Posts Tagged 'beauty'



234. Segovia and the quiet spot

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Mooji showed up in front of me, when I was going through videos to enjoy but I moved on every time. Now I stopped and let him speak. He is like an old friend that I love deeply. So my heart opens. What will he say now?

In everything that he says and in the way he moves, I feel that-infinite-space attending, just like my own one right now. I realize that I came to like the taste of this state. It starts to be familiar.

And he says that when a troublesome event comes up and we have a shock, a fear, or we are being shockingly and fearfully agitated, the thing to do is to find the quiet spot that is always there too, and go into this, stay in this.

 

And this is what this reminds me of:

When both of Segovia’s parents died and he was left alone in his world, he was some six years old, or maybe less. He was very sad, and I am crying for this sadness now because I feel some of it. Somehow there was someone there who knew what to do. He or she put Segovia (little Andre) on the train with all his belongings and sent him to his grandfather in another city.

Grandpa took him from the station and brought him home. For Segovia this was a strange person who he did not know. Grandpa sat Segovia on a chair and sat himself on another chair facing Segovia and in his hands he had his guitar. Segovia did not play guitar yet.

Grandpa made a chord.

Segovia cried.

Grandpa made another cord.

Segovia cried more.

And so they went. Grandpa played chords and Segovia cried, until Segovia smiled.

This was his introduction to his grandpa. And this is what brought the guitar to his life. And it was also his introduction to that different love that comes with insight and cannot be broken.

You see? Whatever life brought, whatever emotional response he had, he went to this direct-no-story effect of the sounds and this became his quiet spot. Maybe at first he did not even perceive the sweetness of the chord. Eventually he fell in love with it.

 

Maybe you do not immediately feel the huge, deeply joyful, childishly curious, absolutely peaceful character of the inner peace. But with many visits it becomes inevitable that the taste will come through. And there will be a sweet love that has just awakened in your heart, that will take you there again and again and it will be your home, the only place where there is no contradiction whatsoever between you and the place. And with no contradiction, you are the place and the place is you. And so it goes for everything.

(As for the story about Segovia, I hope it is close enough to the truth. I heard it on public radio long ago. The details may have been somewhat different but the core is true.)

233. How the “I” moves to a wider view

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Being tired and in pain I became sad. Pain is a simple thing but living with it creates additional problems. Now all of them weighed on me. I thought: I can’t go on like this any more. I did not even paint yesterday and today.

My friend from Germany called. We started to talk and the phone line went dead.

I pulled a new piece of paper onto the table, dipped the brush into the water and into the first paint that my eyes saw in the watercolor box. It was olive green. This is how I choose the first color.

And then there was the drawing. No time. No pain. Brush, water, paint and the composition, the story with no words. The energy of the truth. Everything is good.

The olive green lines and the white of the paper are the best of friends. It is a holy connection. The lines, strikingly, appearing out of the white. The white does not have inside and outside. It is everywhere. It is all-there-is-everywhere. Even the word everywhere does not fit here. Is the green line real? And my eyes that see it: are they real? And my heart that has just become so full and so delighted, what about it?

(The other colors came later.)

 

Now in a different way:

Pain is part of the illusion of life, together with the body, with time, with good and bad.

The true self cannot have pain. Its essence is joy. Its essence is love and playing and being curious. The true self cannot be affected by the illusion.

For the “I” in the illusion pain is real and hard.

The good thing is that everything is connected. All I need to do is to change the way I focus and switch my identity to the true I.

Instead of focusing on the pain and automatically trying to escape it, to fight it, to prevent it, to change it, Instead of these, I find my curiosity and make the olive green lines. I find my playfulness and play with everything that shows itself. I look for the beauty in everything and find it easily. I look for my joy and it is right there. I am joyful. I look for my love and indeed what else do I have? This is how I start to identify with the true self.

And as I do this, I find that I have forgotten the pain. I don’t even feel it. Or if I do, it is not significant. I am in peace. The vibrations of the pain, the waves that streamed through the legs calm down. My hands that clutched one foot fall down, relaxed. The body rests. The energy of creation flows flawlessly everywhere it has to go. The body heals. The specific thinking processes that hold on to the body and its suffering become weaker. I am not so dependent on the body and the world around it. I witness them and I am free. In my mind I am already walking down to town, where the galleries are. I am going to see an exhibition. Right foot, left foot and I dance.

 

232. Come

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Be the light in you

Beyond the clouds of thinking

There are playgrounds

With no words

The sun will speak with you

Of being wild and transparent

Look

The sun has made a boot for you

And on the boot it wrote:

Come.

