04.12.21 - Fourth sitting notes for Beloved, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
Observations
After meditation, I sat to work on Beloved, the developing drawing created with conte crayon and pencil (see images below). What I found included a new male figure and a bird on the left, with some detail work on the crown of the middle female (see Joy Now, detail image below).
Inner Spiritual Mechanics of the Body
Seeing through to these new parts of the drawing, I noted that I was seeing through the object (crown or body), to other objects. Specifically, inside of the middle character's crown, the shape of a triangle can be observed at the occipital lobe. I intuitively understand that spiritual energy enters the body here, and that the shape of a triangle symbolizes this understanding. Other shapes discernible within the crown, are also representative of the astral and causal structures of our higher spiritual forms/bodies. Further, within the torso of the male character furthest left, there seems a description of inner, energy conduits. These include the chakras that are housed at the coccygeal centre, sacral centre, lumbar center, dorsal center, cervical centre, and the medullary center within the head.
Joy Now, and the Bird
Across the legs of the new male on the left, it is noted there is a bird. It is hanging from a serpentine shape that covers the pelvic region in this figure (the serpentine shape will be developed further, as intuitively indicated). As I was darkening the outline of the shape of the bird, I noted there were words written upon it. I traced the letters, and realized the words "Joy Now." I will leave intuitive deconstruction of the 'Joy Now bird' alone for now, as there is more to be revealed in this area of the drawing, which is needed for the full interpretation.
Spiritual Mechanisms Through Which the Consciousness May Move
The new male on the left is reaching from behind the central boy, and has his hand on the boy's right shoulder. Also, this male motions with his right arm and hand in this same direction, and seems to be looking through the female to the crown. With the visibility of inner spiritual shapes within this character, and the intuitive feeling that he has 'many bodies' that overlap within the same space (look at his feet), we see he has within him symbols of an inner path of energy that moves upward through the body. A similar 'energy highway' description is also seen within the length of the central character, from neck to navel. Overall, the symbols seen within the bodies of the central and leftmost characters, represent spiritual conduits and mechanisms through which the consciousness may move.
Conclusions
Through deep meditation, I have realized that 'I' am not the body. The physical body is the grossest extension of spiritual matter, and manifests in three-dimensional form. This is what the physical eyes can perceive. Nevertheless, in the meditative state, spiritual parts of the whole self, which includes the astral and causal forms of the body, may be perceived. These higher bodies are intertwined energetically through the mechanisms of the chakras, essentailly weaving into and throughout the spiritualized canals of the spine (shushumna, and ida and pingala). Overall, beyond the ego, mind, and thought, a state achieved through one-pointed focus upon the breath, and interiorization of the mind within the state of joy, these forms may be perceived.
Observations
After meditation, I sat to work on Beloved, the developing drawing created with conte crayon and pencil (see images below). What I found included a new male figure and a bird on the left, with some detail work on the crown of the middle female (see Joy Now, detail image below).
Inner Spiritual Mechanics of the Body
Seeing through to these new parts of the drawing, I noted that I was seeing through the object (crown or body), to other objects. Specifically, inside of the middle character's crown, the shape of a triangle can be observed at the occipital lobe. I intuitively understand that spiritual energy enters the body here, and that the shape of a triangle symbolizes this understanding. Other shapes discernible within the crown, are also representative of the astral and causal structures of our higher spiritual forms/bodies. Further, within the torso of the male character furthest left, there seems a description of inner, energy conduits. These include the chakras that are housed at the coccygeal centre, sacral centre, lumbar center, dorsal center, cervical centre, and the medullary center within the head.
Joy Now, and the Bird
Across the legs of the new male on the left, it is noted there is a bird. It is hanging from a serpentine shape that covers the pelvic region in this figure (the serpentine shape will be developed further, as intuitively indicated). As I was darkening the outline of the shape of the bird, I noted there were words written upon it. I traced the letters, and realized the words "Joy Now." I will leave intuitive deconstruction of the 'Joy Now bird' alone for now, as there is more to be revealed in this area of the drawing, which is needed for the full interpretation.
Spiritual Mechanisms Through Which the Consciousness May Move
The new male on the left is reaching from behind the central boy, and has his hand on the boy's right shoulder. Also, this male motions with his right arm and hand in this same direction, and seems to be looking through the female to the crown. With the visibility of inner spiritual shapes within this character, and the intuitive feeling that he has 'many bodies' that overlap within the same space (look at his feet), we see he has within him symbols of an inner path of energy that moves upward through the body. A similar 'energy highway' description is also seen within the length of the central character, from neck to navel. Overall, the symbols seen within the bodies of the central and leftmost characters, represent spiritual conduits and mechanisms through which the consciousness may move.
Conclusions
Through deep meditation, I have realized that 'I' am not the body. The physical body is the grossest extension of spiritual matter, and manifests in three-dimensional form. This is what the physical eyes can perceive. Nevertheless, in the meditative state, spiritual parts of the whole self, which includes the astral and causal forms of the body, may be perceived. These higher bodies are intertwined energetically through the mechanisms of the chakras, essentailly weaving into and throughout the spiritualized canals of the spine (shushumna, and ida and pingala). Overall, beyond the ego, mind, and thought, a state achieved through one-pointed focus upon the breath, and interiorization of the mind within the state of joy, these forms may be perceived.
04.12.21 - Joy Now, detail image
04.12.21 - Beloved, whole image, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
04.11.21 - Third sitting notes for Beloved, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
Observations
It is in the stilled silence of deep meditation that a bright light within oneself may be discerned. To begin, one would sit with the back straight, head and chin slightly down, while closing the eyes and looking upward to between the brows. Now, looking there, decide to look beyond the spot, to a location that feels a natural distance outside of the body. For myself, this is from four to six inches. Sometimes, I practice my focus, and extend this willful looking with the mind beyond the body, from three to six feet. It is in the exploration of what feels natural, in regard to this sensing of 'energy' by position of the mind's spiritual eye, that assists in further expanding one's sense of self beyond the body, beyond the city, beyond the state, country, and entire earth. Overall, the mind begins meditation within a focused point, but then the expansion of the consciousness bubbles outward in awareness and circumference, losing circumscription of self, and gaining awareness of the ether that is the Spirit of God.
It is in the Observation of a Thing that We See Ourselves
After meditating as described above, the self's position is shifted to the observer state. Within this state, there is the Knower (Observer), the Known (object being observed), and the Knowing (Intuition). Intuition is developed in the act of transfering self-awareness from the egoic-I-self, to the Observer-self, through the salubrious additive of joy. There are many ways to make this inner shift, but one's ability to shift to this higher vibration is through practice within meditation, as well as deconstruction of negative belief systems outside of meditation time. With the effort of the latter, one partakes of the most healthy of pursuits, which is spiritual self-analysis. Overall, the method employed by myself to attain mental, material, and spiritual growth includes drawing what the soul presents, and then deconstructing the images with intuitive, positive observations in writing.
The Crown (see image detail below)
In the third sitting in front of Beloved, I faithfully spent some time 'cleaning-up' the right-upper side of the work. Then, I moved to work to the left of the central, sitting boy who holds a crown. There I found an oddly-situated female who also wears a crown, and who shares the right arm of the first boy. Her chin is lowered as she dramatically turns her head to look over her shoulder at him, and she stares directly at him. She is reaching for the crown, but uses his right arm to hold it in the same way. Further, it seems to me that the flattening of the spaces of her body speaks to the existence of a 'wall' behind her, which feels to my mind to extend at an angle to the left edge of the paper. I do not know if this means there will be further flattened characters along this side, or exactly what will develop: these are intuitive perceptions. Overall, the discovery of this flattened female who shares the arm of the first boy, indicates the Beloved as 'many who guide and support us' on our individual spiritual journeys.
Self as a Multiplicit Being that is One Spirit
I intuitively understand that this new female figure represents the 'idea of God's Spirit as a Friend within oneself.' Through deep meditation upon God as Friend, or Beloved, it is realized the 'crown' of the Spirit Realized is a shifted location within oneself, wherein the soul and God's Spirit are One. My soul is visually expressing the idea of 'One-Identity' through the 'sharing of this crown', symbolized here by two characters holding the same object. Further, I understand these (now two) central characters represent a growing understanding of 'Spirit personfying Itself' through this art, to shed light upon inner perceptual constructs from which spiritual-reality is self-realized. Overall, the perception of 'self as a multiplicit being that is One Spirit', is a theme within the growing narrative of this work.
Conclusions
I strive to maintain conscious contact with the Spirit 'I' perceive within meditation beyond 'meditation time.' Turning inward, the Spirit and self-identity enmesh, and are realized as One. When we must turn our attention outward, to matters of physical reality, it is a pleasurable effort to whisper to this Beloved Friend constantly. Heartfelt, loving statements such as, "Father, reveal Thyself," or "Make my soul thy temple, and make my heart thy Beloved home, where Thou wouldst dwell with me in peace in everlasting understanding," engender inner peace and serenity. The conscious mind is energized by the realization that the Spirit is Present, is Watching, and is definitely Participating. Overall, it is our inner orientation to spiritual perceptual constructs, and a willingness to sit in the still and breathless state of deep meditation, that assists the mind in remaking his whole life to a constant realized joy and inner bliss.
Observations
It is in the stilled silence of deep meditation that a bright light within oneself may be discerned. To begin, one would sit with the back straight, head and chin slightly down, while closing the eyes and looking upward to between the brows. Now, looking there, decide to look beyond the spot, to a location that feels a natural distance outside of the body. For myself, this is from four to six inches. Sometimes, I practice my focus, and extend this willful looking with the mind beyond the body, from three to six feet. It is in the exploration of what feels natural, in regard to this sensing of 'energy' by position of the mind's spiritual eye, that assists in further expanding one's sense of self beyond the body, beyond the city, beyond the state, country, and entire earth. Overall, the mind begins meditation within a focused point, but then the expansion of the consciousness bubbles outward in awareness and circumference, losing circumscription of self, and gaining awareness of the ether that is the Spirit of God.
It is in the Observation of a Thing that We See Ourselves
After meditating as described above, the self's position is shifted to the observer state. Within this state, there is the Knower (Observer), the Known (object being observed), and the Knowing (Intuition). Intuition is developed in the act of transfering self-awareness from the egoic-I-self, to the Observer-self, through the salubrious additive of joy. There are many ways to make this inner shift, but one's ability to shift to this higher vibration is through practice within meditation, as well as deconstruction of negative belief systems outside of meditation time. With the effort of the latter, one partakes of the most healthy of pursuits, which is spiritual self-analysis. Overall, the method employed by myself to attain mental, material, and spiritual growth includes drawing what the soul presents, and then deconstructing the images with intuitive, positive observations in writing.
The Crown (see image detail below)
In the third sitting in front of Beloved, I faithfully spent some time 'cleaning-up' the right-upper side of the work. Then, I moved to work to the left of the central, sitting boy who holds a crown. There I found an oddly-situated female who also wears a crown, and who shares the right arm of the first boy. Her chin is lowered as she dramatically turns her head to look over her shoulder at him, and she stares directly at him. She is reaching for the crown, but uses his right arm to hold it in the same way. Further, it seems to me that the flattening of the spaces of her body speaks to the existence of a 'wall' behind her, which feels to my mind to extend at an angle to the left edge of the paper. I do not know if this means there will be further flattened characters along this side, or exactly what will develop: these are intuitive perceptions. Overall, the discovery of this flattened female who shares the arm of the first boy, indicates the Beloved as 'many who guide and support us' on our individual spiritual journeys.
Self as a Multiplicit Being that is One Spirit
I intuitively understand that this new female figure represents the 'idea of God's Spirit as a Friend within oneself.' Through deep meditation upon God as Friend, or Beloved, it is realized the 'crown' of the Spirit Realized is a shifted location within oneself, wherein the soul and God's Spirit are One. My soul is visually expressing the idea of 'One-Identity' through the 'sharing of this crown', symbolized here by two characters holding the same object. Further, I understand these (now two) central characters represent a growing understanding of 'Spirit personfying Itself' through this art, to shed light upon inner perceptual constructs from which spiritual-reality is self-realized. Overall, the perception of 'self as a multiplicit being that is One Spirit', is a theme within the growing narrative of this work.
Conclusions
I strive to maintain conscious contact with the Spirit 'I' perceive within meditation beyond 'meditation time.' Turning inward, the Spirit and self-identity enmesh, and are realized as One. When we must turn our attention outward, to matters of physical reality, it is a pleasurable effort to whisper to this Beloved Friend constantly. Heartfelt, loving statements such as, "Father, reveal Thyself," or "Make my soul thy temple, and make my heart thy Beloved home, where Thou wouldst dwell with me in peace in everlasting understanding," engender inner peace and serenity. The conscious mind is energized by the realization that the Spirit is Present, is Watching, and is definitely Participating. Overall, it is our inner orientation to spiritual perceptual constructs, and a willingness to sit in the still and breathless state of deep meditation, that assists the mind in remaking his whole life to a constant realized joy and inner bliss.
