Archive for the 'Spiritual' Category

317. Without colors now, with colors now

Things that I drew many times before, appear again in this drawing.
The drawing is dense with shapes, especially on the right half. This drawing asks for colors that will help define the shapes, the background and the background of the background. The first background is the environment. The second is eternity.
What are these things doing together? They are flowing. They come into being and they move on, leaving their place in our awareness for other things to come, with the flow of our thoughts.

When you look at details, you may find that even shapes that seem to block the flow move, together with everything else.

All the things that I love move. They are not now what they were before. Mainly, everything shows to me how everything changes. Like watching a parade, I watch my life passing by. There will always be something to watch. My thoughts will make everything more and more beautiful. The sky will turn into the infinite heart. My home will recline on the back of my cat and both will float as clouds over the land, spotted with things I have not come to know yet. The village of my youth will undulate with little waves, while a simple bug will fly away from the big pine of my youth to its own new perceptions.

Then, when you think of it, only thoughts and perceptions change.

To end, since the drawing begged for colors, I gave them to it.

316. Birds in the blue sky

I thought just now of calling it: birds falling from the sky.

As in many times before, many shapes that I drew, not knowing what I was doing, ended up looking like strange animals. I did not think of any birds and no people were planned.
But now there is a man in the left lower corner, doing something and maybe using a second head to look at the biggest falling bird. Maybe it is falling right on him?
On the right there is a bra hanging from a tree branch.
It seems there is some ground at the bottom. It is not drawn. But several things stand on it. This is why, for me, it feels that an earth must be there.
At the top there is a big bird feeding a young, smaller bird, while in flight, as airplanes sometimes do. maybe there is a cat down on the earth, with some unknown creature standing on its back.
So what is behind what I draw here?
I somewhat like this drawing. I did not add paint to it, to preserve it as it is, in the most alive state, before the power of the colors reduces its strength. Being raw, you can feel the fascination with the shimmering of everything. This is how I see things nowadays.
It is not a perfect drawing. The hanging bra and one little bird, alone in the air, at the top left, break the diagonal flow of everything else. The little bird moves at least. But the bra is defying every tendency in the drawing, by hanging vertically, as if nothing is happening around it.

This is not a happy drawing, though the deep curiosity is here, and curiosity is a happy state. So it is a mixed mood.

I love birds, I love rocks (there are two at the lower right corner), I love cats, I love people, I love the sky. There is nothing in the drawing that I do not love.
Maybe the issue of the drawing is the inconsistencies?
Maybe it is the big event of the central big bird falling and the chaos that it creates?
Of course there are always details in life that continue their natural way of behaving, as if nothing happened, as in all cases when some disaster occurs.

This is it! I have caught the essence of the drawing for me.
How do I know?
When I wrote this it felt right.
So:
Disaster happened.
and nature goes on as if everything is okay.
The sky continues to be wonderful.
Painfully, the recognition is being forced on you: the big disastrous event is only in your eyes. Big as it is, it comes and goes without leaving a mark in infinity.
There is joy everywhere.
The universe with no borders is flowing gracefully and lovingly forever.
Everything happens and nothing happens.

It is like all the little waves that you bump into when swimming in the lake. How many of them will you remember when you are already out of the water, lying on your back on a big towel and watching birds in the blue sky?

315. One big eye

There is an upper part
and a lower part
in the drawing

The clouds in the night sky
fly near the moon
then they freely go much farther

They are echoes
of the
no-sound

The earth is always hurrying somewhere
but this is truly
part of a bigger flow

The horizon is a line
that is
only in the mind

Is it all but
one big eye
looking?

312. A man on a chair

The stage workers bring a heavy black chair onto the stage. The chair has stout heavy legs. The workers place it facing sideways. Then they leave the stage.

A man now comes to the stage and he is dressed in black. He turns to the audience and boughs. You can feel that he is preoccupied with something, as if not all of his attention is to the show, as so many people that we know are. Maybe we too are like that. Something bothers us even as we perform the movements that our society expects us to perform.

But this person is well exercised in doing all the necessary things and we, in the audience, get the feeling that he knows what he is doing and we don’t have to worry about the performance we are about to watch.

The hall is dark indeed. We do not look at ourselves. We are focused on the stage and our hearts just pump a little bit stronger than when we are at rest.

