Posts Tagged 'suffering'



202. Up or down

Up or down?

Up or down?

What do we see?

One complexity is flying up in the sky, above another complexity. Maybe the second one is the ground? Maybe it also floats in space?

Maybe the ground is floating in space?

If it does, then this goes along with what I started to experience more and more, that our reality is not so real as we think it is.

In our referential world there is a ground under everything. And if what appears above the ground is floating and does not even touch the ground, does it mean that it is floating really? Is it happy and jumping with joy?

One thing I can tell for sure is that both the ground and the thing that floats above it continue beyond the canvas to the left and to the right.

It seems in both of them that the left side is close to the end or to the beginning. There is less and less, as we approach the left side. So we can guess that if we go a little more to the left there will be the end of the shapes there.

Is this significant? Well yes. We don’t know yet how, but it is something clear.

When we look at the right side, things both in the floating part and in the ground are becoming more spacious.

This state of events leaves the middle area heavier and therefore it attracts our attention to it. We do not pay much attention to the left and the right. But I am used to looking for the bigger context, so I saw it.

The shapes in the floating part seem to be standing, dancing, running and moving. They seem to be moving to the right. That’s because everything is slightly heavier on the right side of the middle.

The shapes in the ground seem to be horizontal. They seem to be holding on to the rest of the shapes, as if trying to avoid being left behind, when everything else moves. If you look at where in this group the weight is, you realize that they even seem to be pulling to the left, back to the beginning.

Now the difference between the sides helps us understand. To the right there is the progress toward the unknown. In the left was the beginning. One group dances to the future and the other group holds on to where they are, afraid to move.

So it is like two worlds, living very close to each other. One is light and happy, and it is going to the future. The other is depressed and lonely and afraid to move. The two worlds don’t touch each other. Maybe they do not want to pay attention to each other. It is only us, the painter and the watchers of the painting, who can see this strange phenomenon.

In the upper part there are the adventurers, the ones who take risks, those who are not afraid to live life to the full.

In the lower part the figures are afraid and in distress.

Within each group the figures collaborate and are of the same three colors, red, orange and purple. So maybe this shows that basically these are of the same kind, those in the upper and the lower parts. But their experience is totally different.

Where would you choose to be?

You see? Suddenly the drawing changed. Before, maybe it was undecipherable and did not speak much to us. Now it is a challenge, pressing you to decide about your life.

It is nice and looks full of wisdom when I speak about this as if these figures represent some other people. But I drew this. Both the upper and the lower parts came from my imagination. So they represent me.

Which of the groups is me? Both.

If I give up on the upper, I’ll be only depressed and suffering. If I let go of the lower part, who knows what will happen? I may expand. I may explode. Everything is possible. We never know until we decide to be that upper part.

But for now I want to tell you that even though these two groups seem to be of different spirit, they actually belong in the same layer of understanding. They belong to where things are different, separate and competing.

So where is the wisdom here?

In the watcher. You and me. Let’s watch.

And if we let go of wanting to be either the upper or the lower parts, who are we? what do we belong to?

192. Desire

Yes/no together

Yes/no together

I have been doing a series of drawings about desire. It just came up and I let it be.

Here is one more painting about desire. But desire is becoming more and more beautiful. And here I am starting to know about the way of coming out of addictions, if this is what you want to do. It is through the discovery of the beauty in it. The seeing that it is absolutely beautiful and as good as anything else, so it loses the allure of the rebellion and stays as one possibility out of the infinite number of them.

And then, once it is not a rebellion any more, you choose by your bigger intention or any other consideration, like playfulness, love etc. When your choice starts to be from this love, curiosity, care, playfulness, which are the makeup of who we are, you are OK.

So I am thinking about the people who will look at this drawing/painting, and they may not know on their own that this is about desire. What to do for them?

The first is to say so and they may believe me. Why not?

Then I’d say: Look at how the green and the orange play with each other. They are not completely harmonious or in agreement. There is intensity in each of them but they oppose each other. They push each other away. But they are playing together here, aren’t they?

And this is typical about desire. There is a mixture of wanting and not wanting, a hunger and a chase, a yes/no, yes/no, which fuels the desire. (A yes/no is the energetic source of everything in our world. Maybe I should write about it in the future?) It is a very strange thing indeed, of a suffering and a satisfaction together at the same time. A want more, want more, must have more, which I don’t yet have, which motivates the chase and the pursuit and the activity.