04.11.21 - The Crown, center detail image
04.11.21 - Beloved, whole image, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
04.09.21 - First & second sitting notes for Beloved, whole image, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
Observations
After finishing up the last drawing titled Aum (see below), I began a much larger-than-usual drawing. I already knew the name within the first two sittings, as it literally appeared in the upper right section: Beloved (see whole image below). The Beloved mentioned here is the Spirit of the Presence of God, and it is this Spirit perceived who intuitively presents the images, as well as direction in this writing.
Spiritualized Tunnel Vision
I meditated for a few minutes, effectively ejecting any remnant of the egoic-I from my awareness, and focused inwardly, looking upward and through the spiritual eye. Lights often appear as I shift into this seeing, and it then seems as if repeated, electric circles move outward to my perception, originating from behind and beyond my physical eyes. The circles radiate outward from this location behind my eyes, shrinking into an imperceptibly bright dot within the spiritual eye, or connecting with the eye itself, increasing its radiance. Overall, the process of interiorization of the mind often produces electric-circle manifestations, which as they move outward from beyond my physical eyes, overlap in their radiance before me, and create a 'spiritualized-tunnel-vision' effect within the mind.
The Spirit is the Beloved
My Beloved mentioned in this drawing is the Spirit of the Presence of God. This Spirit is written about in all religions. For example, in Christianity it is called the Holy Ghost. In Hinduism it is called Shakti, with Atman being the Absolute Manifestation of It. In Judaism, it is called ruach elohim, meaning 'wind, spirit, breath', with elohim meaning 'great' or God (Wikipedia, n.p.). Overall, It is the driving force of all of this work, and has manifested here in a narrative of characters, communicating Itself as my Beloved.
The Solitary Boy
I found the large, solitary fellow first (see whole image below), and then located him within a window-seat. I used the conte crayon, as it is a new-ish media to me, but for this experimental work, I thought I'd observe my own reactions to the 'resistance' met by its color and waxiness. I have found that these challenges may eventually work to my advantage. I say this because I realize the tones imbued with the conte crayon are effectively 'distracting' one lens of my mind, so I begin 'seeing-further-out' dimensionally than if I had not used it. Although I do 'see through' any surface to the Higher Mind's projections, an advantage of using a dry media to create a monotone, reflective surface (like the conte crayon), effectively assits in focusing the lenses of the mind beyond itself.
The solitary young fellow is holding a 'crown', which radiates information to him. He leans forward from his lazy posture to look deeper within the crown, and gazing into it, all conscious knowledge of his surroundings disappears. At this stage of the work's development, it seems that he is located in some kind of room (given the window-seat), with the beginnings of a new type of drawing, that includes graphite forming in the upper right.
The Peculiar Boy & Me
The upper-right section includes the word "Beloved", etched into the paper, and surrounded by developing characters. So far, over the "ED" in the word, we see the most discernible character, which is a peculiar boy. He has a rather large head for the proportions of his body, and his eyes seem transcribed to portray a very focused gaze. Further, his left arm (on the right), seems to end in a mechanized hand, wherein the right arm (on the left) seems to be of normal construct. Lastly, we note he wears a striped necktie, and the arm of the female character to the left points up to the peculiar boy's temple.
The Leaping Girl
The female character's abdominal area makes up the "O" in Beloved. Her legs extend in front and behind her, creating a leaping position in which she is frozen, and she gestures with both arms to the peculiar boy just mentioned. To the right of the boy, past the "D" in Beloved, there appears to be developing a form that will extend to the bottom of the paper, as I intuitively understand it. Overall, the female character seems affected by the peculiar boy, who I understand in this moment represents "me."
Conclusions
Whatever name is given to the Spirit Perceived within meditation, it is important to note that It communicates with 'you.' As awareness of the Spirit grows through pursuit of It within this state, evidence of It's Presence in physical reality increases. Here, with the complicated beginning of a conte-crayon-speckled surface, the Spirit sees through my eyes, and projects forms for me to copy. I have found a peculiar boy, a leaping girl, the word 'Beloved,' and abstract characters to the right, which are still in development of realization. Overall, my Higher Mind has set an intimate tone for this work through the identifer of 'Beloved', and echoes this tone with the image of the solitary boy in the windowsill who gazes wonderingy into a 'crown.'
Observations
After finishing up the last drawing titled Aum (see below), I began a much larger-than-usual drawing. I already knew the name within the first two sittings, as it literally appeared in the upper right section: Beloved (see whole image below). The Beloved mentioned here is the Spirit of the Presence of God, and it is this Spirit perceived who intuitively presents the images, as well as direction in this writing.
Spiritualized Tunnel Vision
I meditated for a few minutes, effectively ejecting any remnant of the egoic-I from my awareness, and focused inwardly, looking upward and through the spiritual eye. Lights often appear as I shift into this seeing, and it then seems as if repeated, electric circles move outward to my perception, originating from behind and beyond my physical eyes. The circles radiate outward from this location behind my eyes, shrinking into an imperceptibly bright dot within the spiritual eye, or connecting with the eye itself, increasing its radiance. Overall, the process of interiorization of the mind often produces electric-circle manifestations, which as they move outward from beyond my physical eyes, overlap in their radiance before me, and create a 'spiritualized-tunnel-vision' effect within the mind.
The Spirit is the Beloved
My Beloved mentioned in this drawing is the Spirit of the Presence of God. This Spirit is written about in all religions. For example, in Christianity it is called the Holy Ghost. In Hinduism it is called Shakti, with Atman being the Absolute Manifestation of It. In Judaism, it is called ruach elohim, meaning 'wind, spirit, breath', with elohim meaning 'great' or God (Wikipedia, n.p.). Overall, It is the driving force of all of this work, and has manifested here in a narrative of characters, communicating Itself as my Beloved.
The Solitary Boy
I found the large, solitary fellow first (see whole image below), and then located him within a window-seat. I used the conte crayon, as it is a new-ish media to me, but for this experimental work, I thought I'd observe my own reactions to the 'resistance' met by its color and waxiness. I have found that these challenges may eventually work to my advantage. I say this because I realize the tones imbued with the conte crayon are effectively 'distracting' one lens of my mind, so I begin 'seeing-further-out' dimensionally than if I had not used it. Although I do 'see through' any surface to the Higher Mind's projections, an advantage of using a dry media to create a monotone, reflective surface (like the conte crayon), effectively assits in focusing the lenses of the mind beyond itself.
The solitary young fellow is holding a 'crown', which radiates information to him. He leans forward from his lazy posture to look deeper within the crown, and gazing into it, all conscious knowledge of his surroundings disappears. At this stage of the work's development, it seems that he is located in some kind of room (given the window-seat), with the beginnings of a new type of drawing, that includes graphite forming in the upper right.
The Peculiar Boy & Me
The upper-right section includes the word "Beloved", etched into the paper, and surrounded by developing characters. So far, over the "ED" in the word, we see the most discernible character, which is a peculiar boy. He has a rather large head for the proportions of his body, and his eyes seem transcribed to portray a very focused gaze. Further, his left arm (on the right), seems to end in a mechanized hand, wherein the right arm (on the left) seems to be of normal construct. Lastly, we note he wears a striped necktie, and the arm of the female character to the left points up to the peculiar boy's temple.
The Leaping Girl
The female character's abdominal area makes up the "O" in Beloved. Her legs extend in front and behind her, creating a leaping position in which she is frozen, and she gestures with both arms to the peculiar boy just mentioned. To the right of the boy, past the "D" in Beloved, there appears to be developing a form that will extend to the bottom of the paper, as I intuitively understand it. Overall, the female character seems affected by the peculiar boy, who I understand in this moment represents "me."
Conclusions
Whatever name is given to the Spirit Perceived within meditation, it is important to note that It communicates with 'you.' As awareness of the Spirit grows through pursuit of It within this state, evidence of It's Presence in physical reality increases. Here, with the complicated beginning of a conte-crayon-speckled surface, the Spirit sees through my eyes, and projects forms for me to copy. I have found a peculiar boy, a leaping girl, the word 'Beloved,' and abstract characters to the right, which are still in development of realization. Overall, my Higher Mind has set an intimate tone for this work through the identifer of 'Beloved', and echoes this tone with the image of the solitary boy in the windowsill who gazes wonderingy into a 'crown.'
04.09.21 Thoughts Upon My Beloved, upper-right-center detail image.
04.09.21 - Beloved, whole image, 22" x 15 3/4", conte crayon and pencil on watercolor paper.
04.05.21 - FINISHED, Aum, 8" round, ultramarine blue powdered pigment, with graphite, on watercolor paper.
Observations
I found a joyful Spirit awaiting my conscious focus, after closing my eyes. This inwardly peaceful state is carried through the day; nevertheless, I find that purposeful, short meditations before drawing, lighten the mind of the ego, and what is really on the paper to copy is then apparent to the mind.
I watched as I began on the left side of this 8" round drawing (see The Breath, Hands, and Shoes detail below). The images there include a large woman with both arms up. As the eye moves down her too-small body, we see there is a little character who overlaps the larger woman, and who seems to fit the smaller, lower-body proportions. Also notable about this dual-character is the location and position of her legs - she stands on her left foot, upon the mermaids tail, and her right foot is kicked upward and behind her. It is as if she is joufully skipping forward on the tail.
On the left of this dual-character, there is a small female who seems to lean forward upon the former's shoulder. We note that her hands are in a pair of shoes, and that there is an expression of surprise upon her face, as she whispers something in the larger character's ear. Further, the superconscious, stamping-effect of an image is readily apparent in this particular character. As I work the graphite across the paper, following the 'unconscious' lines, the erasing and re-drawing for depth and dimension (as directed intuitively) creates a 'stamping' effect - at least to my eye.
Listen with Intuition to Hear Aum
The combination of the above images relates directly to my current spiritual studies. As a whole, they reference Aum, the sound of the vibratory, creative, preservative, and destructive forces that exude from all substance; or, the Voice of God's Spirit. Science has proven that the universe is made up of vibration, which is a reflection of the smaller-than-atomic 'lifetrons', or prana, which were discovered in India in the 1900's. What the yogi's and guru's of India knew about Aum, was proven scientifically, and in my spiritual studies I am focusing upon the sounds perceived within myself while meditating. It is a very relaxing and rewarding endeavor to meditate upon Aum, and I have found there is a whole symphony of different sounds when the intuitive mind listens.
How to Interpret Your Own Soul Symbols: Ask a Question, and Use Your Intuition
Why is the stamped-girl surprised? Why does she have her hands in her shoes, and then uses this silly, child-like shenanigan, to make her point? These questions are easily answered by realizing all drawn images are symbolic in this work, so when copied in this innerly-shifted way (ego-expunged), I effectively make room for joy. Within the vibratory state of joy, I watch in anticipation of this communication, and must ask myself questions such as the above, in order to fully invoke the intuitive meaning for my outermost self. Here is the intuitive analysis:
The Second Coming of Christ Within Your Self
Within yourself, 'you' are not alone. There is a Spirit Present Who the whole individual can perceive, if the mind is quieted through meditation and one-pointed focus techniques. The two-torso's of the dual-character presented here, is symbolic of this 'other-within-self' perceptual construct. Further, the third female's hands-within-shoes, is symbolic of child-like play, or, is intuited as the necessity of having the attitude of a child while listening. This character is also whispering into the symbolic 'idea of dual-identity of self' (self/Self), wherein hearing Aum solidifies within the mind experientially, through perception of Aum's vibration, that individual consciousness, and Higher-Mind/God's Energy, are One. Realizing Aum within oneself, as oneself, is the Second Coming of Christ to the individual mind.
Conclusions
As understood through meditation: The Unmanifested Absolute expresses outward through the Word (vibration), and becomes the Manifested Absolute, or God. Everything in creation is exuding the vibratory quality of His Form, and when one uses his intuition, he may hear It for himself. This is not heard with the physical ears, as they have been 'shut off' to the mind, along with the other senses within deep meditation. Nevertheless, within the stilled and uplifted consciousness, a divine symphony can be 'heard', flowing playfully in oceanic currents of never-ending bliss.
Observations
I found a joyful Spirit awaiting my conscious focus, after closing my eyes. This inwardly peaceful state is carried through the day; nevertheless, I find that purposeful, short meditations before drawing, lighten the mind of the ego, and what is really on the paper to copy is then apparent to the mind.
I watched as I began on the left side of this 8" round drawing (see The Breath, Hands, and Shoes detail below). The images there include a large woman with both arms up. As the eye moves down her too-small body, we see there is a little character who overlaps the larger woman, and who seems to fit the smaller, lower-body proportions. Also notable about this dual-character is the location and position of her legs - she stands on her left foot, upon the mermaids tail, and her right foot is kicked upward and behind her. It is as if she is joufully skipping forward on the tail.
On the left of this dual-character, there is a small female who seems to lean forward upon the former's shoulder. We note that her hands are in a pair of shoes, and that there is an expression of surprise upon her face, as she whispers something in the larger character's ear. Further, the superconscious, stamping-effect of an image is readily apparent in this particular character. As I work the graphite across the paper, following the 'unconscious' lines, the erasing and re-drawing for depth and dimension (as directed intuitively) creates a 'stamping' effect - at least to my eye.