The person on the stage sits in the chair, facing sideways, as the chair is. He looks at us, to connect and to draw the attention he needs. We can feel it. He needs our energy in order to perform his miracles. Nobody says anything and there is not even any pantomime that suggests it, but we, in an unnoticeable way, become committed to giving this unknown man in black clothes all the energy that he needs.

To our amazement, while the man is still looking at us and we feel his preoccupation with something that we do not know, the legs of the chair start to become shorter, but the seat remains in exactly the same place in the space of the stage. It does not sink down. Indeed it floats in the air.

The person’s feet still touch the floor. If he was made of steel and if his soles were screwed to the wooden floor of the stage, this would be somehow physically possible, with a lot of stress. But this man just walked. His legs are not made of iron. How can he do this? What is going on here?

The man on the stage acknowledges our wonder. In fact he seems to be just as quizzical about this as we are. He slightly boughs with his head to us, but our attention is attracted now to something else that is happening.

Somehow, in a way that I cannot explain, another, slightly smaller man is coming out of the first man’s body.

At first it looks like a shadow. But the shadow immediately becomes a real sleek person, who climbs on the first man’s shoulders and sits there. This person is more extravagant. He smiles at us, tilts his head slightly forward to thank us and he waves his hands, as if he is conducting the applause.

We are still holding our breath, fearing that the two men on the stage might fall backward. How can this all be?

And before we even start slowing the clapping of our hands, another, smaller person comes out of the second one and sits on that one’s shoulders. The clapping goes wild. We do care about these wonderful people, who can do such miraculous things, and we want to be very careful not to excite them too much. But we can’t stop our gratitude from coming.

The last one is a child. Maybe he is a smallish teenager. He takes his cape off and waves it for us, as if to show that this is an easy thing to do.

The child is shaking his body up and down to imitate riding on a horse.

Then he folds himself back into the second man, and the second man disappears into the first man, who still looks at us, collecting our energies.

Only the first person is on the stage now, sitting in the chair that does not touch the floor. Some clapping still lingers. There is an expectation that the lights in he hall will come on and the show will end.

The stage workers appear on the side of the stage.

The chair, independently, starts to move from under the man to go towards the stage workers, as if they are its parents who came to take him back home. But the man’s legs prevent the chair from going to its parents. The chair tries again, pushing harder against the legs, and this time the man in black notices. He apologizes and lifts his legs from the floor. The chair runs to the stage workers who hug it and walk away.

We move our attention back to the man who, yes, there is no way to deny it, is still in mid air. Who knows how he can be floating there in the tense silence, still looking at us with the expression of not being sure that he did not forget something.

Then there is a puff sound, like that of a balloon exploding far away, and the man disappears.

Note:

You may wonder about the significance or insignificance of this show. It had a profound effect on me.

Walking home, moving from light to light in the night, I was not sure where my footsteps rested on the pavement. I still remembered the comfortable chair I was sitting on just a few minutes before, but the chair was not under me. Somehow my mind mixed the chair that I was sitting on with the chair of the show. And when the chair in the show became a child and ran to his loving parents, I felt that my own childhood was leaving me and all of its traumas became resolved. I felt as if I gave up the need to rely on my childhood’s experiences in order to explain my life. And I knew I did not need that part of my life-story any more. More than that, I did not need my whole life story. Instead, I settled into the flow of moving from light to light in the night, trusting the never-ending emergence of playfulness.

311. An event in eternity

The drawing is in dark brown (Van Dike brown).

I invent as I go. The next line always suggests itself. It means that I am in a conversation and allowing the infinite-field draw through me. It always responds to my mood or feeling in the time. And if I allow a description of some energy, an expression of a feeling or any inner experience, come through as well, the energy of the feeling is released at the same time that it comes to be seen on the paper. It is released because it is being seen from the perspective of the flow, which is a higher energy. Higher energy dissolves lower energy.

Then, still in the process, relieved from what I felt before, a new, better feeling arises and is also expressed in its turn. And so on.

At some point I feel good about the way the drawing is now, and this is the sign to stop. It feels complete.

This feeling of completeness is miraculous. Where does it come from? I ask my inner guide and he says: This is your gift.

Do I understand this? Not really. I consider this not-knowing a gift too.

