Archive for the 'evolving' Category



187. Fear all over

Fear

Fear

It is a key drawing in the process of my relief from major programs in the subconscious. It describes fear. There is a body there and it is full of small waves of fear. The fear goes everywhere, the head, the chest, the hands the muscular stomach and the pelvis. There are three places where, it so happens, the lines in light brown are darker. These places are the head, the stomach and the crotch. These are the places where I feel fear, when it is clearer. Sometimes I also feel it in the heart and in the legs. But the fear I am talking about here covers the whole body and beyond. It is not strong, it is hardly felt, but it is there always, ready to be provoked.

It is a bit shocking for me to see that after all I have lived and done there is still fear somewhere in me at all. But it is so. This is what is discovered suddenly in this drawing that I did at around 4 in the morning. This is the way my body feels when it perceives being attacked so viciously by the pain. I did not know that it would come out in the drawing when I did it. I was just tuned in to my inner guidance.

When I finished the main structure in light brown it felt good to add pink in some places. These pink lines created the sense of fear. The brown lines described the tension.

I considered adding other colors inside of some shapes, but there was a strong feeling, when I thought about it, that the drawing did not need these. It could have changed the feeling in the drawing and this is exactly what I did not want to happen. I wanted to read the drawing as it was, without changes.

And this led to this discovery. There is so much fear in me when the pain comes. There is so much habitual creation of fear even before the pain comes. Mostly, it is very delicate and hard to catch. There is an expectation in me, somewhere in the big system of my being, for something bad and painful to happen soon. Life is dangerous for you, the fear says, and it arises, to prepare me for the approaching calamity. The expectation that something full of suffering is on its way is so strong that now, as my feet are healing, this fear prepares me for some other way of suffering that will soon appear. It already weaves stories that will explain why and how. I catch these swift, very quiet thoughts that predict that something else is starting to go wrong in my body. I catch them because I am aware. I catch everything that makes an inner noise. But this fear did not stand out because it was very delicate, encompassing all and always there. I never experienced my life without it. There is a tension that I feel in the back of my neck. Every time I become quiet, this tension is created. I was aware of this tension for years but never knew what it was an expression of. Now I know: It is this fear. Every time I got quiet something in me said: Wait, be careful, because something bad and painful is coming at you.

Now I know that this fear is what prevented me from enjoying playing music in front of others. When I was six years old I studied piano. In the end of the year came the concert for all the parents and fellow students. I learned a very modern piece, which was an Israeli song, arranged with very modern dissonance. I fell in love with the way the song sounded and it was a revelation to me. I still love dissonance today. My first beloved classical composer was Schoenberg. But when it came time to play the Israeli song before the audience I got frozen with fear. I lost the sense of beauty in the piece and the interest I had in it. I only felt extremely scared. This was this fear, the fear of being true to myself in front of others, the fear that something horrible will happen as soon as I relax into who I am.

I think this is the key to a lot of suffering that people have, where it seems very hard to detect the source of the suffering. It is something that these people were born with and never had experienced life without it. They are used to live with this feeling in them and therefore it is very hard for them to feel it. But there is a way to find and release it, as you see. It is by getting into a deeper state, which is what I did by drawing intuitively, and witnessing the fear from that state. How come I have only found it now? I have been practicing being aware of how I feel and choosing to feel better. My vibrations rose, and the fear stood out as being of lower vibrations.

186. Two paintings

I did so many paintings from the time I wrote about one. I’ll do a summary of two, as I look at them now.

Here is a painting that I called: Birds and Water.

Birds and water

Birds and water

It was done in a daydreaming state, imagining a place I’d like to experience. There are parts of birds in light brown, some green lines and areas, and what looks like a little waterfall and part of a river. The colored areas served, for me, to indicate different colors of the birds in this forest. The whole painting did itself and I was watching as it happened and had my thoughts like the thoughts of a watcher.

This morning, after having my regular call with my friend, I thought: I have a whole day ahead of me without sessions and without calls, And I feel quite good, after having slept a little more than the usual these days. What shall I do with this day?