Listen with Intuition to Hear Aum
The combination of the above images relates directly to my current spiritual studies. As a whole, they reference Aum, the sound of the vibratory, creative, preservative, and destructive forces that exude from all substance; or, the Voice of God's Spirit. Science has proven that the universe is made up of vibration, which is a reflection of the smaller-than-atomic 'lifetrons', or prana, which were discovered in India in the 1900's. What the yogi's and guru's of India knew about Aum, was proven scientifically, and in my spiritual studies I am focusing upon the sounds perceived within myself while meditating. It is a very relaxing and rewarding endeavor to meditate upon Aum, and I have found there is a whole symphony of different sounds when the intuitive mind listens.
How to Interpret Your Own Soul Symbols: Ask a Question, and Use Your Intuition
Why is the stamped-girl surprised? Why does she have her hands in her shoes, and then uses this silly, child-like shenanigan, to make her point? These questions are easily answered by realizing all drawn images are symbolic in this work, so when copied in this innerly-shifted way (ego-expunged), I effectively make room for joy. Within the vibratory state of joy, I watch in anticipation of this communication, and must ask myself questions such as the above, in order to fully invoke the intuitive meaning for my outermost self. Here is the intuitive analysis:
The Second Coming of Christ Within Your Self
Within yourself, 'you' are not alone. There is a Spirit Present Who the whole individual can perceive, if the mind is quieted through meditation and one-pointed focus techniques. The two-torso's of the dual-character presented here, is symbolic of this 'other-within-self' perceptual construct. Further, the third female's hands-within-shoes, is symbolic of child-like play, or, is intuited as the necessity of having the attitude of a child while listening. This character is also whispering into the symbolic 'idea of dual-identity of self' (self/Self), wherein hearing Aum solidifies within the mind experientially, through perception of Aum's vibration, that individual consciousness, and Higher-Mind/God's Energy, are One. Realizing Aum within oneself, as oneself, is the Second Coming of Christ to the individual mind.
Conclusions
As understood through meditation: The Unmanifested Absolute expresses outward through the Word (vibration), and becomes the Manifested Absolute, or God. Everything in creation is exuding the vibratory quality of His Form, and when one uses his intuition, he may hear It for himself. This is not heard with the physical ears, as they have been 'shut off' to the mind, along with the other senses within deep meditation. Nevertheless, within the stilled and uplifted consciousness, a divine symphony can be 'heard', flowing playfully in oceanic currents of never-ending bliss.
04.05.21 The Breath, Hands, and Shoes, left side detail image
04.05.21 - FINISHED whole image, "Aum," 8" round, ultramarine blue powdered pigment, with graphite, on watercolor paper.
04.01.21 - Work in progress, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
Observations
What I see upon the paper, after shifting inwardly my focus, is reflective of, and directed by, a higher Spirit realized. The joy felt when focused in this way, is the lubricant of the mind that disables the ego, and through the spiritual heart, I see the symbols of my soul.
The Abstract Female Form of Love (see detail below)
After realizing the 'surprised man' to the right, I found this beautiful and unusual abstract female form. Actually, I found the 'plain' female (center top) next, and then realized after the fact that I had drawn in the abstract female. I often draw deeper subconscious imagery like this, which includes images that are not consciously realized as present upon the paper, until after some time has been spent looking at the work. I believe this has something to do with varying character types, wherein the characters are constructed with such stylized differences, that I do not consciously realize what I have drawn until after the fact. Overall, time spent looking at the drawing, or meditating upon it, reveals deeper soul symbols for consideration.
What I appreciate about this image, is the use of simplified forms woven together as though they are body-parts, in a natural and elegant way, with the result of a lovely representation of a female creature. Her head is down with her chin almost to her chest, and her arms and hands wrap out of sight, behind her body. She is intently listening to the energy of the 'surprised man' that seems to be moving toward her, while simultaneously interiorizing her own mind. In this way, she is able to calmly perceive the story he presents, beyond the obvious body-language.
This type of inner peace is easily accomplished through daily devotional meditation. By focusing the mind inward, and looking upward to the spiritual center between the brows, one may see more of himself. The process entails looking upward and through the spiritual eye, and simultaneously focusing the attention on the breath at the nostrils. In positioning the inner self in this way, and releasing all thoughts that arise to the Spirit perceived within this state, relaxation ensues. Overall, the abstract female found in this detail is an expression of love, and a representative form of how this appears spiritually within my mind.
Two Hands are One (see detail below)
This section of the work in progress was exhilarating to watch. As I mentioned above, deeper subconscious symbols do appear without my conscious awareness, until some time has been spent looking, and then they are realized consciously. In this detail, a male and female present, with the female sitting on his lap. She reaches over to his shoulder, but encounters something that looks like a hand. It is here that we follow this arm shape, and realize this is essentially one arm, drawn in such a way as to represent, as a form, the arms of two individual characters. Intuitively, it is understood that these two characters with their single expressive arm, represent the working union of the soul with the higher mind within the self. Overall, all spiritual energy is derived from the same source, and is realized as singular, or one expression, through deep meditation.
Conclusions
I have realized through meditation upon the Presence of the Spirit perceived, that I am not my thoughts. Once the self moves devotionally inward and upward within this concentrated focus, thoughts, mind, and ego are forgotten. It is the submergence of who and what remains of 'you', into a joy beyond the mind's comprehension. It is Freedom. It is Peace. It is Paradise.
This state transfers into physical reality, outside of meditation time, imbuing efforts with greater results. In the details discussed here today, evidence toward this is seen in the abstracted forms that only appeared consciously and completely to my mind after their completion. I can only conclude that we are greater beings than bone and flesh, and the higher part communicates with us naturally, through these soul-symbols, if we look.
Observations
What I see upon the paper, after shifting inwardly my focus, is reflective of, and directed by, a higher Spirit realized. The joy felt when focused in this way, is the lubricant of the mind that disables the ego, and through the spiritual heart, I see the symbols of my soul.
The Abstract Female Form of Love (see detail below)
After realizing the 'surprised man' to the right, I found this beautiful and unusual abstract female form. Actually, I found the 'plain' female (center top) next, and then realized after the fact that I had drawn in the abstract female. I often draw deeper subconscious imagery like this, which includes images that are not consciously realized as present upon the paper, until after some time has been spent looking at the work. I believe this has something to do with varying character types, wherein the characters are constructed with such stylized differences, that I do not consciously realize what I have drawn until after the fact. Overall, time spent looking at the drawing, or meditating upon it, reveals deeper soul symbols for consideration.
What I appreciate about this image, is the use of simplified forms woven together as though they are body-parts, in a natural and elegant way, with the result of a lovely representation of a female creature. Her head is down with her chin almost to her chest, and her arms and hands wrap out of sight, behind her body. She is intently listening to the energy of the 'surprised man' that seems to be moving toward her, while simultaneously interiorizing her own mind. In this way, she is able to calmly perceive the story he presents, beyond the obvious body-language.
This type of inner peace is easily accomplished through daily devotional meditation. By focusing the mind inward, and looking upward to the spiritual center between the brows, one may see more of himself. The process entails looking upward and through the spiritual eye, and simultaneously focusing the attention on the breath at the nostrils. In positioning the inner self in this way, and releasing all thoughts that arise to the Spirit perceived within this state, relaxation ensues. Overall, the abstract female found in this detail is an expression of love, and a representative form of how this appears spiritually within my mind.
Two Hands are One (see detail below)
This section of the work in progress was exhilarating to watch. As I mentioned above, deeper subconscious symbols do appear without my conscious awareness, until some time has been spent looking, and then they are realized consciously. In this detail, a male and female present, with the female sitting on his lap. She reaches over to his shoulder, but encounters something that looks like a hand. It is here that we follow this arm shape, and realize this is essentially one arm, drawn in such a way as to represent, as a form, the arms of two individual characters. Intuitively, it is understood that these two characters with their single expressive arm, represent the working union of the soul with the higher mind within the self. Overall, all spiritual energy is derived from the same source, and is realized as singular, or one expression, through deep meditation.
Conclusions
I have realized through meditation upon the Presence of the Spirit perceived, that I am not my thoughts. Once the self moves devotionally inward and upward within this concentrated focus, thoughts, mind, and ego are forgotten. It is the submergence of who and what remains of 'you', into a joy beyond the mind's comprehension. It is Freedom. It is Peace. It is Paradise.
This state transfers into physical reality, outside of meditation time, imbuing efforts with greater results. In the details discussed here today, evidence toward this is seen in the abstracted forms that only appeared consciously and completely to my mind after their completion. I can only conclude that we are greater beings than bone and flesh, and the higher part communicates with us naturally, through these soul-symbols, if we look.
04.01.21 - Abstract Female Form of Love, detail image
04.01.21 - Two Hands are One, detail image
04.01.21 - Work in progress, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
03.30.21 - Work in progress, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
Observations
The second sitting with this untitled work was very productive. After meditating for a brief duration, I opened my eyes and found the following:
The Fellow in the Crown (see detail below)
Upon the head of the mermaid, a 'crown' was outlined in the first sitting. I intuitively knew this as a 'crown,' but also understand it as a an 'energy story', that is ultimately expressed here as a visual abbreviation of soul symbols. Within the crown is the beginning of dark, short lines that seem to do double-duty as a new fellow. These lines are not cross-hatching (a technique of overlapping lines in different directions to shade for lighting effects), but instead reads as decorative marks, which have begun to weave together to make a 'decoratively born fellow.' Further, his eyes are curiously intense, and I read him as 'standing within her 'hearing.' Overall, this strage fellow that is evolving from and within the design of the mermaid's crown, seems intensely focused on another new character that evolved.
The Surprised Man
The cartoonish fellow to the right side of this circular drawing, seems to be hesitantly reaching to the character that stands in front of and below him. He is surprised, and expresses this as an inner hesitancy echoed in the cringing fingers of his right hand, as well as his facial expression. Further, his overall body language of movement away from what he is reaching out to touch, solidifies his trepidatious state for the viewer. Ironically, the expressions of the figure who is the recipient of this touch, indicate he is oblivious to the fearful trepidation of this fellow. Overall, although this character expresses hesitancy and surprise, he seems uncommitted in his body language, to this reaching out to the other before him (and, he is oblivious to the fellow in the crown who is watching him).
The alien and the out-of-body experience
To the right of the mermaid, a tall alien in a skirt holds within her bent arm, the body of a sleeping woman. When the mind is relaxed and shifted into the meditative state, it is also able to discern that the sleeping woman has not only a second body (in front of her), but also a 'spirit' rising out of her. This is a visual-symbolic triad, meant to represent stages of movement of the consciousness upward and outward from the circumscribing nature of the ego and physical body; beyond the physical, and through deep meditation, one may enter into the vast spiritual realm. That we are more than our physical bodies is an important point to remember (and embrace), when the out-of-body experience arrives, because it is the experiential evidence of consciousness as 'you', within a higher state-of-being.
Aliens are a symbol in this work of God the Absolute, as He is a challenging Form to describe in full with words. My mind symbolizes Him as an alien in an attempt to show His Presence in all stages of meditative (and physical-reality) experiences. Here, He is present, and initiating an out-of-body experience.
The superconscious, shifted-state, delivers these images one line at a time, until they evolve into a visual paradox, and then I see through this, into whole new pictures. This particular section is extremely small, and delicately woven together. It was a wonderful experience to copy and see all of these forms evolve today, which communicates more symbolic information about this drawing's narrative. Nevertheless, I am still uninformed about the the theme of this work, short of the idea of 'looking beyond the veil,' which was the inspired, intuitive thought that was echoing within my mind during the construction of the mermaid's hands.
Conclusions
Within the crown of the mind, we may see beyond ourselves. By meditating deeply and regularly, one may shift his own mind into the vast spiritual landscape within himself. Within this spiritual space, one then is able to perceive others are present; they watch, guide, and aid our spiritual progress. Overall, regardless of preconceived notions about spiritual reality, until you daily practice deep meditation, you are only living your own judgment.
Observations
The second sitting with this untitled work was very productive. After meditating for a brief duration, I opened my eyes and found the following:
The Fellow in the Crown (see detail below)
Upon the head of the mermaid, a 'crown' was outlined in the first sitting. I intuitively knew this as a 'crown,' but also understand it as a an 'energy story', that is ultimately expressed here as a visual abbreviation of soul symbols. Within the crown is the beginning of dark, short lines that seem to do double-duty as a new fellow. These lines are not cross-hatching (a technique of overlapping lines in different directions to shade for lighting effects), but instead reads as decorative marks, which have begun to weave together to make a 'decoratively born fellow.' Further, his eyes are curiously intense, and I read him as 'standing within her 'hearing.' Overall, this strage fellow that is evolving from and within the design of the mermaid's crown, seems intensely focused on another new character that evolved.