I can leave the drawing as it is. 

And I can start playing with colors and additional textures or whatever feels good.

I wait for the lines that are done in watercolor to dry out. Then a thought comes to me, to photograph every step, so when I share this text with you, you will have in front of you what was in front of me when I wrote about each of the steps of making the painting. But I get so engrossed in the process that I do not want to stop, and I end up finishing the whole painting, without taking any photograph in the process. So you will have to imagine the steps that I wrote about, when the painting was in progress, while looking at the finished painting.

Now, with the finished drawing in front of me, I already feel so much better than before. Yes, just making these few lines made me feel so much better. All along the way, through the doing of the drawing, I released whatever emotions came up and became freer. Infinity matched my new feeling and brought new ideas for lines or effects that felt better than before.

I did the first color area, the dark green. The people at Prismacolor (I used Prismacolor pencils to color) call it Olive Green, but it is not olive green at all. It is more like what is called in other places Forest Green. It has a sense of depth and aliveness. I feel happy about how the drawing jumps above it. The softness of the green and what feels like a positive environment makes the brown of the drawing a bit scary and as it has bad intentions.

Also, suddenly there is a feeling of depth. The green calls you to sink deeper into it and the brown line is jumping closer to us.

I had a feeling of what would come after this green spot. I saw in the imagination many colors. I saw a procession of them in the same kind of spots, developing into some jolly dance.

But now, that I see what is appearing, as I am working on the next color area, the ochre, another game suggests itself to me. I feel excitement about what I’ll do. Look at this: another improvement in the level of joy.

The second color, the reddish ochre, is in. It feels as if it is under the green, but if you ignore the area where this new color touches the green and look only at how it interacts with the brown lines, it feels to be closer to us than the green. It is under the lines just because I drew it as such. But it is jumping out a little and in other circumstances could be felt to be closer than the brown lines.

I look at what I have now and I feel it is almost enough, but not yet.

The color areas have some stability to them that makes the lines seem more active than before.

Does it feel good now? Yes, it does. But still I feel there is need for more.

There is strong pain in my left foot. The foot is hot. This is unpleasant and my automatic thoughts about it take my mood down a bit.

On the other hand, even though I can do something to reduce this pain, the interest in what is happening in the painting keeps me involved in the process.

I get tired suddenly and decide to stop and continue the next day.

I look at the picture in progress in the next day. The red added a stone like body that is suddenly turning down. The ochre and the green made an effort to go up and this red goes down. It is not a stone really, and the green and ochre aren’t that heavy. They float. They all are light and it is just a meandering of energy, depicted in this way. 

Making the red go down is actually following what the drawing does. The following of the drawing is not like making a copy of its movement but a variation that is at play with it. Again, the colors add a sense of depth, a concrete depth. The white background that the drawing played on can represent the infinite space, the boundlessness. The colors come a little closer to the way we experience our reality (This shape is close to me and that one is a bit farther away).

Adding the colors and then more effects is like composing music. You have the leading voice in the drawing. If we do not add anything after this, we have an a-capella performance. Adding the color spots and other things is like adding harmony and maybe a base line and drums. This is the way it is for me. The added color shapes can go along, can highlight the drawing and can contradict it. This creates the composition, and the composition is the most important aspect of the way the whole piece feels. When you play music, it is because you love to hear it. And it is the same here. Everything is done in the painting because I love to experience the way it comes out on the paper.

Now I have just done the light, dust-in-the-desert like, cloud under the lines in the left region.

As I was finishing I felt a bit of an alarm. Maybe this is not the best color here? I saw it there before I made it. I always have this soft, trusting, question in me before I make the next step. What will come now? Aug., what do you think? Aug. is August Moon, my inner guide. He is always present for me so lovingly. And he paints with me. We are one, you can say. So I invite him to participate in all that I do here as a human being on this earth.

Usually, as soon as I ask, I see the next step in my imagination and I do it. When I say that I see it, it is still not final. It keeps changing as long as I make it. Ikeep changing throughout the process, and these changes are expressed all the time. This gives a wonderful feeling of wellbeing, of playing joyfully. You can say that it is a way to walk along with awareness. Awareness itself only looks and knows. But I like to express, so I invent ways to make effects in the art that express what awareness sees. 

