Archive for the 'meditation' Category



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?

185. Two good friends in the tree house

Two good friends in the tree house

Two good friends in the tree house

This is a painting from two days ago. I did not write about all of the art that I made. Many times there is a painting to write about but I want to paint more, so a gap forms. I wanted to clear everything or actually to accept everything. So does it mean that I have to write about every painting that I do and never skip?

There are things to be gained. But the rule should be, that’s what I think: To do what feels good.

So there are no rules except for this.

I came back from the bathroom, which was a struggle with pain. I sit here, think a few thoughts and almost fall asleep. Pain and tiredness are in my experience today. Is it going to be another day of not being able to do anything of consequence? How can you think and feel good enough to want to do things at all when in such a pain all day long and so tired all the time? I just want to sleep. Desperately I want to sleep and I can’t.

I saw a few funny videos, I spoke with my deeper aspect, and I have a better mood now.

So it is all about the mood.

The feet feel as if it is the last frontier now. Everything is raw and hurting. It is all coming back to life. I am getting younger. I go back in age.

What do I see in this painting?

To me these are two friends (I and my deeper aspect) in the tree house, my imaginary tree house, looking at the beautiful water bodies, mountains and forests. There is a strong sense of friendship and a serene, good time. This is where decisions are made about what I want to do next, and what I want to experience. This is what it is for me. I knew this when I painted. I used acrylic gouache mixed with transparent gesso to create the color areas that show brush marks. I mixed the colors carefully and liked the process. This way of painting works well with the watercolors, when I paint on canvas.

After I made this painting I felt good for quite a while, maybe half a day. I kept coming back to it to feel the friendship again.

I’ll leave this at that

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.

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.

175. Just realize

3:30 am.

If it hurts too much, I’ve learned to not let it go on. I get up and become more vertical to the earth for some time, I put an ointment on the skin and wait for the pain to subside.

I am very awake and it feels good.

What would you expect your painting to be like at a time like this?

So soft

So soft

So soft

Surprisingly

The inside moves in slower waves than the outside

It can all happen

You don’t have to change a thing

Just realize.

171. So light

Mountains and valleys dance

Mountains and valleys dance

The mountains have wings

Just here now they fly

They flow

The creek

And the banks

Dance

Rocks green and river

Go light

And up in the air

Fly to nowhere really

Just here now

Mountains

With little towns on top of them

Dance.

170. Tuning in to who I am

Here is another example of reading art. As it was in the previous entry, when you look at the drawing at first it seems as if it will be hard to tell something clear about it. But as I started describing what I see, the vision became clear. This is the fun in this game. The truth is always hiding in plain sight. And my blog has turned into straight forward reading of my art, based on the most straight-forward approach to understanding subconscious content through art. It is: simply describing what I see. As I describe what I see, the connection to my life appears. The art had to be done intuitively, to reflect so clearly what is going on in the subconscious. Any thinking-guided part of the art would have stopped the flow of the description and obscure the clarity. We would have to read the thought first and let it go in this way, so that the next drawing will flow better. It is a method. I am describing the method that I use in art therapy. Everything in this blog, right from the first entry has to do with how I work not only on myself but with others, to clear blockages to their inner flow and allow them to find out who they really are.

The layers of different focusses

The layers of different focusses

It looks like a collection of creatures. They are very lively and have the sense of being absorbed in being who they are, as monkeys do, but without an awareness of it. They also seem to be agitated and about to jump at any moment. This is what animals do. They behave as who they are, without any hindrances, and they do not know who they are. It is a simple life.

They look like monkeys or cats or bugs.

There is the lower layer in purple and browns. Then there is an upper layer in green and light blue. And finally there are the two light orange creatures at the top of the picture.

You can see that the interest of the animals in the lowest layer is horizontal. They do not think about going up.

The interest of the green animal is in the process of changing. The animal stops going right, horizontally, and turns to look up. The blue lines that come out of it also turn in different directions.

The light orange critters at the top of the picture fly up into the sky, and you can see that they are fine with it. They are peaceful. They do not feel fear. You can say that they are enjoying the flight.

All these are different focuses of the animals and the critters. These focuses are available to every one of them, but they make a choice and focus in one way.

Other interesting elements in the drawing are the two places where there are the shapes in more intense orange. The one in the lower strata just creates an intense interest, presenting to the animals something intensely different. The one on the upper layer seems to be what has stopped the green animal from going to the right. It is sharp, and to avoid it the animal turned around.

All the orange shapes in the picture feel to me to be connected with what we call the spiritual pursuit, or seeking to know experientially who we are. At first it is something that feels different and provokes interest and wonder. Then it may be suffering of any sort that pushes us to change direction. And then comes the discovery of what was felt from the beginning, which is the sense of the true self, which shifts the focus away from the earthly bond.

Now looking at the beginning of this path again, the first animal, the one in purple, seems to be peaceful and in meditation. All of this happens in his mind. The not-knowing, the intense interest, the change of direction and finally the flight. All these happen on their own, without any effort. It is just the way things happen when you take your hands off them, and allow them to move. This is what I call healing.

This is what this art process does.

My book “Opening Intuitive Flow Through Artwork” will come out soon. It has the method in it and examples from my sessions with people.


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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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