230. Who is the free one?

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It is on the longish side today and a bit psychological.

I started to draw when I had a very strong pain. I held on to the act of drawing as to something that saved me from sinking in a bog of pain. I did not want to loose my humanity. I also held on to drawing because I wanted to have some sort of a backbone, when everything else was breaking apart to meaningless good-for-nothing, directionless pieces.

The top left part, where I started the lines, is a possible visual interpretation of pain, sharply spreading, attacking everything in all directions.

Then I left the stage, so to speak. The first spontaneous burst of drawing calmed me down a little, and my by-now-natural-tendency to go deeper into myself, to allow for a deeper view to emerge took over.

This created, still in the ’lines’ department, a pen-like thing, thin and clumsy, self-guarding like a soldier in uniform, standing straight and holding with one hand this grand explosion, almost as if it is a flower. I did not think this thought when I drew. I just drew what came to me, basically not knowing what I was doing. Or you can say, I was trusting my inner guidance.

This soldier is supported by a complicated and inefficient scaffolding, in yellows and browns. The yellow color does not give a sense of strength to the scaffolding.

This scaffolding has another shape, in green, connected to it on one side. In that shape, there are teeth that are pointing inward, like an aggression that is directed inward.

I can almost say that it feels as if the scaffolding is trying to push this green part away, but can’t get rid of it. (The colors don’t feel good together.)

The color areas create two layers. To say it in a short way, the blue is behind everything else.

The layer of the pink, browns, yellows and reds is like an emotional echo of what the lines do. In the middle there is the aggression in all directions (in pink), and the rest are all the broken parts, including the spectacularly dramatic yellow in the upper left corner. There is drama there, no doubt.

In blue there are bridges above and under each other in what can go on forever without giving a sense of meaning, since it does not seem to matter if you go up or down. This adds to the meaninglessness.

So what did the diving-in bring up?

A big confusion, happening without any clear purpose, destructing something emotional while holding on as much as possible to the figure of the soldier, as the protagonist, who is being propped up somehow by a needlessly complicated scaffolding and showing off its anger as a flower.

Wow.

Or maybe I should say woe.

Isn’t the soldier like the ego? So fearful, so lost and confused, but pretending to be strong, accompanied by self-hatred, and displaying some dramatic fireworks while feeling so limited.

So what good is that for? What did I gain from drawing?

Seeing that this pain event creates such a sorry state requires two participants.

One is the event itself with all that happens. The second is the seer, the one who witnesses. And you have to admit that the seeing is pretty comprehensive, psychologically speaking. The pain has become a richer event, with self-hatred, with the inflexibility and fear of the ego, with all that is constructed to keep the ego in place, with the complexity of what holds the ego in place, and with displaying the drama almost as a way to decorate the ego.

First came the initial scream. The viewer at that point was the ego himself. Then, with calming down, it became possible to choose a different perspective to look from, by using a different style of consciousness. Instead of the narrow style, of one thought after another, of cause and effect along the same path, the attention started to be given to everything at once, to all the participating shapes and the way they relate to each other.

When there is a strong emotional response, one thing becomes the most important one, while everything else disappears from view. But from the wider view, the relative importance of the pain diminishes, and all the parts and their relationships can be seen at once. So you see the whole structure of the event. It does not have a purpose and it does not have a hero.

How does consciousness change?

Just by making art, in which composition is of the most importance. If you want to make something that has beauty for you, you must pay attention to the composition. When you do that, the diving into a wider (and deeper) state happens on its own. I am talking here about why art is so powerful as the initiator of wellbeing.

With this deeper view and with the associations that arise, you start to know the complete situation, or you see in a more complete way than before.

Being in this relatively deeper state is pleasant. It gives a sense of control, of knowing, of peace and of being strong and unaffected by the suffering. It surely is a better state than the one it depicts.When I came to this stage, I did not feel the pain any more.

Before, when the pain was the most important thing, getting rid of it seemed to be the prerequisite for feeling better.

Now you become interested in changing the situation, not because you do not want to feel the pain but because you want to be in a different state, the state of the viewer. It is a totally different ballgame. You don’t need to have no pain in order to be happy. Happiness is yours by changing your perspective. It is insight. It is wisdom.

It is a big and meaningful change that is right under our noses.

If you do this many times, it becomes a habit. Suffering then leads you deeper and you feel better. You teach yourself to be free.

 

 

 

 

229. The blanket of words

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It looks to me at first that I have nothing to say. Then it comes to me that the balance is important. It is like a very complicated collection of so many different shapes and colors, and it all has to be in balance.

What do I mean by balance?