The Surprised Man
The cartoonish fellow to the right side of this circular drawing, seems to be hesitantly reaching to the character that stands in front of and below him. He is surprised, and expresses this as an inner hesitancy echoed in the cringing fingers of his right hand, as well as his facial expression. Further, his overall body language of movement away from what he is reaching out to touch, solidifies his trepidatious state for the viewer. Ironically, the expressions of the figure who is the recipient of this touch, indicate he is oblivious to the fearful trepidation of this fellow. Overall, although this character expresses hesitancy and surprise, he seems uncommitted in his body language, to this reaching out to the other before him (and, he is oblivious to the fellow in the crown who is watching him).
The alien and the out-of-body experience
To the right of the mermaid, a tall alien in a skirt holds within her bent arm, the body of a sleeping woman. When the mind is relaxed and shifted into the meditative state, it is also able to discern that the sleeping woman has not only a second body (in front of her), but also a 'spirit' rising out of her. This is a visual-symbolic triad, meant to represent stages of movement of the consciousness upward and outward from the circumscribing nature of the ego and physical body; beyond the physical, and through deep meditation, one may enter into the vast spiritual realm. That we are more than our physical bodies is an important point to remember (and embrace), when the out-of-body experience arrives, because it is the experiential evidence of consciousness as 'you', within a higher state-of-being.
Aliens are a symbol in this work of God the Absolute, as He is a challenging Form to describe in full with words. My mind symbolizes Him as an alien in an attempt to show His Presence in all stages of meditative (and physical-reality) experiences. Here, He is present, and initiating an out-of-body experience.
The superconscious, shifted-state, delivers these images one line at a time, until they evolve into a visual paradox, and then I see through this, into whole new pictures. This particular section is extremely small, and delicately woven together. It was a wonderful experience to copy and see all of these forms evolve today, which communicates more symbolic information about this drawing's narrative. Nevertheless, I am still uninformed about the the theme of this work, short of the idea of 'looking beyond the veil,' which was the inspired, intuitive thought that was echoing within my mind during the construction of the mermaid's hands.
Conclusions
Within the crown of the mind, we may see beyond ourselves. By meditating deeply and regularly, one may shift his own mind into the vast spiritual landscape within himself. Within this spiritual space, one then is able to perceive others are present; they watch, guide, and aid our spiritual progress. Overall, regardless of preconceived notions about spiritual reality, until you daily practice deep meditation, you are only living your own judgment.
03.30.21 - The Fellow in the Crown, detail image
03.30.21 - The Surprised Man, detail image.
03.30.21 - The alien and the out-of-body experience, detail image.
​03.30.21 - Work in progress, whole image, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
03.28.21 - Work in progress, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
Observations
Note: I spent time experimenting with some inks before I sat down to draw. The freedom of working with a wet media seems to my mind to be 'fun', but in the end, I find more satisfaction working with dry media.
The Symbolic Form
When I began drawing again, after 23 years of miniscule to no involvement in the visual arts, I wondered if the forms produced would be representational. I have found that in this type of drawing, wherein one relaxes the body and mind in meditation first, absenting himself of ego, that representational forms are instantaneously identifiable upon any monotone surface. These forms are a reflection of the subconscious images housed within the unconscious mind, and are 'invisibly-visible' to the observer/creator/artist. It is through this meditation-shift, or accomplishment of one-pointed focus, that subconscious images are automatically available in this paradoxical way.
The Most Salient Experience
The experience of awakening to the multidimensional self, may present unconventional images and perspectives. An example may be appreciated in the idea of 'Through the looking glass,' a theme Lewis Carroll explored in Alice in Wonderland. In the story, Alice would change in physical size, reactionary to changes within herself. A wonderful work of fiction is Alice and her extraordinary abilities, and her story may be seen as an allegorical description of one's awakening to his own soul, or true identity. Overall, the most salient experience within a life, may be the moment one sees himself within meditation.
Conclusions
When a mind can perceive its own subconscious images upon a monotone surface, there begins a dialogue between the forms, and the inquiring focus. Lines and shapes are perceived and then drawn, or manipulated 'as directed intuitively,' and these efforts are imbued by the intuition with 'depicting ideas'. The latter are intuitive ideas that extend the perception beyond its usual idea-geometry. This is essentially a fluid exercise of expanding one's 'whole self' within the single-point of focus, and is a natural mechanism of the mind. Overall, comprehension of geometries created in the overlapping lines and shapes, results in recognition of entire 'stilled-images', or the visual comprehension of paradox. I copy this down, as these are the final intuitive symbols of the soul.
Observations
Note: I spent time experimenting with some inks before I sat down to draw. The freedom of working with a wet media seems to my mind to be 'fun', but in the end, I find more satisfaction working with dry media.
The Symbolic Form
When I began drawing again, after 23 years of miniscule to no involvement in the visual arts, I wondered if the forms produced would be representational. I have found that in this type of drawing, wherein one relaxes the body and mind in meditation first, absenting himself of ego, that representational forms are instantaneously identifiable upon any monotone surface. These forms are a reflection of the subconscious images housed within the unconscious mind, and are 'invisibly-visible' to the observer/creator/artist. It is through this meditation-shift, or accomplishment of one-pointed focus, that subconscious images are automatically available in this paradoxical way.
The Most Salient Experience
The experience of awakening to the multidimensional self, may present unconventional images and perspectives. An example may be appreciated in the idea of 'Through the looking glass,' a theme Lewis Carroll explored in Alice in Wonderland. In the story, Alice would change in physical size, reactionary to changes within herself. A wonderful work of fiction is Alice and her extraordinary abilities, and her story may be seen as an allegorical description of one's awakening to his own soul, or true identity. Overall, the most salient experience within a life, may be the moment one sees himself within meditation.
Conclusions
When a mind can perceive its own subconscious images upon a monotone surface, there begins a dialogue between the forms, and the inquiring focus. Lines and shapes are perceived and then drawn, or manipulated 'as directed intuitively,' and these efforts are imbued by the intuition with 'depicting ideas'. The latter are intuitive ideas that extend the perception beyond its usual idea-geometry. This is essentially a fluid exercise of expanding one's 'whole self' within the single-point of focus, and is a natural mechanism of the mind. Overall, comprehension of geometries created in the overlapping lines and shapes, results in recognition of entire 'stilled-images', or the visual comprehension of paradox. I copy this down, as these are the final intuitive symbols of the soul.
03.28.21 - Work in progress, untitled, 8" round, ultramarine blue powdered pigment with graphite, on watercolor paper.
03.23.21 - Boundless Love, FINAL IMAGE, 9" x 13", graphite on watercolor paper.
Observations
Intuitive leaps are easily realized and communicated, by training the mind within meditation. As the eyes and mind focus upward, relaxation and expansion of one's perceptual sense-of-self is achieved via an initial body-scan. I describe this process quite often in these writings, and cannot overemphasize the catapulting effect this has on meditative efforts. When implemented wholeheartedly, the body-scan enables one to release the clamps of the ego-self, and correspondingly strengthen one's efforts to focus on his chosen point (the spiritual eye).
The drawing Boundless Love (see below) is now complete, and is best understood (as all these drawings may be understood), as a narrative description of the soul's communications. In this visual and then written narration, if one takes the time to observe the evolving forms and their corresponding writings, spiritual lessons are evident. Overall, each transcription of what is seen and copied, is meant to be a reflective teaching about spiritual reality for myself. I share this all with you, in hopes that you may begin to appreciate that 'you' are more than your physical body, and that
the Spirit perceived within yourself, as realized through meditation, may be expressed outwardly, becoming a gift of intuitive perception that informs your own path.
The Tall Man and The Little E.T.
The detail selected to write about today may be appreciated below (see Remembering the Spirit). Within the tall man's right, foreshortened hand, a small, ghost-like shape with big eyes dangles. It is as if the tall-man as a character is saying, Look! Don’t forget this image. Write about this.” I read this little form as a 'little E.T.'
This combination of characters is intuitively interpreted as a reminder to not forget the most important part of all of these efforts - perception of the Presence of the Spirit. This is a fitting form to finish-up this drawing, which in total represents the expression of boundless love.
Conclusions
I have noted that the idea of God the Absolute presents as an 'alien' symbol within my drawings. Although 'I' do not create these drawings, but only copy them down, it is worthy to note that the beginning of this work entailed His description (the singular alien who stands center bottom), and now ends with one as well. Writing about God the Absolute, Who is beyond thought, ego, mind, and intellect, is difficult, but is simplified for me in these drawings perceptually as an 'alien' form. Futher, there are not 'many' Gods, but simply many expressions of the One Absolute Form, and in understanding this through meditation upon His presence, He has kindly given me visual abbreviations for the sake of the larger narrative. In this way, and in this particular drawing of Boundless Love, He remains consciously present.
Observations
Intuitive leaps are easily realized and communicated, by training the mind within meditation. As the eyes and mind focus upward, relaxation and expansion of one's perceptual sense-of-self is achieved via an initial body-scan. I describe this process quite often in these writings, and cannot overemphasize the catapulting effect this has on meditative efforts. When implemented wholeheartedly, the body-scan enables one to release the clamps of the ego-self, and correspondingly strengthen one's efforts to focus on his chosen point (the spiritual eye).
The drawing Boundless Love (see below) is now complete, and is best understood (as all these drawings may be understood), as a narrative description of the soul's communications. In this visual and then written narration, if one takes the time to observe the evolving forms and their corresponding writings, spiritual lessons are evident. Overall, each transcription of what is seen and copied, is meant to be a reflective teaching about spiritual reality for myself. I share this all with you, in hopes that you may begin to appreciate that 'you' are more than your physical body, and that
the Spirit perceived within yourself, as realized through meditation, may be expressed outwardly, becoming a gift of intuitive perception that informs your own path.
The Tall Man and The Little E.T.
The detail selected to write about today may be appreciated below (see Remembering the Spirit). Within the tall man's right, foreshortened hand, a small, ghost-like shape with big eyes dangles. It is as if the tall-man as a character is saying, Look! Don’t forget this image. Write about this.” I read this little form as a 'little E.T.'
This combination of characters is intuitively interpreted as a reminder to not forget the most important part of all of these efforts - perception of the Presence of the Spirit. This is a fitting form to finish-up this drawing, which in total represents the expression of boundless love.
Conclusions
I have noted that the idea of God the Absolute presents as an 'alien' symbol within my drawings. Although 'I' do not create these drawings, but only copy them down, it is worthy to note that the beginning of this work entailed His description (the singular alien who stands center bottom), and now ends with one as well. Writing about God the Absolute, Who is beyond thought, ego, mind, and intellect, is difficult, but is simplified for me in these drawings perceptually as an 'alien' form. Futher, there are not 'many' Gods, but simply many expressions of the One Absolute Form, and in understanding this through meditation upon His presence, He has kindly given me visual abbreviations for the sake of the larger narrative. In this way, and in this particular drawing of Boundless Love, He remains consciously present.
03.27.21 - Remembering the Spirit, detail image.
03.27.21 - Boundless Love, FINAL IMAGE, 9" x 13", graphite on watercolor paper.
03.23.21 - Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
Observations
I realized today that I have been writing about my art for about a year now. Also, it is a rare day when I do not spend a few hours drawing. I believe the forms that manifest on the paper have matured over this duration, in visual explication and comprehensibility of details.
The Artist's Creative Process
I find this amusing because I appreciate these drawings may feel quite demanding to the observer's mind. In total, the process for my work entails drawing for a few hours, within the shifted-state. Then, pictures of the part(s) realized (drawn into the evolving work), as well as a daily 'whole image,' is presented for further deconstruction in writing. Reflective analysis then funnels intuitive perceptions of the individual forms, and an individual part's significance to the overall narrative evolving within the whole mind (Soul), is revealed. In other words, I am 'directed' through intuition, as to what is drawn, as well as what is written; there is no pre-planning.
Pulling-Focus is Reflective of the Development of Intuitive Insight at that Time
The pulling of my attention while focused in this one-pointed, yet expanded state, brought about quite a bit of development. In the upper left corner (see Who, is the Creator. detail below), a small child wearing a flaming crown, as well as a caring man, and a small mermaid were found (center and to the left). These three characters are symbolic of stages of life, invoking the idea that personality, thought, and creative energies within each stage progressed through, are only temporary, and are reflective of the development of intuitive insight at that time.
The Unchangable Soul
Ultimately, if you meditate regularly and deeply enough, it is realized consciously that you are the unchangeable, realized Self - the Soul - that all thoughts are like garments that we use to clothe the mind. These are dulsutory accoutrements of the ego, and it is realized that thoughts are not who 'you' are. They are a tool of positive or negative force for the ego, who is the unawakened, blind part of oneself. Nevertheless, if the ego is dissolved within devotional prayer and medtation, a demurely and much more flattering habiliment will present. It is made of the finest ethereal energy, a delicate and divine transparent form.
Conclusions
Overall, the focus of the work today (left mid and upper sections), is the 'laboratory of the mind,' and the 'building of the 'astral man (who can be seen esconced horizontally on the left side, just before the girl with pig-tails (the creator).
