Posts Tagged 'beauty'



229. The blanket of words

P1000239

 

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

156. One poem with three names

1. The Green

2. The Habits and the Flow

3. The Human Condition 

The reds go to the green

The reds go to the green

But he is overwhelmed and afloat

The river flows rigorously by him

And everywhere else

He remembers the river from a dream

 

The browns are curious, supportive and showing the way

Just as the lines of his drawings are

And the Green welcomes them

 

There are golden drops all over the place

I told you he is overwhelmed

I did not tell you it is joy

 

The reds are riding in dutifully

Hoping they are in the right direction

Reminding of biblical tribes of nomads

Who always go to where the green goes. 

A few notes: 

The nomads who follow the green are the subconscious habits that we have. Of course I did not think this when I wrote the poem. You try to escape them by changing your life and there they are with you again.

This is a description of my life at the moment. Of course I did not think so when I wrote it. The lines help me a lot to see clearly.

The joy is all over the place, in the curiosity, in the creativity, in the love, in the beauty, in itself.

The poem has power because it speaks in pre-language. You put words to it but it is the pre-language that speaks.

The river was seen sharply and clearly in a deep state, showing me that the flow of real life is always right here with us, strong and eternal.

Why is the green the hero?

About satisfaction: 

When beauty is created through you there is satisfaction.

It is the beauty that came through, that puts you in wonder, provoking deep appreciation and thankfulness, that you can also call satisfaction.

You feel you did something that is meaningful. You expanded, surprisingly. You have more love now. This is satisfaction.

Do you need anything? No. Thanks. Everything is OK.

153. Right behind it is you

 

Upside down moon

Upside down moon

In this upside down world

Where shame is king

And the beauty of the evening moon

Breaks your heart

Isn’t it natural

That we choose to make art?

There is a mountain range up in the sky

And there is a mountain range down

We are just waiting for the bird

To sit on a bough

The bird who’ll come to laugh at me

For going again

In the same old rout.

This is about automatic behavior. An old program kicks in. You find yourself angry at someone and afraid. You desperately seek your connection to the eternal, but the subtle and kind all-that-is will never push his way in. You have to open the gate.

And you have done just this so many times already, but there is still some more. And right behind it, lo and behold, right behind it is You.

133. The beauty of it all

 

Where am I?

Where am I?

When you are in a conflict

Between doing this or that

In your view

The light is outside of you

But the truth is that the light

Is in you

You are the light

And the conflict

Is a beautiful thing

Happening inside of you.

 

The mistake that we make

Is identifying with things

And not with what they appear in

What sees them

And what plays with them.

 

So when you start identifying

With the true you

The infinite

It is not important any more

Which side is right

And which one is wrong

What becomes significant

Is the beauty of it all

And the ability to change it

At will.

131. Visual meditation

This entry is long. It described one more of those processes in which I discover an issue that is central and comes up again and again. I release the issue or dissolve it thoroughly by doing a process that you have seen before and today I call it a visual meditation.

Imagine yourself meditating. In a few minutes you calm down a little. And then a feeling comes up and you are uncomfortable with it. What happens now?

First let’s consider the feeling. It came up for a reason. You were trying to meditate and it came to stop you from doing it. Why? Because meditation connects you to who you really are, a being who does not have the limitations of the ego. The ego will have to give up its existence, if you go there, and it does not want to do it. You have trained it to protect itself in every way it can.

So it is the ego’s fear of being eliminated that appears in the different ways that it does. This disturbing feeling, arising in the meditation, is one of them. It is connected to a certain issue that is important for the ego. The ego has many issues. I don’t want you to feel negatively about the ego so I’ll say what the ego is, as I see it. It is the belief that you are a separate being who has to protect himself in order to be safe. This belief collects about itself numerous thought patterns of self-protection and preservation. That’s all it is.

So here a choice comes our way, as this issue comes up in the meditation and makes us feel uncomfortable. What do we choose to do: One possibility is to leave the ego intact, maybe change something unimportant in it, or not even this. The other possibility is to start eliminating the ego.

I have to disclose a secret. There is no escape from eventually eradicating the ego altogether. But we can postpone it. If we postpone, the same issue will come up for us again and again. The more we fight with it, the stronger it becomes. Then comes a time when it is so painful to have it that we must do something to ease the pain. It may even turn into an illness of the body. Many times it does just this.

Most people don’t know this, and therefore try their best to push the unpleasant experiences away.