And now the pain has come and grabbed my left foot quite strongly. It is hard to use both hands now, as the left hand wants to go down to hold the left foot and help alleviate the pain a little. Also, how can you even think? Some crazy creature is tearing at your clothes, pulling your attention, wanting you to do something about its experience of being tortured. This dream of being in a place of birds and water has nothing to do with this. The joy of delicately playing with the stuff of my life through the use of words, feeling the subtle trickle of their energy through my being, all of this is called to run for a shelter now. The bombs are coming down. The siren goes up and down in your head already. I asked what to do with my time today? This is going to take care of it.

Another painting, done in the middle of the night, got this name from me: Night in the Middle of the City. I was very patient when I did this.

The lake of the night

The lake of the night

It looks like a dream place too. A city that is so thin that if you only scratch a little, a hole is bored in the fabric of what seems to be so solid, and the sky, the deep and beautiful sky, is right there. We float in it, creating our cities and lives. We can create them as what we would love to live in.

The phone rings. It is from someone in Washington. Are you Gloria Carmen? Almost, I say. We are going to connect you to Charles Schumer’s office and we want you to tell them that you oppose the big oil companies as they try to rip the system off. OK, I say, connect me. I have something here that rips my system too. Schumer can’t help me with this, I’m sure. There is nobody to enlist since I am in charge. This is the world that I create for my experiences. I made some choices that do not work for me now and I can change them. Maybe I can change the oil companies too. Don’t they want to live where the birds and the water are? Don’t they see how thin is the reality that they fight about?

184. The final acceptance of everything

Beautiful despair

Beautiful despair

I am starting this project. The final acceptance of everything.

It will be like Dzogchen throutgh art.

And I start from this painting, which I did at night, around 1 am, with the experience of this strong and crazy pain that was sharper than the usual, to which I have gotten used already.

I prop the painting up against the basket with the pencils and brushes on my table and the light from above is good to it, emphasizing the texture of the canvas.

My general view is that there is the group of many colors, heavy on the upper right and after some space there is that brown branch, maybe falling away, overwhelmed by the weight of that group and even breaking down .

Then there are two penciled dry and sharp branches and something strange, also penciled on the upper left. And of course there are the shadows, the areas I painted with pencil.

What do these do to each other?

The big multi colored area seems to have a lot of sadness. All the shapes are sending fingers or hands to nowhere, searching for something they already know they won’t find. Presenting again and again the idea of I want but I know I can’t. This creates a very disquiet, nervous cloud. It is beautiful in its sadness. It becomes almost like a tapestry or a physical “thing” and it even has some shadows, to show that it is real, it is three dimensional, and you can touch it. These are thoughts becoming things. There are a few places where a few parts become messy, blending into each other uncontrollably, crying into each other.

The introduction of the penciled branches into this area introduces another distinction into the game, between more real and less real or maybe between soft and hard. The bareness of the penciled branches feels poor, hungry for love, hardened by hard life. It seems that the lower penciled branch supports the whole cloud on its back and keeps it from hitting the brown branch harder. That brown branch is losing in a way. It is falling down, broken, as if escaping the vengeance of the colorful cloud.

The only hope that this falling brown branch has is that it will find something good when it goes up along the left side of the painting, but the place it comes to is empty. There is only darkness there, a tear-drop and an empty shape.

So where is the power in this picture?

The power is in the observation, in the ability to see all of this so clearly with all of its complexity and simplicity. It is like a poem on despair.

In summary the picture says:

I’m searching. I know I’m not going to find. I am beautiful but sad. I am helped by dry and dead sticks, which are searching just like me. But they are already hardened by the experience of not finding and they do not even have hope. Some part of me is afraid of this despair. It is trying to escape, still hoping to find love and fulfillment, but we know already, looking at the picture, that there is none of these in it.

It is funny that what looks in superficial sight beautiful and maybe playful and colorful actually describes sadness and despair.

So was I desperate when I drew this?