Laboratory of the Mind: Within devotional meditation, one's focus has changed from observation of the exterior, physical world, to that of the inner, spiritualized one. Who one thinks he is, is revealed to be more than what was previously thought, and the underpinnings of conscious reality shift appropriately. Value within the mind reflects the positive or negative orientation of the inner self, and ultimately, one realizes he is struggling with nothing. That is, nothing can 'touch' him, as he has realized himself continually filled with blissful peace and buoyant calm.
Building the Astral Man: Within the laboratory of the mind, the soul leans upon God, whose eternal light then envelops him and reveals others are present. They are lovingly noted, and realized as reflections of oneself within his own story. Beyond this place, all thoughts and mind fall away, and Who is left is absent of dualism, desire, or worry. This is the eternal laboratory realized as existing within oneself, where spiritual work is lovingly done with the Higher Spirit Realized. And, all the while, 'I' am submerged in the silvery silence of Aum.
Observations
I realized today that I have been writing about my art for about a year now. Also, it is a rare day when I do not spend a few hours drawing. I believe the forms that manifest on the paper have matured over this duration, in visual explication and comprehensibility of details.
The Artist's Creative Process
I find this amusing because I appreciate these drawings may feel quite demanding to the observer's mind. In total, the process for my work entails drawing for a few hours, within the shifted-state. Then, pictures of the part(s) realized (drawn into the evolving work), as well as a daily 'whole image,' is presented for further deconstruction in writing. Reflective analysis then funnels intuitive perceptions of the individual forms, and an individual part's significance to the overall narrative evolving within the whole mind (Soul), is revealed. In other words, I am 'directed' through intuition, as to what is drawn, as well as what is written; there is no pre-planning.
Pulling-Focus is Reflective of the Development of Intuitive Insight at that Time
The pulling of my attention while focused in this one-pointed, yet expanded state, brought about quite a bit of development. In the upper left corner (see Who, is the Creator. detail below), a small child wearing a flaming crown, as well as a caring man, and a small mermaid were found (center and to the left). These three characters are symbolic of stages of life, invoking the idea that personality, thought, and creative energies within each stage progressed through, are only temporary, and are reflective of the development of intuitive insight at that time.
The Unchangable Soul
Ultimately, if you meditate regularly and deeply enough, it is realized consciously that you are the unchangeable, realized Self - the Soul - that all thoughts are like garments that we use to clothe the mind. These are dulsutory accoutrements of the ego, and it is realized that thoughts are not who 'you' are. They are a tool of positive or negative force for the ego, who is the unawakened, blind part of oneself. Nevertheless, if the ego is dissolved within devotional prayer and medtation, a demurely and much more flattering habiliment will present. It is made of the finest ethereal energy, a delicate and divine transparent form.
Conclusions
Overall, the focus of the work today (left mid and upper sections), is the 'laboratory of the mind,' and the 'building of the 'astral man (who can be seen esconced horizontally on the left side, just before the girl with pig-tails (the creator).
Laboratory of the Mind: Within devotional meditation, one's focus has changed from observation of the exterior, physical world, to that of the inner, spiritualized one. Who one thinks he is, is revealed to be more than what was previously thought, and the underpinnings of conscious reality shift appropriately. Value within the mind reflects the positive or negative orientation of the inner self, and ultimately, one realizes he is struggling with nothing. That is, nothing can 'touch' him, as he has realized himself continually filled with blissful peace and buoyant calm.
Building the Astral Man: Within the laboratory of the mind, the soul leans upon God, whose eternal light then envelops him and reveals others are present. They are lovingly noted, and realized as reflections of oneself within his own story. Beyond this place, all thoughts and mind fall away, and Who is left is absent of dualism, desire, or worry. This is the eternal laboratory realized as existing within oneself, where spiritual work is lovingly done with the Higher Spirit Realized. And, all the while, 'I' am submerged in the silvery silence of Aum.
03.23.21 - Who, is the Creator. Detail image
03.23.21 - Left side, detail image
03.23.21 - Boundless Love, whole image, work in progress, 9" x 13", graphite on watercolor paper.
03.21.21 - Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
Observations
I sat to draw, and shifted the focus of the mind inward. In this shift, an initial relaxation of the entire physical body is achieved. I look upward from behind closed eyelids, relaxing all ocular muscles, and allowing both orbs to 'go to sleep.' It is then that I look naturally upward with the singular eye of the mind, creating the feeling similar to the airborne moments of a skipping rock upon the water. I relax further, allowing the rock of my concentration to be submerged in the ever-expanding realization of the ocean of Spirit Perceived. Thus shifted into the Presence, 'I' am no longer the ego-self, as this has been forgotten; now, 'I' am the observer-self, and devotedly watch as the work is provided, and appears on the paper in front of me for my transcription.
Building the Astral Man
I was first directed to complete the transcription of the 'astral man,' whom the left-most female figure began building yesterday (see 3.20.21 notes below). As predicted, a full body was realized, and lays in front of his 'creator,' a girl with pig-tails who holds onto his right arm. Although we see this unanimated form of the 'astral man' in whole, his inclusion, I realize in this moment, is to emphasize the laboratory of his creation, which is within the mind.
I have realized individual identity as a landcape of possibilities - a series of inner and outer reflective processes of the mind, wherein the self is given choices. Some of these choices are conscious, others seemingly unconscious, but all are a reflection of collective experiences that move one's life forward, either positively or negatively. To build an 'astral man' is a superconscious metaphor, created for my conscious reflection, and means 'to be aware of what we build ourselves 'out of.'
I have been reading Paramahansa Yogananda's writing titled, God Talks with Arjuna, The Baghavad Gita: Royal Science of God-Realization, which has obviously influenced my mind to be thinking of the inner landscape one enjoys or not, as well as what this landscape is 'made out of.' Arjuna pragmatically enquires of Krishna (God), who provides a salient point to remember throughout the dialogue, and which underlies all of this inner work: God imbues everything, including our inner conceptual selves, because all aninate and inanimate matter, including consciousness, is some presentation of Him. What we individually understand of this, is beyond thought, and realized experientially within deep meditation upon His Presence.
Remembering Infinity
To realize oneself as existing beyond thought, beyond mind, and beyond ego, is to realize one's own soul. Here, in deep devotional meditation, all of these aspects of self suddenly disappear, and an illuminating light that is within oneself, and is known as Self - the Soul - presents. I have seen my own soul as the brightest and largest moon that casts its light upon the stilled waters of the mind. The magnetic pulsations of this Brightest Form, illuminate the fluid echo of Aum, and the consciousness realizes, experientially, a rememberance of his own Infinity.
Good Nature's Enemy
(Please see Nature's Enemy detail image below) After creating the astral man, I was moved to work below him and to the left, wherein I found a crouching female. As she worked her way up through the paper, I realized she had wings, and 'I' was initially excited to see another fairy-type creature be revealed. Instead, what presented was a symbol of those inner constructs that destroy, or are good nature's enemy. Regardless of the representative 'negative' vibration, I transcribed her faithfully, willing to learn and grow. Overall, this almost insectoid female, who gazes with a verbal 'hiss,' at the loving devotion of the two characters in front of her, is a reminder to forevermore keep His Presence first in one's mind. Although she is completely symbolic (as all the characters are to varying degrees), this particular image is a manifestation meant to 'school' through polarities, bringing to mind that He exists 'within and beyond' the positives and negatives perceived in life.
The Indian Creator-Spirit
After the astral man, and nature's enemy were found, I was moved to erase the three central characters for the most part. These were upper bodies only. In their place, a singular Spirit that is an Indian became evident quickly. I saw the 'feathers' in his hair, and what seems a tunic with bird-like symbols upon it. This may be evident only to my perception, and I understand more work is to be done 'upon Him.'
The Indian has his right hand at the underside of the chin, and upon the throat, of the astral man being created. This placement has to do with 'giving life' to this conceptual form. His other hand is upon the happy, shorter fellow to the right, and indicates a connection with those who have successfully realized consciously, the transition of consciousness through death. This latter connection is about the path to Self-Realization, instructions, and individual, experiential proof. Overall, the Creator-Spirit seen as the 'Indian' symbol, is a reminder that the conscious mind is not alone as it turns inward toward God. There are 'others' who can be realized as present, through prayer and meditation upon their Spirit (Christ, Krishna).
Conclusions
The inner landscape, at first, may seem 'dull' or dark, but through specific exercises of the mind within meditation, expansion beyond this dimness is accomplished. The Bright Light of the Soul is realized when deep meditation is practiced, wherein a speechless and glorious freedom is known, and Infinite understanding is realized.
Who we 'think' we are, and who we really are (the soul) are determinations and reflections of one's focus. Focusing outwardly on material reality with expectation that it will 'create' happiness is delusive, and always ends in pain or suffering. Instead, we may meditate deeply, and live life naturally, filled with the wealth of the Higher Spirit realized, and holding dearly-close His Presence throughout the day. In this way, the spiritual body of our own making is consciously created, and we release ourselves from the influences and matrix of a polarized universe: we have peace.
Observations
I sat to draw, and shifted the focus of the mind inward. In this shift, an initial relaxation of the entire physical body is achieved. I look upward from behind closed eyelids, relaxing all ocular muscles, and allowing both orbs to 'go to sleep.' It is then that I look naturally upward with the singular eye of the mind, creating the feeling similar to the airborne moments of a skipping rock upon the water. I relax further, allowing the rock of my concentration to be submerged in the ever-expanding realization of the ocean of Spirit Perceived. Thus shifted into the Presence, 'I' am no longer the ego-self, as this has been forgotten; now, 'I' am the observer-self, and devotedly watch as the work is provided, and appears on the paper in front of me for my transcription.
Building the Astral Man
I was first directed to complete the transcription of the 'astral man,' whom the left-most female figure began building yesterday (see 3.20.21 notes below). As predicted, a full body was realized, and lays in front of his 'creator,' a girl with pig-tails who holds onto his right arm. Although we see this unanimated form of the 'astral man' in whole, his inclusion, I realize in this moment, is to emphasize the laboratory of his creation, which is within the mind.
I have realized individual identity as a landcape of possibilities - a series of inner and outer reflective processes of the mind, wherein the self is given choices. Some of these choices are conscious, others seemingly unconscious, but all are a reflection of collective experiences that move one's life forward, either positively or negatively. To build an 'astral man' is a superconscious metaphor, created for my conscious reflection, and means 'to be aware of what we build ourselves 'out of.'
I have been reading Paramahansa Yogananda's writing titled, God Talks with Arjuna, The Baghavad Gita: Royal Science of God-Realization, which has obviously influenced my mind to be thinking of the inner landscape one enjoys or not, as well as what this landscape is 'made out of.' Arjuna pragmatically enquires of Krishna (God), who provides a salient point to remember throughout the dialogue, and which underlies all of this inner work: God imbues everything, including our inner conceptual selves, because all aninate and inanimate matter, including consciousness, is some presentation of Him. What we individually understand of this, is beyond thought, and realized experientially within deep meditation upon His Presence.
Remembering Infinity
To realize oneself as existing beyond thought, beyond mind, and beyond ego, is to realize one's own soul. Here, in deep devotional meditation, all of these aspects of self suddenly disappear, and an illuminating light that is within oneself, and is known as Self - the Soul - presents. I have seen my own soul as the brightest and largest moon that casts its light upon the stilled waters of the mind. The magnetic pulsations of this Brightest Form, illuminate the fluid echo of Aum, and the consciousness realizes, experientially, a rememberance of his own Infinity.
Good Nature's Enemy
(Please see Nature's Enemy detail image below) After creating the astral man, I was moved to work below him and to the left, wherein I found a crouching female. As she worked her way up through the paper, I realized she had wings, and 'I' was initially excited to see another fairy-type creature be revealed. Instead, what presented was a symbol of those inner constructs that destroy, or are good nature's enemy. Regardless of the representative 'negative' vibration, I transcribed her faithfully, willing to learn and grow. Overall, this almost insectoid female, who gazes with a verbal 'hiss,' at the loving devotion of the two characters in front of her, is a reminder to forevermore keep His Presence first in one's mind. Although she is completely symbolic (as all the characters are to varying degrees), this particular image is a manifestation meant to 'school' through polarities, bringing to mind that He exists 'within and beyond' the positives and negatives perceived in life.
The Indian Creator-Spirit
After the astral man, and nature's enemy were found, I was moved to erase the three central characters for the most part. These were upper bodies only. In their place, a singular Spirit that is an Indian became evident quickly. I saw the 'feathers' in his hair, and what seems a tunic with bird-like symbols upon it. This may be evident only to my perception, and I understand more work is to be done 'upon Him.'
The Indian has his right hand at the underside of the chin, and upon the throat, of the astral man being created. This placement has to do with 'giving life' to this conceptual form. His other hand is upon the happy, shorter fellow to the right, and indicates a connection with those who have successfully realized consciously, the transition of consciousness through death. This latter connection is about the path to Self-Realization, instructions, and individual, experiential proof. Overall, the Creator-Spirit seen as the 'Indian' symbol, is a reminder that the conscious mind is not alone as it turns inward toward God. There are 'others' who can be realized as present, through prayer and meditation upon their Spirit (Christ, Krishna).