There is something else that encourages us to dissolve the ego. It is a deep sense of satisfaction and happiness, when we do it. If we start working on dissolving the ego, we start feeling these two and more. We feel joy arising and we feel that we live purposefully. And when we push the unpleasant feeling away, in spite of the momentary relief, if we listen to how we feel when we do it, we find that we feel fear, tension, discomfort and other feelings like these.

So if we listen to ourselves and become more aware of what we feel, we take hold of a navigation mechanism that if we utilize, will take us all the way to freedom from our ego. The same issues that are afraid to be dissolved, are also those issues that cause us psychological suffering. For these issues we go to therapy. So therapy, when it helps us get rid of such issues, is also a spiritual practice.

In meditation there are two ways to release issues. The first is to frustrate them. The issues get their energy from the attention that we give them. We give them attention because we feel fear and think that they are important and indicate dangerous conditions. So if we just choose every time when we feel an issue arising to give our full attention not to the issues, but to the meditation, the issues don’t get our attention. They try harder and harder, but then they die from lack of energy, because we do not give them the energy of fear that sustains them. Do they die completely? Most probably not. They will come up again and again. But in this method we are focused on going straight to experience what we truly are, so we do not care about the issues. Once you experience who you are, it will become much easier for you to let go of all of these issues. If you choose this way you need to meditate continuously. If you take a break for a few days, the issues that were neglected but still have some presence, will get stronger again. If you loose your focus, the ego takes control again.

The second way is to give attention to the issues that arise, but not in the usual way of giving attention. Usually, as we said before, that attention that we give is fear. We feel afraid that the issue will be dangerous to us, so we try to stop it or run away from it into another thought or activity. The attention that is beneficial is acceptance. We look at the emotional phenomena without getting involved. We allow the feeling to arise and flourish fully in our attention and we pay close attention without thoughts. It is like the wonder that a child can feel when seeing something he has never seen before, and he does not have words for it yet. If we do that, the feeling will grow, show itself and dissolve into nothing, without any effort extended by us. This kind of watching without being involved in the usual way cannot be done when we are in the thinking mode. We have to switch to a deeper state, which we call meditation.

The visual meditation that follows is of the second kind. We enter a meditative state by becoming intuitive. And we become intuitive by following the personal sense of beauty as the only guide in the art making. The following seven drawings were done in this way. After they were made, I read them in ways that have been described before in this blog. In my case the reading becomes poems, just because I like poems but they could end up being short stories too. The main thing is that the reading is intuitive too. It is just a way to bring the awareness from a non-verbal state to a verbal state, so that we can see what is there and choose what we want to do.

After each drawing was done and read, I asked: And how is the feeling now? And made the next drawing.

Glass ceiling

Glass ceiling

A.

This is fear

In the shape of

A glass ceiling

This you may not do, it says

Yes there is some light above

But you are not allowed to go there

Or else

Here is the memory of a stick

That goes generations back

The rain that falls

Comes from sticky memories too

It blurs the skies

And makes puddles

That don’t reflect the light

You have some space

Under the ceiling

That you can play in

But do not go up or else

And I will go on

Protecting you

This way

To death.

 

Stench

Stench

B.

The tree of mal intent

Grows in the bog

Its branches are like foul smells

Horrors and screams

Arise as fumes

And that’s the landscape of my youth

The tree is me

And the stench blocks the light.

 

A cloud of worry

A cloud of worry

C.

The stench became a cloud of worry

There is a touch of comfort blue

In the softness of the sky

Some light comes through

Maybe

There is a way

To the light?

 

The fight of light and dark

The fight of light and dark

D.

The war of light and dark has started

The light is happy

The dark is so afraid

Light comes together

As one

Dark separates itself to many

It lingers

It fights

It falls and curses

It crowds

And it knows

That it can be

Blown away

By the wind

Any moment.

The dance

The dance

E.

Just at the time

When it started to look hopeless

They started to dance

A crazy dance

The good, the bad, the roots, the foliage

The sky, the blood, the love,

The soot

Round and round they go

Faster and faster.

 

 

Nothing can be seen

Nothing can be seen

F.

Until you cannot see a thing

As nothing wants to show itself

And it is quiet

It’s time to invite my true self now

To come

And play.

The dance of joy

The dance of joy

G.

And when it does

It is a crazy dance as well

But with a sense

Of joy

And wellness.


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Entries 1-58 show how I use the method of Intuition Through Art to heal myself from Peripheral Neuropathy.

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