night, finished in the morning and wrote about two days later. In between finishing and writing I had a conversation with inner guides, or deeper self, and suddenly realized experientially that the creation of an experience (like, for example, the experience of a friend appearing in front of me) and the experiencing of it are one and the same thing. There is no gap between them. The experiences come out of who-we-are and the experiencing is by that same thing, at the same time. Creating the experience is the experiencing of it.

This may seem meaningless. So what, you’d ask?

It is the realization that we are the infinite. We, as the infinite, create the experience, which is both creating and experiencing. This is how we know ourselves. Every experience reverberates throughout all of what we are.

When I look at this drawing, I see that the moving force in it are the lines in different blues, that build up a movement up and left. It is like an excited arising.

When you make art you dip your brush in the paint and you start making a line on your surface. As you are making the line, you experience the making of the line and its effect on you. So it happens in exactly the same time. Sometimes you change the direction of the line as a result of what comes up in you as you are experiencing it. So it is an activity that is very grounded in the flow of “now.”

And suddenly I know:

I know why it feels so good to make art, and this indeed is true for all the other arts. It is pleasant because being in the flow is becoming one with who we are. And since who-we-are is joyful, loving, curious, peaceful, all these together and more, these are the experiences that we have as we flow. The ideas originate in the non-physical realm, and flow through us to appear in our dream reality. We experience being the creator and experiencing our creation. This is the purpose of life as humans in this dream life.

And this state of flow is also what heals everything that is less than this joy. Healing is making what is not true, true.

Back to the art.

The color areas feel as if they are substances or spaces that have light within them. The light emerges trough the colors. Every one of them is like a little unexpected world, endowed with its own special color. Can you imagine what is inside of them?

They can be things that are “real” like houses, trees, caves, tunnels, but I know that there is no “real”. It is just an experience, created and experienced at the same time.

The end of the discussion about the painting: These color spots don’t really care about being anything. They just enjoy arising excitedly just as the lines in blue.

192. Desire

Yes/no together

Yes/no together

I have been doing a series of drawings about desire. It just came up and I let it be.

Here is one more painting about desire. But desire is becoming more and more beautiful. And here I am starting to know about the way of coming out of addictions, if this is what you want to do. It is through the discovery of the beauty in it. The seeing that it is absolutely beautiful and as good as anything else, so it loses the allure of the rebellion and stays as one possibility out of the infinite number of them.

And then, once it is not a rebellion any more, you choose by your bigger intention or any other consideration, like playfulness, love etc. When your choice starts to be from this love, curiosity, care, playfulness, which are the makeup of who we are, you are OK.

So I am thinking about the people who will look at this drawing/painting, and they may not know on their own that this is about desire. What to do for them?

The first is to say so and they may believe me. Why not?

Then I’d say: Look at how the green and the orange play with each other. They are not completely harmonious or in agreement. There is intensity in each of them but they oppose each other. They push each other away. But they are playing together here, aren’t they?

And this is typical about desire. There is a mixture of wanting and not wanting, a hunger and a chase, a yes/no, yes/no, which fuels the desire. (A yes/no is the energetic source of everything in our world. Maybe I should write about it in the future?) It is a very strange thing indeed, of a suffering and a satisfaction together at the same time. A want more, want more, must have more, which I don’t yet have, which motivates the chase and the pursuit and the activity.

Then look at the ochre, which is a softer version of both the orange and the green. It somehow connects them and softens everything with a sense of being a human being, a friend, a collaborator.

Then look at the brown, which is like the secretive fertile source.

Look at the shapes of the lines all over the painting, which are softly sensual, touching everywhere, almost tickling. And the whole is a like a strange flower that grew by the rules of yes/no on its own from this mud of existence, which is nothing else but the energy of the universe, colored by us as dark, sensual, lack/fulfillment experience.

Has it become clearer?

So, again, I am discovering the infinite richness of what is considered by some as not so good, has to happen but the less the better, etc.

Looking at this and finding that it is nothing but one more of the infinite appearances of the all that is, takes the judgment out from it. With no judgment, you free yourself from the attachment to it, and like everything else it becomes the face of infinity.