At this point I look at the painting again and I start seeing possibilities for a few steps ahead. But when the blue is done, all the other possible additions become unnecessary.

I needed to have blue there. It was something I felt very strongly in my body. So now I feel relieved. It is a good feeling, like: Everything is okay now.

But is it? Let me look again.

The addition of the colors has made the painting more dramatic. Especially the addition of the blue has a strong effect. Now the lines are like wind and the way it blows, and the color areas are like a thunder as it moves through the landscape.

The fact that the area with colors is in the middle and is surrounded by white makes the scene harsh. It is almost shocking. Such a drama is happening in the middle, that everything else in the world has become white. The central happening has sucked all the energy from the world.

And me? I feel excited. What a game! Look at what I made!

I could stop here. It is like a minimal statement. The string instruments, as I imagine the lines to be, have a meandering tune. They mix with each other to travel along a short musical sentence, from right to left. They go up, they go down like in a wave, they swell again and this is the whole sentence. And in the background you hear the thunder of other instruments rolling, making a big show, but it is a short and colorful one. It all happened quickly and now it has ended. You still tremble with the sound waves. 

Something deep in me wants more. The picture is not totally true yet. Something is missing. To be satisfied I need to add something else. And I add the screens in several places.

Yes, this is better now. Something deeper wanted to be expressed. August moon is smiling now and this means that I am in a very good state.

The last addition of the screens softens the harshness of the event. It says that this was a little occurrence in infinity. There was a concentration, some contrast, some rumbling of a passing energy, and now it is dispersing and about to disappear into the infinite peace.

Time to sign

I can add or align my signature with the edge of the picture. But then it will be like saying that I add my power to the tendency to confine, to frame and limit the view. So instead I decide to be close to the movement and to align myself with the infinite ebb and flow in the ocean of energy. Not to feel protected by holding on to a defined place. Not to say that my power comes from having a point of view. Instead, I am everything. Everything happens within me, is made of me and disappears in me.

This turned out to have been a meditation about the nature of our reality. It lead me from expressing feelings as they were detected by the awareness, which is the background to all of our excitements, going along with the experiences of how the feelings kept changing from involvement to detachment and from the narrow view of: Oh, what is happening to me, to awe.

It is a healing trip, like a pilgrimage that sends you walking in the mud step after step to disentanglement and to the bigger view of the truth that opens up.

It is based on listening to one’s heart and doing what comes from there. 

This is one possibility of becoming free. There are innumerable ways and this one is my favorite.


310. A delicious drama

And suddenly it was finished.

I was still trying to see more colors in the two upper leaves on the right side, as the knowing that the painting was finished started to occupy some space in my being.

This also was the time when the name came. You cannot give a name to a piece before it is finished. Well, maybe in most cases.

Sometimes you know the name even before you start. It is a strange thing, the name. It is the “what is it about” of the piece. Sometimes it happens when you recognize something special about it. In other times it is an interesting feeling that you have even before you start, and are curious enough to explore it with the art.

In any case, what has given the name immigration to this piece?

For me it is this strange line that crosses through almost everything else. Here you have this plant or whatever is depicted as the main subject, and with no logical reason, in comes this beige line, wrapped in orange, and dares go through the leaves that have color, the thick beige trunk and the empty leaves, as if it has grabbed the right to come in at the level of its choice and disregard the prevailing order.

You could even say that this stranger has cut through the old and established areas and it is aiming at the most vulnerable but alive green. Isn’t that green the best of all places in the plant, where life is experienced in its strongest impulse to grow, and its boldest claim to the adventure of being a body in space? If you had to choose a place to experience life, where would you go?

And yes, the plant was just all right without this beige and orange intrusion. Everything was just working fine. But coming in, as this new line did, has just given the most interesting and the most intense experience to this old plant.

It has introduced drama to the composition. How poor would the composition be with only all that is okay in it? Now something is breaking the routine. Something is happening, sweet, tasty, maybe even spicy.

You really need to look at immigration from a composition point of view, to see what it means to everything that is involved.

A delicious drama, this is what it is about.

309. With no intention

The lines say don’t

Please do not come here

We will fight against you

The wine says full

Says wet

Says heavy

The green says upward

Home and trees

The white says open

Free and fly

All things are watching me

But the bird is eying endlessness

With no intention.


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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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