Conclusions
The inner landscape, at first, may seem 'dull' or dark, but through specific exercises of the mind within meditation, expansion beyond this dimness is accomplished. The Bright Light of the Soul is realized when deep meditation is practiced, wherein a speechless and glorious freedom is known, and Infinite understanding is realized.
Who we 'think' we are, and who we really are (the soul) are determinations and reflections of one's focus. Focusing outwardly on material reality with expectation that it will 'create' happiness is delusive, and always ends in pain or suffering. Instead, we may meditate deeply, and live life naturally, filled with the wealth of the Higher Spirit realized, and holding dearly-close His Presence throughout the day. In this way, the spiritual body of our own making is consciously created, and we release ourselves from the influences and matrix of a polarized universe: we have peace.
03.21.21 The Indian Creator-Spirit, detail image
03.21.21 - Good Nature's Enemy, lower-left corner, detail image
03.21.21 - Left side, detail image
03.21.21 - Boundless Love, whole image, work in progress, 9" x 13", graphite on watercolor paper.
03.20.21 Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
Observations
I sat two times to draw today, drawing first upward and away awareness of the body through the use of a body-scan. Then, the mind shifted easily upward, expanding into a peaceful devotion and joyous meeting of the Spirit of the endeavor.
The Girl Building From Within
Most of the first sitting was a focus upon dimensions. Emphasis is important so that the mind can discern subtler imagery arising within the realized forms. This is a delicate vibratory movement that informs from within and behind the paper, and when my mind is so relieved of the ego in this shifted state, whole pictures appear quickly, and then remain in a circular echoing imprint, of which my pencil copies.
I quickly found the girl building something on the center left side of the drawing (see The Girl Building From Within detail image below). I note that this is the second female with pig-tails (see 3.18.21 detail titled Spiritual Instruction below) in this work, and indicates symbolic, youthful energy,
The building girl appears a delicate transcription of an abstract, spiritual effort. That is, as it stands right now, she is building what appears to be an 'astral man.' She holds on to his ghost-like arm, and the beginnings of his upper body, neck, and head are discernible to the right (this is best appreciated in the 'whole image' below). If she really is building an 'astral man,' it is worthy of noting at this stage in the work, that her own expression indicates an amazement at her own abilities, and a concern about his realization. Also, the space that remains to the left of her for his body to appear, is sufficient to create a foreshortened form of her work (his whole body). Overall, the girl found today is building an 'etheric, astral man,' and is astonished at her own abilities to do so; she is a delicate transcription of an abstract, spiritual and astral effort.
Conclusions
Seeing one's self in a new way is an exciting adventure, but also a serious pursuit in what are truly these roundabout efforts at self-analysis. By examining these 'superconscious' forms - that is, drawing what the soul projects through a mind that has dissolved its own ego in order to see beyond limiting self-structures - Higher ideas are presented for examination. Today, the idea of 'building an astral body' has presented, and is a reflection of epiphanies about Spiritual Reality, and the inner landscape of life through which we all travel.
I have realized in every action we have the opportunity to create or destroy the good efforts of who we build ourselves to be. Starkly, we have two choices, positive or negative, and it is through the discriminatory faculty that we build for ourselves our life, and how one's correct orientation for each moment is discerned (we only have now). But spiritual reality is more than positivity, because if the the intent of the heart is self-ish, self-centered, or self-gratifying in any way, it will produce the fruit of that inner position, nullifying the 'spiritual' effort at growth. By drawing what is seen and not what is thought, produces a reflective image from the soul, and through its conscious deconstruction after it is created, inner self-structure-review easily becomes a mainstay that clarifies, illuminates, and directs life choices. In this way, knowing the seeming 'invisible' inner self becomes clearly possible, and gifts of imagery are my particular way of speaking to my outermost self about what is happening within the Higher Mind, literally, during that sitting.
Observations
I sat two times to draw today, drawing first upward and away awareness of the body through the use of a body-scan. Then, the mind shifted easily upward, expanding into a peaceful devotion and joyous meeting of the Spirit of the endeavor.
The Girl Building From Within
Most of the first sitting was a focus upon dimensions. Emphasis is important so that the mind can discern subtler imagery arising within the realized forms. This is a delicate vibratory movement that informs from within and behind the paper, and when my mind is so relieved of the ego in this shifted state, whole pictures appear quickly, and then remain in a circular echoing imprint, of which my pencil copies.
I quickly found the girl building something on the center left side of the drawing (see The Girl Building From Within detail image below). I note that this is the second female with pig-tails (see 3.18.21 detail titled Spiritual Instruction below) in this work, and indicates symbolic, youthful energy,
The building girl appears a delicate transcription of an abstract, spiritual effort. That is, as it stands right now, she is building what appears to be an 'astral man.' She holds on to his ghost-like arm, and the beginnings of his upper body, neck, and head are discernible to the right (this is best appreciated in the 'whole image' below). If she really is building an 'astral man,' it is worthy of noting at this stage in the work, that her own expression indicates an amazement at her own abilities, and a concern about his realization. Also, the space that remains to the left of her for his body to appear, is sufficient to create a foreshortened form of her work (his whole body). Overall, the girl found today is building an 'etheric, astral man,' and is astonished at her own abilities to do so; she is a delicate transcription of an abstract, spiritual and astral effort.
Conclusions
Seeing one's self in a new way is an exciting adventure, but also a serious pursuit in what are truly these roundabout efforts at self-analysis. By examining these 'superconscious' forms - that is, drawing what the soul projects through a mind that has dissolved its own ego in order to see beyond limiting self-structures - Higher ideas are presented for examination. Today, the idea of 'building an astral body' has presented, and is a reflection of epiphanies about Spiritual Reality, and the inner landscape of life through which we all travel.
I have realized in every action we have the opportunity to create or destroy the good efforts of who we build ourselves to be. Starkly, we have two choices, positive or negative, and it is through the discriminatory faculty that we build for ourselves our life, and how one's correct orientation for each moment is discerned (we only have now). But spiritual reality is more than positivity, because if the the intent of the heart is self-ish, self-centered, or self-gratifying in any way, it will produce the fruit of that inner position, nullifying the 'spiritual' effort at growth. By drawing what is seen and not what is thought, produces a reflective image from the soul, and through its conscious deconstruction after it is created, inner self-structure-review easily becomes a mainstay that clarifies, illuminates, and directs life choices. In this way, knowing the seeming 'invisible' inner self becomes clearly possible, and gifts of imagery are my particular way of speaking to my outermost self about what is happening within the Higher Mind, literally, during that sitting.
03.20.21 - The Girl Building From Within, detail image
03.20.21 Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
03.18.21 Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
Observations
After completion of the body-scan, body-sensation fell away, and it seemed time was no longer present. As I looked across the developing drawing called Boundless Love, I was quickly oriented to the 'hat' upon the largest female's head to the right (see Spiritual Instruction detail image below). There, I quickly realized the evolution of a man sitting upon the throne of her mind. His left hand is held up toward the viewer, with palm facing outward. I intuitively understand this sign-language of the character's hand, does not mean 'stop,' but instead has something to do with 'reading energies.'
Spiritual Instruction
His placement within and upon the head of what seems a large, stylized Egyptian female, is notewothy. His form invokes the idea of an ancient symbol of an inner-seer, or God within the mind, and dually represents the headpiece of this lounging, royal female. This dual-identity conceptualization, wherein Higher Mind/God is realized within one's own mind, keeps the viewer focused above individualization (the female form). Overall, it is intuitively realized that this new male sitting within a crown, upon the throne of the mind, is a visual description of the Presence of God 'sitting' within oneself, and providing instruction.
Other Symbols
Behind the Spiritual Instructor there are two overlapping, large abstract symbols. The first bulges from behind the instructor's shoulders, and I read this shape as the top sides of a heart. Behind this, there is a large wavy shape, that looks akin to a moustache. Together, these abstracted shapes, as I understand in this moment, represent the spiritual chakra, Anja.
A little research reveals "Ajna is described as a transparent lotus flower with two white petals, said to represent the nadis (psychic channels) Ida and Pingala, which meet the central Sushumna nadi before rising to the crown chakra, Sahasrara" (Wikipedia, n.p.).
Conclusions:
Nadis are psychic channels within the spiritual body, which are represented here as the two petaled lotus flower, and largely radiates from behind and within the Higher Mind of this Spiritually Instructing form. Further, it may be fathomed by the visual narrative of today, that spiritual energies are energies one may consciously read, intuited by a shifting of the self inward (interiorization of the mind), effectively dissolving the ego, and simultaneously releasing self structures into realization of a Higher State (such as joy). Overall, by reading subtle energies within oneself in this way, the spiritual life-force of the mind is able to flow easily forward, through these nadi channels.
Observations
After completion of the body-scan, body-sensation fell away, and it seemed time was no longer present. As I looked across the developing drawing called Boundless Love, I was quickly oriented to the 'hat' upon the largest female's head to the right (see Spiritual Instruction detail image below). There, I quickly realized the evolution of a man sitting upon the throne of her mind. His left hand is held up toward the viewer, with palm facing outward. I intuitively understand this sign-language of the character's hand, does not mean 'stop,' but instead has something to do with 'reading energies.'
Spiritual Instruction
His placement within and upon the head of what seems a large, stylized Egyptian female, is notewothy. His form invokes the idea of an ancient symbol of an inner-seer, or God within the mind, and dually represents the headpiece of this lounging, royal female. This dual-identity conceptualization, wherein Higher Mind/God is realized within one's own mind, keeps the viewer focused above individualization (the female form). Overall, it is intuitively realized that this new male sitting within a crown, upon the throne of the mind, is a visual description of the Presence of God 'sitting' within oneself, and providing instruction.
Other Symbols
Behind the Spiritual Instructor there are two overlapping, large abstract symbols. The first bulges from behind the instructor's shoulders, and I read this shape as the top sides of a heart. Behind this, there is a large wavy shape, that looks akin to a moustache. Together, these abstracted shapes, as I understand in this moment, represent the spiritual chakra, Anja.
A little research reveals "Ajna is described as a transparent lotus flower with two white petals, said to represent the nadis (psychic channels) Ida and Pingala, which meet the central Sushumna nadi before rising to the crown chakra, Sahasrara" (Wikipedia, n.p.).
Conclusions:
Nadis are psychic channels within the spiritual body, which are represented here as the two petaled lotus flower, and largely radiates from behind and within the Higher Mind of this Spiritually Instructing form. Further, it may be fathomed by the visual narrative of today, that spiritual energies are energies one may consciously read, intuited by a shifting of the self inward (interiorization of the mind), effectively dissolving the ego, and simultaneously releasing self structures into realization of a Higher State (such as joy). Overall, by reading subtle energies within oneself in this way, the spiritual life-force of the mind is able to flow easily forward, through these nadi channels.
03.18.21 - Spiritual Instruction, right side detail image
03.18.21 - Right side detail image
03.18.21 Boundless Love, whole image, work in progress detail, 9" x 13", graphite on watercolor paper.
03.05.21 Boundless Love, work in progress, 9" x 13", graphite on watercolor paper.
Observations
I took I Am, the last drawing, as far as its lessons would take me, and began working with loose graphite upon a new piece of paper. What I quickly created was a surface that literally swirls with graphite, circular shapes. As I relaxed further, I looked within the small section that was pulling me to it, and quickly realized the male form on the right (see 03.05.21 detal below).
The Fairy, the Awakened Man, and the Alien
At first, I thought he was asleep, laying on his side, with his hand underneath his face. It was in that moment that I saw the beautiful fairy-female in front of him. I saw her face first; it was 'stamped' into the paper like so many of these paradoxical gifts are. I moved down her torso, faithfully copying the lines which seemed to vibrate in multiple dimensions. As I transcribed her, I realized this perceived vibrating-movement was a pair of wings coming out from behind her. The butterfly-shapes behind her echo the vibrations and dissolve into the rest of the yet uncopied parts of her.
I realized he was awake after she was copied, and as I was moved to open his eyes, an energy imbued the scene, and I realized they were boundlessly in love.
Hypnotic Vibrations
Caught up in the sweet embrace of her tiny hand and his, and the deeply loving gaze and movement of their bodies toward one another, one might easily let slip the conscious realization of a strange-looking fellow on the right. To my mind, this is a little 'alien' fellow, who appears interested in this expression of boundless love. He stands behind the man who cannot see him, and looks across him at her face. There is no threat in this little guy; he just exhibits a hypnotic attraction to the vibration of her other-dimensional movements toward her love.
