Posts Tagged 'perspective'

266. Just reading

Craving roots

There are many ways to read art. This is one of them: Just start writing and see where it takes you.

You can also say: Start to describe what you see. From there you start to be guided by your interests, associations, and yes, the universe supports you, based on your inclination at the time. We are always supported.

The painting is from June 5th and I wrote this on June 6th. Other things came in the way and I did them, but now I want to share this.

The first thing that came to my mind was that it came out alive. It means that the power that was used in order to create it is still in it. And what is the power? It is a thought, expressed in space and time.

When you look at it, your energy field responds to the experience by arranging itself into an energy structure. To you it feels like a feeling that you may have a name for. Then your thought processes become engaged and a new adventure starts in your story of your life. It may be big or small. Maybe you immediately turn away, smile, have a cup of tea and look at birds in the sky?

Here is what I wrote:

It feels like this: a number of shapes in different colors bump into each other in the middle (These are the colored shapes). The feeling is of an argument or at least a disagreement (Purple, orange, brown and blue). But it does not come to fighting.

There are three shapes who are out of the group. They haven’t come into touching relations, like the four others. So maybe they hesitate to join? Maybe the yellow on the left and the pink on upper left were kicked out of this society or could not join in as there was not even the slightest invitation extended to them. Or, maybe they stopped before they came too close, so that they can take a good look at what is happening.  Maybe they want to check it out before they join? And the cloud, the third of the outsiders, is the one who cares the least. He seems to have more power than all the rest. He has his own behavior and his own field of reference, which is the weather system in the area and the world. As such he is much less a participant in the meeting. But because of him, the perspective of other, bigger systems, is added to every part of this picture.

Then there is the earth with an orange border. But this element is cut abruptly on the left, without too much drama.

This tear-off breaks the impression of a stable earth. This earth can shrink to nothing. Don’t rely on me, it says. Look somewhere else for your stability.

Now the purple and the brown seem to connect with the earth, in spite of it being ephemeral. The orange and the blue seem to be okay with just floating in the air. Or maybe they are not so okay with it, and this is why they come to mix with the earthlings.

So here is a kind of a summary. There is a little drama here. Like in a country, or any society. People collaborate without agreeing with each other. There are some small areas of overlapping and you can say, some form of compromise and collaboration. The others are in differing degrees of separation, deciding not to get involved. But they are close anyway. They are human too and they don’t want to give up on their belonging to this group.

These are the energy bodies, operating by the hidden assumptions that bring about what seems to appear in reality, which is the drawing in green lines.

The green lines describe little separate forms that together create the pattern of what appear in this world of time and space.

So when you wander in this world and see all these forms around you, know that they come from a deeper, usually unseen, layer of energy bodies, coming into being from thoughts and ideas.

All comes from thoughts.

As in a known Zen story, in which some students, looking at a flag that moved in the wind, argued about what truly moved. Is it the flag? Is it the wind? And the master said: Nothing moves, except for your thoughts.

And how could I forget the red part of the lines, in a little area in the right? There was some drama in the reality of the picture.

This red part is indeed a part of the reality that I created with my thoughts. But I gave it the red color to say that according to my beliefs this is a violation of some sort.

Now imagine that you are an art therapist and this is the first artwork that your new client made. Do you see how much can be learned from just the first painting?

And if every one of us has a such a collection of thoughts with him at every moment, can you see what the fabric of our humanity is made of? If we want to have any measure of freedom, we must come out of this state, in which we are controlled by our assumptions, and look at it from a deeper perspective.

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204.Everything is of the same importance

Lost in infinity

Lost in infinity

This is about looking up, while meditating or imagining. It is a good idea, and a strange thing too, as in an infinite field, where there cannot be any place that is different from another, there is no middle, no side, no up and no down.

So looking up belongs to the relative world. Some time ago I was advised by inner guidance to look to the sides, when I dive into imaginary spaces, instead of looking straight forwards. It was a smart advice. I discovered a whole now experience. And maybe this is the beginning training of me in getting used to infinity. There is indeed so much more in it, and the way we focus in infinity is totally different. We do not hold a narrow view. We have the view of all.

And when I looked up at first in meditation, I discovered again a new world. And this is what I started to depict here.

Of course, it is: bringing the relative perspective into the infinite reality.

In my imagination it looked different at first. It looked like a scene into which you could penetrate deeper and deeper, passing bodies of something on the way, going beyond them, passing other bodies, and so on. Here I have some form in the middle, as if it is a three dimensional form. You may get the feeling that it is a kind of a giant. You are looking from the level of the knees and far ahead there is the head. Then it may even look as if this head is looking down at you. As much as I wanted to lose my earthly perspective, it came through. I could not get rid of it. In a way it endears this perspective to me. Like a child that you, impatiently, want to convince to do something that is more comfortable for you to deal with, but the child stubbornly wants to go at that thing from his perspective. At first you get annoyed, but you end up listening. If he insists so strongly, you think, let me listen carefully, because there is something in it for him, and it is important for him so much that he opposes me. Let me see what it is.

So who is the child in this case?

It is the earthly perspective. The way we experience and interpret the world around us. There is always a point in a specific place in the space that I know, from which the view is taken. There is also the issue of bigger and smaller, and the world will compel you to pay attention to these differences, as they have something to do with your safety. If the giant is your friend, then he’d rather be big and strong. But if he is of an unknown orientation…

When you look at the individual spots, some of them seem to be closer to you, and some are farther. This is due to the color and the surrounding colors. If you look at the area of what would be the chest, the dark blue area seems to be an opening into an unknown depth. The purple seems to come toward us. And the green is deep but not so deep as the dark blue. These differences break the solidity of the form, and I wanted this effect to be in the art, to confuse the usual way of relating to forms and background. I wanted you to know that what you are looking at is not what you thought it was.

The white parts can be seen as objects painted in white, as we do sometimes in our reality, but also as areas that were not touched by the power of the colors. They have not been swayed off balance to be close or far, warm or cold, friendly or hostile. So they remained points of reference, like the test groups in scientific experiments that let you know how things will behave without the influence of the foreign element that you introduce.

So you now start to have the feeling of what this painting is about. It is about being uncertain as for where things are, of the integrity of forms, of background and foreground. You are still with a few of the perceptual habits of an earthling, but your trust in your reality starts to falter.

And it is fascinating indeed. The fascination will take you through the unfamiliar. And it will take you to where everything has the same importance. What comes to mind in this context is the music of Schoenberg indeed. The invention of the twelve-tone music did the same service to music that this artwork does to visual perception. In the traditional structure of a scale there are more important tones and less important ones. The home tone is the most important, and it creates the adventure. We go far from it and feel uncomfortable. We come back and relax. This is the relative world. We, humans gave the importance to some of the places, because this was our perception of reality. Places have relative importance and everything else has relative importance as well. In Schoenberg’s music this relativity is lost. You are placed in an unformed space musically, where it is hard to know where you want to be. You can struggle and try to reach something that will resemble the familiar home, but you can’t really find it. So you get used to having no home. And when your worry subsides, you start to play. You try to put things in different orders. And you know that the orders that you create are temporary and not substantial. But they give you pleasure and activate your curiosity to go on trying other combinations.

So now, do you have a better sense of this artwork?


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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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