No. I was shocked by the intensity and sharpness of the pain that made me jump out from bed and come here, to this table at night, I remember what I wanted to achieve. I wanted to disperse the confusion that I felt and the shock.

It did this to a degree. After that I slept.

The beauty was very important to me. Without feeling the beauty I would be dissatisfied and restless. What does it mean to me?

When a painting comes out beautiful (For me, as I experience it), I know I have connected to my larger aspect, the non physical part, the real, what we sometimes call “home”. Connecting with the real, all that is not real will start moving. Movement is life, is health, is hope, is everything good. This is the principle of all healing.

I have to give some background.

Everybody believes that what I have is a degenerative disease. People who have this don’t heal. They progressively (what an unfitting word) become more debilitated. Living in this environment, I totally believe that I am healing. Parts of my feet that were totally numb for maybe twenty years are hurting now. All through this healing process they kept hurting more and more. For everybody else this was a sign that things were getting worse. For me it is a sign that life is coming back to where it was blocked. I don’t know why I wanted my healing to hurt. But I know that like everything else, this too is a decision I made at some point. I spoke about this little kid a few entries ago and he may be the source of this idea.

When the pain became too hard for me to take, I looked for some medications and I thought about it as some aid to help me pass these last stages. I needed to sleep. But the medications started to have an effect on my alertness and sensitivity to the subtleties of my perceptions. This was too much for me to give up, and I let the medications go instead. My sharpness of sensitivity is back and I have to deal with the pain without the help of the meds. It will be through the acceptance of my response.

183. When the blue comes in

How the good appeared in the mundane

How the good appeared in the mundane

Can’t sleep. The phenomenon called pain is very active. And in addition there is some energy in me. I don’t now what it is. But it makes me awake. I slept for three hours. I am very awake and clear. I come to the studio and do this drawing. At first, before I put the colors in, it looks like a confused body of energy being intruded by old habitual dark thoughts. But I feel the urge to put colors in. I start with the diagonal horizon. I know that this is how I want it. Then I know where the next area will be and the next and next.

At one point something, maybe the sleeve of my pajamas, touched some wet color and dragged a line into the white. It looks good to me as it is and I let it be.

Sometimes in sessions with others I go into such places, because they are where there is a break from the rules of good behavior of the picture, that offers a glimpse of freedom. On the one hand I did not intend this to happen. But on the other hand there is nothing that appears in my reality that is not called for by some of my vibrations. So it makes a lot of sense to dive into these spots. But in this case, I just like the way it came out and ignore it.

As soon as I finish the blue areas, and it is done in that late night hour with the clarity and patience that I feel, I see the beauty. Somehow the piece changed from being bleak to hopeful. There is enough space in and between the shapes of confusion and habitual nagging, to let the true light come through. The dreams of beauty and goodness came to play and changed everything.

The diagonal horizon takes the stability away from what seems like the reality of my thoughts. The stability that the blue areas give is independent of that reality. It can fill reality up and then reality becomes different altogether.

Yes, we can do that.

182. Father came to visit in a dream

For some time, faces wanted to come into my abstract drawings. It took me some time to let them in. They were persistent.

Someone appears

Someone appears

An eye and a nose

An eye and a nose

Almost a face

Almost a face

A face

A face

Late at night, which is already the next day’s morning, on 4/2/14 I came to my table to write:

I see now and admire the child, the little child, furious and angry, and taking upon himself to punish himself forever for his belief that he killed his father. He came to my drawings too.

 

The furious child

The furious child

I love him so much and admire him for his undertaking. If I had to choose the child that I could be, this is the one I would choose.

But he is punishing me now.

And even now, when I am almost 70, I am not sure yet: Have I killed my father?

I feel the child’s presence in me or in the same space that I occupy, being some form of energy like me. I am him and he is me.

How do I solve this?

My father came to me this night in a dream, very close. I felt his unshaved beard on my cheek, maybe as I did experience in my childhood. He came to show me that he loves me.  I know he does not carry anger from that time. I met him before.

I wake up and come to my studio to write.

Father, did I kill you as a child? Did you die because I thought that I wanted you to die?