Conclusions
I became inspired easily once I set my 'self' aside. In that inspiration, the spiritual gift of seeing my own soul's symbols played upon the paper in the form of a trio: a tiny fairy-female, her devoted human love, and a hypnotized, little alien fellow. Together, these three images symbolize an inner understanding of the Holy Spirit (female), Christ (male), and God the Father (Absolute/alien). I suppose the Absolute's representation is a little-alien fellow because He is beyond my conscious mind's understanding, as well as human conceptual frameworks. Overall, these are tiny, delicate descriptions of my own soul's interpretation of Spiritual entities.
Observations
I took I Am, the last drawing, as far as its lessons would take me, and began working with loose graphite upon a new piece of paper. What I quickly created was a surface that literally swirls with graphite, circular shapes. As I relaxed further, I looked within the small section that was pulling me to it, and quickly realized the male form on the right (see 03.05.21 detal below).
The Fairy, the Awakened Man, and the Alien
At first, I thought he was asleep, laying on his side, with his hand underneath his face. It was in that moment that I saw the beautiful fairy-female in front of him. I saw her face first; it was 'stamped' into the paper like so many of these paradoxical gifts are. I moved down her torso, faithfully copying the lines which seemed to vibrate in multiple dimensions. As I transcribed her, I realized this perceived vibrating-movement was a pair of wings coming out from behind her. The butterfly-shapes behind her echo the vibrations and dissolve into the rest of the yet uncopied parts of her.
I realized he was awake after she was copied, and as I was moved to open his eyes, an energy imbued the scene, and I realized they were boundlessly in love.
Hypnotic Vibrations
Caught up in the sweet embrace of her tiny hand and his, and the deeply loving gaze and movement of their bodies toward one another, one might easily let slip the conscious realization of a strange-looking fellow on the right. To my mind, this is a little 'alien' fellow, who appears interested in this expression of boundless love. He stands behind the man who cannot see him, and looks across him at her face. There is no threat in this little guy; he just exhibits a hypnotic attraction to the vibration of her other-dimensional movements toward her love.
Conclusions
I became inspired easily once I set my 'self' aside. In that inspiration, the spiritual gift of seeing my own soul's symbols played upon the paper in the form of a trio: a tiny fairy-female, her devoted human love, and a hypnotized, little alien fellow. Together, these three images symbolize an inner understanding of the Holy Spirit (female), Christ (male), and God the Father (Absolute/alien). I suppose the Absolute's representation is a little-alien fellow because He is beyond my conscious mind's understanding, as well as human conceptual frameworks. Overall, these are tiny, delicate descriptions of my own soul's interpretation of Spiritual entities.
03.05.21 Boundless Love, work in progress detail, 4.5" x 4", graphite on watercolor paper.
03.09.21 - I Am, work in progress, 14" x 21.5", graphite on watercolor paper.
Observations
The lower-center detail image (see below), is where I began today. After a wonderful interiorization of the mind through the method of a focused 'body-scan', I met the Spirit of the artistic endeavor within myself, and once relieved of this 'self', I opened my eyes.
The Map
I realized quickly that I was to 'see beyond the obvious' developments today. I mean, those characters and forms that were transcribed and in place already, were not 'going away', but were going to be built 'upon and within.' Further, I was made aware that this drawing, in total, is a 'map.' When this was intuitively discerned, it seemed my mind expanded further, effecting my visual acuity. Also, this was accompanied by an increase in the relaxation of the whole body, and an awareness of spectacularly-subtle energies within and around myself. I consciously heard the thought... 'looking through the drawing in this shifted way, reveals the deeper 'levels' of the whole underlying structure, which are discerned by the whole mind.'
This connective structure appears most readily to the viewer's mind after an initial confusion, as to what it is one is orienting exactly to!
Drawing in this way accesses the spiritual portion of the brain (we have spiritual bodies), and exercises geometrical assumptions that were created within experiential-perceptual constructs. Visually, and to create this acumen within oneself, you must relax.
Relax to Spiritually See
It is best to sit up straight, take a breath in, close your eyes, and relax the mind. Let all thoughts go. Breathe out. Turn your eyes upward to just above and between the eyebrows, and continue to breath easily.
After a few minutes of this relaxation, the mind has slowed enough to disregard knee-jerk, assumptive mind-sets, and one is then able to stare in a relaxed state, as though looking at a candle's flame, at the images presented. If you are interested in knowing how to complete a 'body-scan', which is the preparatory method used to interiorize the mind before meditation or drawing, I include a description to follow:
The Body-Scan is a Building Mechanism for the Geometrical, Spiritualized Body-Form Conceptualization
Effectively, this process of body-scanning before meditation or drawing, is understood as the following: The concentrated focus of the mind begins at the left five toes, progressing through each one, until they 'tingle' to the mind from the presence of the consciousness upon them. The mind then moves up the left foot, lingering upon each 'part' momentarily, until this 'expanding sensation of tingling' rises into relaxation of the form. The growing awareness of the energy is maintained within the mind as it rises up the length of the left-side of the body; that is, the mind's awareness consciously 'gathers' as it ascends, building an energy-form-conceptualization of the body in this movement. Once at the top of the head, the conscious mind is then focused upon the right toes, foot, etc., moving upward on the right. This is a transformative conceptualization, wherein the shift of the mind to spiritual sight is begun. It begins with 'becoming through one's own creation, a being of spiritual energy.'
In total, the mind’s concentrated focus moves from the left foot to head, and then the right foot to the head, with a last pull downward from the top of the head to the feet and back up again. The nullification of sensory input of each body part scanned (from foot to head), with a last 'connecting' pull downward and upward, effectively 'zipping-up' the spiritual energy manifested, completes the body scan. During this process, the physical eyes are gazing upward to the Spiritual Eye, with the mind relaxed and concentratedly fixed in the body scan process.
Conceptually, the perceptual construct is one that entails understanding that the energy-tingling perceived within the body part, is a prelude to the manifestation of conscious, intuitive awareness of the feel and sensation of the soul's projected spiritual energy. This is a preliminary expansion of the mind’s conscious awareness of spiritual matter.
The final form of this effort (body-scan), is the interiorization of the mind within a spiritual shape. This spiritual shape the mind now sits within, is an oblong form, that with expansion of the mind further, through concentrated will-focus within the Christ-Consciousness center, becomes a perfect circle around the body [ Note: The mind then concentratedly holds awareness of this new self-realized-shape-of-self, as it looks upon the paper].
Now, the ego has fallen away, and the conscious awareness of self as the physical body has been deconstructed, and dissolved into a blissful 'sleep.' The mind is now free to draw what is seen upon the paper, within a spherical, spiritual 'body-suit.'
The Multidimensional Mind
The superconscious mind is a construct of self that is born of Higher energies. It is absent of the ego, which has dissipated in the joy of the Spirit realized within these drawing efforts. The beauty of these moments within myself are flowering, complex forms, and I sense them intuitively as a part of the Larger Unit. The delivery of the information within my mind is a delicate acceptance of His Loving Presence realized.
There are times when a form on the paper begins to 'enchant' my focus deeply. I watch and feel the energies of my own perceptions move within my mind, but 'I' am not recognized; 'I' am what seems a silent, happy host at a party.
These energies that are invisibly-visible, are the paradox I lovingly watch and follow; they vibrate upward through the graphite, becoming etched within the surface not from above with my pencil, but from within and below the surface of the paper. This is a Real location perceived, but to mentally understand and see in this way, the viewer's mind must move within itself beyond time and space. Shifted in this way within oneself, the seeming 'confusion' of what seems an 'anything-goes'-multi-dimensional layering initially, quickly is realized to be an authentic description of the endless possibilities our minds are capable of perceiving, which includes spiritual matter.
The Eternal Consciousness
I know through my own meditative experiences and perceptions within that state, that the consciousness is eternal. Evidence for myself includes the perceptual ability of a medium (we are all mediums), who can sense the Presence of the Spirit of God. Also, I am convinced by my own out-of-body experiences, combined with the deeply shifted states within meditation and drawing, wherein there are long periods of breathless-bliss. The combination of these reasons has convinced my analytical self, but it is the intuitive self that is developed in meditation, who realizes through the devotional effort, that he is more than he thought. This drawing - all of this work - is more than thought.
Conclusions:
It seemed today I would talk about the developing images in this work, I Am, but instead, Eternity presented Himself, and desired the description of the body-scan.
It is a wise effort of the mind to go inward and relax. To quietly look upward with eyes closed, even if it is in wonder. All the while, exercising the mind in its methodical placement upon each body part, and sensing with the mind the energies that rise out of the center of each part; one finally gathers-up each side's energy at the top of the head, and moves it down, through, and over the body once more. In this way, one begins to free himself from the circumscription of himself, and enables his own spiritual vision to be 'turned on, and tuned-in.'
Observations
The lower-center detail image (see below), is where I began today. After a wonderful interiorization of the mind through the method of a focused 'body-scan', I met the Spirit of the artistic endeavor within myself, and once relieved of this 'self', I opened my eyes.
The Map
I realized quickly that I was to 'see beyond the obvious' developments today. I mean, those characters and forms that were transcribed and in place already, were not 'going away', but were going to be built 'upon and within.' Further, I was made aware that this drawing, in total, is a 'map.' When this was intuitively discerned, it seemed my mind expanded further, effecting my visual acuity. Also, this was accompanied by an increase in the relaxation of the whole body, and an awareness of spectacularly-subtle energies within and around myself. I consciously heard the thought... 'looking through the drawing in this shifted way, reveals the deeper 'levels' of the whole underlying structure, which are discerned by the whole mind.'
This connective structure appears most readily to the viewer's mind after an initial confusion, as to what it is one is orienting exactly to!
Drawing in this way accesses the spiritual portion of the brain (we have spiritual bodies), and exercises geometrical assumptions that were created within experiential-perceptual constructs. Visually, and to create this acumen within oneself, you must relax.
Relax to Spiritually See
It is best to sit up straight, take a breath in, close your eyes, and relax the mind. Let all thoughts go. Breathe out. Turn your eyes upward to just above and between the eyebrows, and continue to breath easily.
After a few minutes of this relaxation, the mind has slowed enough to disregard knee-jerk, assumptive mind-sets, and one is then able to stare in a relaxed state, as though looking at a candle's flame, at the images presented. If you are interested in knowing how to complete a 'body-scan', which is the preparatory method used to interiorize the mind before meditation or drawing, I include a description to follow:
The Body-Scan is a Building Mechanism for the Geometrical, Spiritualized Body-Form Conceptualization
Effectively, this process of body-scanning before meditation or drawing, is understood as the following: The concentrated focus of the mind begins at the left five toes, progressing through each one, until they 'tingle' to the mind from the presence of the consciousness upon them. The mind then moves up the left foot, lingering upon each 'part' momentarily, until this 'expanding sensation of tingling' rises into relaxation of the form. The growing awareness of the energy is maintained within the mind as it rises up the length of the left-side of the body; that is, the mind's awareness consciously 'gathers' as it ascends, building an energy-form-conceptualization of the body in this movement. Once at the top of the head, the conscious mind is then focused upon the right toes, foot, etc., moving upward on the right. This is a transformative conceptualization, wherein the shift of the mind to spiritual sight is begun. It begins with 'becoming through one's own creation, a being of spiritual energy.'
In total, the mind’s concentrated focus moves from the left foot to head, and then the right foot to the head, with a last pull downward from the top of the head to the feet and back up again. The nullification of sensory input of each body part scanned (from foot to head), with a last 'connecting' pull downward and upward, effectively 'zipping-up' the spiritual energy manifested, completes the body scan. During this process, the physical eyes are gazing upward to the Spiritual Eye, with the mind relaxed and concentratedly fixed in the body scan process.
Conceptually, the perceptual construct is one that entails understanding that the energy-tingling perceived within the body part, is a prelude to the manifestation of conscious, intuitive awareness of the feel and sensation of the soul's projected spiritual energy. This is a preliminary expansion of the mind’s conscious awareness of spiritual matter.
The final form of this effort (body-scan), is the interiorization of the mind within a spiritual shape. This spiritual shape the mind now sits within, is an oblong form, that with expansion of the mind further, through concentrated will-focus within the Christ-Consciousness center, becomes a perfect circle around the body [ Note: The mind then concentratedly holds awareness of this new self-realized-shape-of-self, as it looks upon the paper].
Now, the ego has fallen away, and the conscious awareness of self as the physical body has been deconstructed, and dissolved into a blissful 'sleep.' The mind is now free to draw what is seen upon the paper, within a spherical, spiritual 'body-suit.'
The Multidimensional Mind
The superconscious mind is a construct of self that is born of Higher energies. It is absent of the ego, which has dissipated in the joy of the Spirit realized within these drawing efforts. The beauty of these moments within myself are flowering, complex forms, and I sense them intuitively as a part of the Larger Unit. The delivery of the information within my mind is a delicate acceptance of His Loving Presence realized.
There are times when a form on the paper begins to 'enchant' my focus deeply. I watch and feel the energies of my own perceptions move within my mind, but 'I' am not recognized; 'I' am what seems a silent, happy host at a party.