191. Dont worry, go with the energy

This is who we are

This is who we are

I am moved

Because it is beautiful for me

Meaning, Something from home

Love coming through

There is an external story

Of shapes doing

Like, maybe, a tree grows on a rock

Maybe it is turning into a monster

Doing strange things

But inside

In a one two three rhythm

We go from total darkness

To the blue sky

Or a lake

It is ancient

It has always been here

And we have been looking

The outside has muscles

The inside is a whispering light

Of love

This is how we are

And this is how everything comes to us

To see the dark of night

And the blue of the sky

This is how we are.

 

 

Author’s note:

 

Words float on energy

Like colorful mosaic stones

On the concrete

Of a wall

The wall holds everything

The concrete flows from floor to ceiling

The stones don’t have to hold the wall

That’s the way I write

Spontaneously

The words

Float in energy

The energy connects all

The words don’t have

To do the same job

That’s why

My text is skipping

Don’t worry

Go with the energy.

190. What is the belief behind the pain?

Sometime during the night and early in the morning I painted the pain. Here it is.

Pain

Pain

Then, in the morning, I heard a program on the radio in which a social psychologist (Ellen Langer) talked about her finding that it is our beliefs that determine the outcome that we experience. For example, if I do some physical work and believe that my work is actually exercise, and of course if I believe that exercise helps me loose weight, then just by doing my work I’ll loose weight. The weight is lost not by the work but by my belief. This indeed is also what I believe and this is the basis for all my work on the pain. (Remember the “About” page?)

I was not satisfied, leaving things as they turned out in the pain drawing, because every time I looked at it I remembered the experience of the pain.

I decided to do another drawing and the idea came to me to ask intuition directly: What is the belief that stands behind and drives the creation of the pain?

I have done this kind of asking many times before. You ask your question and just do an intuitive-flow drawing, in which the thinking process does not participate, and the answer comes through the art.

Here is the painted answer.

The teeth that never bite

The teeth that never bite

The zigzag lines in light and dark blue and in reddish purple look like wild animal teeth that come to bite the little pencil scribble in the upper middle. They look angry and threatening. In the beginning there was no pencil scribble there at all. It was just a small, empty space. I added the scribble in the very end of this drawing. I call it the dust ball. I think the drawing could work without it too, but it is there now.

Every set of teeth has some cloud or layered clouds behind it. The clouds are where the anger is stored and from where it comes to the teeth. And of course the anger is against this little dust ball. Or maybe it is against nothing at all?

Such a big anger against such a small and insignificant thing does not make sense. And why don’t the teeth come all the way in and eliminate this little dust ball? They can. But the fact that they do not do it shows that they consider the dust ball to be much stronger than the way it looks. If it provokes such a big anger, it must have a lot of power. Does it make sense to you?

The clouds and the teeth believe that this little dust ball has done something that is enraging and it deserves to be punished. But they stop short and don’t even touch it. The little dot feels all that anger turned directly at him and he turns into a dust ball, ashamed and guilty. That’s why I called him a dust ball. He agrees with them.

And this is how things are for years and years, for ages and ages. How come?

To help us there are a few more details in the artwork. There is some open space where there is no anger. The dust ball cannot go there because there are a few zigzag lines in the way. But this area is quiet. There is no struggle there. And there is a figure there. This figure was the one before the last element that I placed in the drawing. I felt there was someone there, watching and being unaffected. It feels like someone with a childlike curiosity and playfulness. This figure is a result of having developed identification with awareness. There is always, in all situations, a knowing that all that happens is being witnessed with clarity. This clarity is the real me.

So what does the witness see and understand?

The conflicted situation in which there is a dust ball that provokes so much anger, that he feels afraid and ashamed, while the endangering teeth never bite, this is the formula of the game that I am playing this life, or at least a part of my game. It has to stay like this, if I want the game to continue. If the teeth bite, the game will end. If the dust ball blows up the teeth and the clouds, the game will end too. So to keep the game going, they keep this dance. Of course, the dust ball is me. The angry teeth and clouds are me too. It is all an invention of a conflict. It is a choice that creates experiences. The figure in the open space knows this.

But there is another way. I can change the rules. I can smile at the teeth, for example. What will happen then? See how you feel when you read this, and you will know what will happen. It will be a different game, won’t it?


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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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