Then look at the ochre, which is a softer version of both the orange and the green. It somehow connects them and softens everything with a sense of being a human being, a friend, a collaborator.

Then look at the brown, which is like the secretive fertile source.

Look at the shapes of the lines all over the painting, which are softly sensual, touching everywhere, almost tickling. And the whole is a like a strange flower that grew by the rules of yes/no on its own from this mud of existence, which is nothing else but the energy of the universe, colored by us as dark, sensual, lack/fulfillment experience.

Has it become clearer?

So, again, I am discovering the infinite richness of what is considered by some as not so good, has to happen but the less the better, etc.

Looking at this and finding that it is nothing but one more of the infinite appearances of the all that is, takes the judgment out from it. With no judgment, you free yourself from the attachment to it, and like everything else it becomes the face of infinity.

187. Fear all over

Fear

Fear

It is a key drawing in the process of my relief from major programs in the subconscious. It describes fear. There is a body there and it is full of small waves of fear. The fear goes everywhere, the head, the chest, the hands the muscular stomach and the pelvis. There are three places where, it so happens, the lines in light brown are darker. These places are the head, the stomach and the crotch. These are the places where I feel fear, when it is clearer. Sometimes I also feel it in the heart and in the legs. But the fear I am talking about here covers the whole body and beyond. It is not strong, it is hardly felt, but it is there always, ready to be provoked.

It is a bit shocking for me to see that after all I have lived and done there is still fear somewhere in me at all. But it is so. This is what is discovered suddenly in this drawing that I did at around 4 in the morning. This is the way my body feels when it perceives being attacked so viciously by the pain. I did not know that it would come out in the drawing when I did it. I was just tuned in to my inner guidance.

When I finished the main structure in light brown it felt good to add pink in some places. These pink lines created the sense of fear. The brown lines described the tension.

I considered adding other colors inside of some shapes, but there was a strong feeling, when I thought about it, that the drawing did not need these. It could have changed the feeling in the drawing and this is exactly what I did not want to happen. I wanted to read the drawing as it was, without changes.

And this led to this discovery. There is so much fear in me when the pain comes. There is so much habitual creation of fear even before the pain comes. Mostly, it is very delicate and hard to catch. There is an expectation in me, somewhere in the big system of my being, for something bad and painful to happen soon. Life is dangerous for you, the fear says, and it arises, to prepare me for the approaching calamity. The expectation that something full of suffering is on its way is so strong that now, as my feet are healing, this fear prepares me for some other way of suffering that will soon appear. It already weaves stories that will explain why and how. I catch these swift, very quiet thoughts that predict that something else is starting to go wrong in my body. I catch them because I am aware. I catch everything that makes an inner noise. But this fear did not stand out because it was very delicate, encompassing all and always there. I never experienced my life without it. There is a tension that I feel in the back of my neck. Every time I become quiet, this tension is created. I was aware of this tension for years but never knew what it was an expression of. Now I know: It is this fear. Every time I got quiet something in me said: Wait, be careful, because something bad and painful is coming at you.

Now I know that this fear is what prevented me from enjoying playing music in front of others. When I was six years old I studied piano. In the end of the year came the concert for all the parents and fellow students. I learned a very modern piece, which was an Israeli song, arranged with very modern dissonance. I fell in love with the way the song sounded and it was a revelation to me. I still love dissonance today. My first beloved classical composer was Schoenberg. But when it came time to play the Israeli song before the audience I got frozen with fear. I lost the sense of beauty in the piece and the interest I had in it. I only felt extremely scared. This was this fear, the fear of being true to myself in front of others, the fear that something horrible will happen as soon as I relax into who I am.

I think this is the key to a lot of suffering that people have, where it seems very hard to detect the source of the suffering. It is something that these people were born with and never had experienced life without it. They are used to live with this feeling in them and therefore it is very hard for them to feel it. But there is a way to find and release it, as you see. It is by getting into a deeper state, which is what I did by drawing intuitively, and witnessing the fear from that state. How come I have only found it now? I have been practicing being aware of how I feel and choosing to feel better. My vibrations rose, and the fear stood out as being of lower vibrations.

170. Tuning in to who I am

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

The layers of different focusses

The layers of different focusses

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

They look like monkeys or cats or bugs.

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

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

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

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

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

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

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

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

This is what this art process does.

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


Awards

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Join 1,525 other subscribers

My Pages

The healing process

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

Archives