No kid. I died because I had it in my own mind that I would die. You cannot kill anybody really. Every one of us determines his own life experiences.

But I wanted you to die so that I’d have Mom for myself. And indeed you died. So from my perspective I killed you.

You are not real, Giora. “You” is an illusion. All the stories that you create are illusions. No one can ever die in truth, because he does not really exist. So it is like a movie, where one actor shoots another actor and nothing happens except for the illusion that it did.

Do I have to be angry at myself? Do I have to punish myself?

No. You are god playing. And what a story you have created! Your pain is an illusion too. In truth, nothing can ever happen to you. So you had created this horrific story. Now you know it is not real. And you know that you are pure love, still playing in this illusion of life on earth. You can choose differently. You can choose to live happily and healthily. You can change the whole story from its beginning to its end. It is like one of your children’s books. You are in control. Change the story. Make it so that your father lived for many years after the war. Make it so that you have lived with a father who loved you every day. Make it so that you are still loving and laughing together about all the stories that you participated in together. It is my deeper aspect who is talking now.

Look at the whole universe that you have created and keep creating all the time. You can change a little detail in this huge thing. You can understand that it was just a choice of the plot line.

But if it is only a story and not real, why would I want to change it?

For the same reason that you keep changing your story all the time. To make it feel better. To experience other experiences in this illusion game. Don’t you want to see how it is to live without that guilt, without withholding love?

It is up to you of course. But we (My deeper aspect talks as “we” sometimes) want you to feel better, so that you will create better places and lives. Your character does not need to suffer at all.

This child that you were in your story was indeed admirable. You can love him still. And you can give him a better life. Let him learn how to be healthy, how to live without guilt and self-punishment. Let him soar.

181. It is not that far

I said to my bigger aspect: Heal my feet now. Show me how healthy feet feel. Here it is:

Be one

Be one

 Walk outside

Mix and be one with the sky

Breath the same air that the tree breathes

Let fields, mountains and clouds

Feed your imagination

Learn their language and speak it fluently

It is not that far

From the language of the eternal.

180. It is time for it to go

Riverside roads wind

Riverside roads wind

The way the hills are covered with green

In the spring

Oh!

The rivers of the earth flow

The river roads wind

If you want to be in on all of this

Go to the tree that points in all directions

In the middle of the landscape

An interesting co-occurrence may unfold

Don’t mind the little blood that pours

You will be in touch with the old

You will remember the quarry with the back stones

And an ancient thought

Will show itself

To be dismissed

It is time for it to go.

178. I am here

 

A bit chaotic as I am

A bit chaotic as I am

I feel that I am falling apart

I look at the mountains

And feel intimate with them

I try to be like trees

And have my wounds to prove it

Then

With amazement

I note

That, a bit chaotic as I am,

And disintegrated

I am also watching all of this

Experiencing touch

And even more than this

I’m making it

Rocks and trees and body

I

Am here.

177. The bird is infinite

She wants to fly up and up and far

She wants to fly up and up ad far

 

The bird is infinite

 

She wants to fly up and up and far

But tears attach her to the sea of sorrow

Her ideas limit her

The rock of pain

Threaten to block her

 

The sea is wide

The angels watch and cannot interfere

Their heart cries out

Come, come, sweet bird

You can

 

And what’s the source of power?

It’s in the knowing

That her mind

navigates

Her thinking

Moves her

 

Think flying on

Think delighting in the life on earth

Think love given and received

 

And if one day

All your ideas will cease

Where will you find yourself?

Sweet bird

Where will you be?

 

And aren’t you already there

Right now?

176. Moving fingers and toes

Microbes

Microbes

In the middle is a package

With a secret

Of unknown consequences

All other things in this picture could be microbes

With a very elaborate social order

And rules of conduct

But in spite of that

They cannot contain their joy

For just being able to move their fingers

And toes

And they keep doing it

Secretly

But since all of them are doing it

They discover each other

In new ways

And through their joyous smiles

Become one

With no beginning

And end

Enfolding endless possibilities

Of love.


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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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