I mean that when you look at it you get a sense that in spite of its complexity, there is a guiding wisdom at work in it.  Some deep knowing is involved.

The impression (For me) is that all the shapes live in peace with each other and with everything that is in the picture. Every shape belongs to some group, based on sameness of color, shape, size, or other attributes, and it  may belongs to more than one group at the same time. Yet everything works together without conflicts. All the shapes and the groups do what they do within the same space. The may even overlap and mix. But they do not block each other.

There is an exercise that I used a lot in art therapy. Two people work together on the same artwork. They work in turns. Every one of them, instead of trying to support the other, makes sure of only one thing: That he or she keeps loyal to his/her own sense of beauty. When people work in this way, they come from a deeper place within themselves and they give their best contributions to the shared artwork. It is possible to live this way too.

Every individual truth (represented by one shape in the picture) is acted out with wholeness, and no individual truth is in contradiction to another inner truth.

This is possible only because the art-making is wordless. In our life as human beings there are oppositions indeed. These oppositions are only due to the stories that we tell, which are the way we interpret what happens to us. If you take the stories away from what happens, like lifting a blanket of words from something that lives a wordless life underneath, you discover a world of harmony.

So what is more real: The world of stories, or the world of experiences with no interpretation?

And which of these do you want to be in?

There is no right answer.

 

201. 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?

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.

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.

168. Questions and a new beginning

Somehow I lost the drive to read art. I mean to read my art. I still read others’. I feel resistance to reading mine. Maybe the reason is that I think: Well, what is the point? It does not mean much, since I am not attached to it. There is no reason why I’ll let this past thing interfere with what I want to do now. So why bother reading it? It looks beautiful anyway. Looked at from a deeper state, all the complications look beautiful, and this is enough to see.

Where does the beauty come from?

So what can I do with these artworks?

How can I continue my blog? After I stopped being interested in the contents of my past, it has become hard to add anything to the blog.

I had some very good, high feelings, that I described, and some less good feelings, but now, what am I to do with this blog?

Maybe this is the place to go up and up in vibrations?  So this is a new beginning.

Life as a process

Life as a process

Let’s look at this last drawing now.

There are warm colors at the bottom and they gradually turn colder until it is blue, transparent and very soft. I think that the texture, in spite of the coldness of the color itself, gives some warmth, related to the sensitivity that is expressed. So it is coldness described very sensitively. Maybe aloofness? So you become very interested, being a sensitive person that you are.

There is a feeling that something is growing in the drawing. There is a wider base shape, almost like the leaves of a plant close to the earth. From this comes a stem and another stem in orange and from them some flower, leaf, or a canopy, develop. All these happen in the warmer area. Then of course, if you think of it as a plant or a flower, then you have to have the sky somewhere behind and above. But the sky is not just a flat color. Something is alive there. Shapes come out of shapes, right side and left side parts, describing something that is not so clear realistically. What is it?

A dream?  Sleeping? Something in a sleeping bag? Clouds? A letter? and what letter is it? Yes, it is the G from my own name. I did not notice this when I made the drawing. Planning.. sleeping.. this is connected to that.. life.

A plant is growing, still with the original thought of: Be a plant, be intense or mild. The intense side remains undeveloped. It sends feelers to the left side, the milder, so see what is life like on that side. Of course, here you have the fear of opening up and being yourself completely, checking yourself against another. Then, many thought patterns develop and they will create this plant’s future, its new adventure, its expansion or its remaining limited and constrained.

Is there a separation between the physical and the mental? Between the simple program to grow (It is not simple really but not complicated by thoughts of and the complicated thought patters, to do this and that etc? Yes and no. How about this answer? You can see that this part is warm and that is cold. But where they touch, they melt into each other. The physical and the imagined melt into each other. They are connected, and there is a feeling of lingering there, where they touch. Is it attachment? I mean attachment from the Buddhist perspective, as of assigning importance to something and therefore holding on to something that otherwise would have just gone on and change into something else.

This melting into each other is true also for every step before this thinking occurs. The leaf melts into the stem. The stem melts into the flowering and the flowering melts into the imagination. What kind of being is that? Who is this? What a magical creature that is a process?

And the whole scene has a magical feel to it. Things happen in the dream world, softly, silently. Are they real? Who is telling the story here? Is it the stem? The canopy? Me? You? Who are you anyway? Are you evolving from my dream? Am I nothing else but your imagination process?

I am leaving you with many questions. Who needs an answer, when you have questions like these? It all keeps being created, flowing toward what seems to be up in this case. Maybe nothing really moves? Maybe it is all a thought in endlessness, which has never changed


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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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