These energies that are invisibly-visible, are the paradox I lovingly watch and follow; they vibrate upward through the graphite, becoming etched within the surface not from above with my pencil, but from within and below the surface of the paper. This is a Real location perceived, but to mentally understand and see in this way, the viewer's mind must move within itself beyond time and space. Shifted in this way within oneself, the seeming 'confusion' of what seems an 'anything-goes'-multi-dimensional layering initially, quickly is realized to be an authentic description of the endless possibilities our minds are capable of perceiving, which includes spiritual matter.
The Eternal Consciousness
I know through my own meditative experiences and perceptions within that state, that the consciousness is eternal. Evidence for myself includes the perceptual ability of a medium (we are all mediums), who can sense the Presence of the Spirit of God. Also, I am convinced by my own out-of-body experiences, combined with the deeply shifted states within meditation and drawing, wherein there are long periods of breathless-bliss. The combination of these reasons has convinced my analytical self, but it is the intuitive self that is developed in meditation, who realizes through the devotional effort, that he is more than he thought. This drawing - all of this work - is more than thought.
Conclusions:
It seemed today I would talk about the developing images in this work, I Am, but instead, Eternity presented Himself, and desired the description of the body-scan.
It is a wise effort of the mind to go inward and relax. To quietly look upward with eyes closed, even if it is in wonder. All the while, exercising the mind in its methodical placement upon each body part, and sensing with the mind the energies that rise out of the center of each part; one finally gathers-up each side's energy at the top of the head, and moves it down, through, and over the body once more. In this way, one begins to free himself from the circumscription of himself, and enables his own spiritual vision to be 'turned on, and tuned-in.'
03.09.21 Lower center detail image, 4" x 8"
03.09.21 Central Face, detail image
03.09.21 - I Am, whole image, work in progress, 14" x 21.5", graphite on watercolor paper.
03.05.21 - I Am, work in progress, 14" x 21.5", graphite on watercolor paper.
Observations
Spiritual Restructuring During Sleep
After sitting and relaxing, the depth of the body-scan (concentrated focus upon the energy of the body from foot to head, and back again) deepened my focus. When I opened my eyes, I was drawn to the left side of the work, and watched as it seemed letters were forming from the bottom-left upward, around the edge of the largest faces' skull.
These letters were not brought out, but only partially realized, before I was moved to above this location. There, I perceived the energy bubbling as it does, in bright patterns from within the graphite. I instantly saw the right eye of the new female who slants to the left. She projects from 'behind' the large head at this perceptual level, but I also understand she is 'within the head, and laying on her side.' This may be brought out further during the next sitting; I do not consciously know yet.
My focus was then drawn downward, and I perceived the outline of her bent, right arm. The fingers of her right hand are also bent, and are holding what I understand as a 'clear energy object'. This energy-object meets with the skull of the large-headed/small bodied female that was found a day or so ago.
Summary: This new female in the upper left corner (see detail image below), represents the state-of-sleep, wherein the conscious mind is released, and one is able to 'recharge' himself. Another way to recharge oneself before meditation upon the Spirit, is to complete a body-scan. With this process, one is able to realize passage beyond the lower levels of the mind more easily, releasing consciousness from the lower, denser energy-levels, such as that of the ego.
This is done by placing the concentrated focus willfully upon the energy perceived as 'rising' from the point of the mind's focus within the center of each body-part. In this way, energy rises from within the body-part through the concentrated will, and once energized in this way, the mind is able to command the energy, and thus the part of the body, to relax and disappear from the mind's awareness (sleep).
The Body-Scan is a Building Mechanism for the Geometrical, Spiritualized Body-Form Conceptualization
Effectively, this process of body scanning is understood as the following: The concentrated focus begins at the left five toes, progressing through each one, until they 'tingle' to the mind from the presence of the consciousness upon them. The mind then moves up the left foot, lingering upon each 'part' momentarily, until this 'expanding sensation of tingling' rises into relaxation of the form. The growing awareness of the energy is maintained within the mind as it rises up the length of the left-side of the body; that is, the mind's awareness consciously 'gathers' as it ascends, building an energy form conceptualization of the body in this movement. Once at the top of the head, the conscious mind is then focused upon the right toes, foot, etc., moving upward on the right. This is a transformative conceptualization, wherein the shift of the mind to spiritual sight is begun. It begins with 'becoming through one's own creation, a being of spiritual energy.'
In total, the concentrated focus moves from the left foot to head, and then the right foot to the head, with a last pull downward from the top of the head to the feet and back up again. The nullification of sensory input of each body part scanned (from foot to head), with a last 'connecting' pull downward and upward, effectively 'zipping-up' the spiritual energy manifested, completes the body scan. During this process, the physical eyes are gazing upward to the Spiritual Eye, with the mind relaxed and concentratedly fixed in the body scan process.
Conceptually, the perceptual construct is one that entails understanding that the energy-tingling perceived within the body part, is a prelude to the manifestation of conscious, intuitive awareness of the feel and sensation of the soul's projected spiritual energy. This is a preliminary expansion of the conscious awareness of spiritual matter.
The final form of this effort (body-scan), is the interiorization of the mind within a spiritual shape. This spiritual shape the mind now sits within, is an oblong form, that with expansion of the mind further, through concentrated will-focus within the Christ-Consciousness center, becomes a perfect circle around the body [ Note: The mind then concentratedly holds awareness of this new self-realized-shape-of-self, as it looks upon the paper].
Now, the ego has fallen away, and the conscious awareness of self as the physical body has been deconstructed, and dissolved into a blissful sleep. The mind is now free to draw what is seen upon the paper.
Conclusions
Letters began forming on the left side of this work today, but were not fully brought-out. Instead, I was moved to the upper left corner, and a female was found who represents the 'state of sleep.' Rest is important to the body and mind, allowing humans to recharge and reorient to the world. The consciousness has not gone, but absents itself of all egoic-I-limitations, leaving this circumscribing mechanism for a while. But, as we can see by this intuitive drawing effort, even the soul's symbol for sleep (a woman laying on her side), has activity, which is seen in this sleeping females' dream-like application of a 'clear object' into the mind of the little female in front of her. Overall, through sleep, the conscious work of the day is applied within the unconscious and superconscious minds, furthering our spiritual transformations forward.
The importance of the body-scan can not be understated. This initial transition of the mind from physical conceptualization to a freed form of geometrical shape and energy make-up, is the relaxing, preliminatry step forward, through which the mind commits to his own spiritual sight. In sensing one's own spiritual energy in this way, and creating his own intuitive, new spiritualized body, he effectively learns the feeling and awareness of spiritual matter, or Spirit.
Observations
Spiritual Restructuring During Sleep
After sitting and relaxing, the depth of the body-scan (concentrated focus upon the energy of the body from foot to head, and back again) deepened my focus. When I opened my eyes, I was drawn to the left side of the work, and watched as it seemed letters were forming from the bottom-left upward, around the edge of the largest faces' skull.
These letters were not brought out, but only partially realized, before I was moved to above this location. There, I perceived the energy bubbling as it does, in bright patterns from within the graphite. I instantly saw the right eye of the new female who slants to the left. She projects from 'behind' the large head at this perceptual level, but I also understand she is 'within the head, and laying on her side.' This may be brought out further during the next sitting; I do not consciously know yet.
My focus was then drawn downward, and I perceived the outline of her bent, right arm. The fingers of her right hand are also bent, and are holding what I understand as a 'clear energy object'. This energy-object meets with the skull of the large-headed/small bodied female that was found a day or so ago.
Summary: This new female in the upper left corner (see detail image below), represents the state-of-sleep, wherein the conscious mind is released, and one is able to 'recharge' himself. Another way to recharge oneself before meditation upon the Spirit, is to complete a body-scan. With this process, one is able to realize passage beyond the lower levels of the mind more easily, releasing consciousness from the lower, denser energy-levels, such as that of the ego.
This is done by placing the concentrated focus willfully upon the energy perceived as 'rising' from the point of the mind's focus within the center of each body-part. In this way, energy rises from within the body-part through the concentrated will, and once energized in this way, the mind is able to command the energy, and thus the part of the body, to relax and disappear from the mind's awareness (sleep).
The Body-Scan is a Building Mechanism for the Geometrical, Spiritualized Body-Form Conceptualization
Effectively, this process of body scanning is understood as the following: The concentrated focus begins at the left five toes, progressing through each one, until they 'tingle' to the mind from the presence of the consciousness upon them. The mind then moves up the left foot, lingering upon each 'part' momentarily, until this 'expanding sensation of tingling' rises into relaxation of the form. The growing awareness of the energy is maintained within the mind as it rises up the length of the left-side of the body; that is, the mind's awareness consciously 'gathers' as it ascends, building an energy form conceptualization of the body in this movement. Once at the top of the head, the conscious mind is then focused upon the right toes, foot, etc., moving upward on the right. This is a transformative conceptualization, wherein the shift of the mind to spiritual sight is begun. It begins with 'becoming through one's own creation, a being of spiritual energy.'
In total, the concentrated focus moves from the left foot to head, and then the right foot to the head, with a last pull downward from the top of the head to the feet and back up again. The nullification of sensory input of each body part scanned (from foot to head), with a last 'connecting' pull downward and upward, effectively 'zipping-up' the spiritual energy manifested, completes the body scan. During this process, the physical eyes are gazing upward to the Spiritual Eye, with the mind relaxed and concentratedly fixed in the body scan process.
Conceptually, the perceptual construct is one that entails understanding that the energy-tingling perceived within the body part, is a prelude to the manifestation of conscious, intuitive awareness of the feel and sensation of the soul's projected spiritual energy. This is a preliminary expansion of the conscious awareness of spiritual matter.
The final form of this effort (body-scan), is the interiorization of the mind within a spiritual shape. This spiritual shape the mind now sits within, is an oblong form, that with expansion of the mind further, through concentrated will-focus within the Christ-Consciousness center, becomes a perfect circle around the body [ Note: The mind then concentratedly holds awareness of this new self-realized-shape-of-self, as it looks upon the paper].
Now, the ego has fallen away, and the conscious awareness of self as the physical body has been deconstructed, and dissolved into a blissful sleep. The mind is now free to draw what is seen upon the paper.
Conclusions
Letters began forming on the left side of this work today, but were not fully brought-out. Instead, I was moved to the upper left corner, and a female was found who represents the 'state of sleep.' Rest is important to the body and mind, allowing humans to recharge and reorient to the world. The consciousness has not gone, but absents itself of all egoic-I-limitations, leaving this circumscribing mechanism for a while. But, as we can see by this intuitive drawing effort, even the soul's symbol for sleep (a woman laying on her side), has activity, which is seen in this sleeping females' dream-like application of a 'clear object' into the mind of the little female in front of her. Overall, through sleep, the conscious work of the day is applied within the unconscious and superconscious minds, furthering our spiritual transformations forward.
The importance of the body-scan can not be understated. This initial transition of the mind from physical conceptualization to a freed form of geometrical shape and energy make-up, is the relaxing, preliminatry step forward, through which the mind commits to his own spiritual sight. In sensing one's own spiritual energy in this way, and creating his own intuitive, new spiritualized body, he effectively learns the feeling and awareness of spiritual matter, or Spirit.
03.06.21 Left upper corner, detail image
03.06.21 - I Am, whole image, work in progress, 14" x 21.5", graphite on watercolor paper.
03.05.21 - I Am, work in progress, 14" x 21.5", graphite on watercolor paper.
Observations
Preparation of the mind and body before drawing is extremely helpful in achieving a depth of awareness beyond the ego-mind. This depth of focus is a natural shift within oneself, achieved through a body-scan with the mind, from foot to head and back again. Further, training of the mind to focus singularly upon a point, is honed within this most beneficial exercise, and is the prelude to the focused concentration of oneself upon His Spirit only. With the eyes still closed, and after the body-scan, one learns to discern the value of a thought, and may wonder if any are a special message from His Mind to yours. This is a beautiful distraction; neverthless, even if the diverting thought is a beautiful, expansive one, there must be that singular micro-second in which the mind decides to follow it, or place it fully again upon His Presence.
Spiritual Support
What I found within the sitting was a group of characters, who located themselves underneath a figure that had been copied early on (see Spiritual Support detail image below). I first saw the character of Jesus Christ, and located the building of His form within His abdomen area. This built upward to the outline of His Face, and then I was drawn to notice that His Arms were already present, and just needed emphasis.
The girl who sits piggy-back upon Christ's shoulders (see detail below), is relaxed and pleased - even fulfilled. Humorously, she tweaks with her right hand, the cheeck of a 'Spirit', who is surreptitiously visible. I believe this latter 'Spirit' is a personalized echo of my unconscious sense of humor. This cartoonish Spirit even has a thinly drawn hand randomly coming out of his head!
On the right of Christ, a female with a mask (like a super-hero), reaches up and holds on to His arm, while simultaneously extending the other through 'another dimension of Him.' This may mean there is more to develop here visually because, in this work, hands always do something.
Overall, it was a wonderful sitting, and the results added together may draw-forth a conclusion.
Conclusions
Although it seems to the mind that 'you' are alone, this is not the case. Within the space of a decision, a passion (such as drawing) may be pursued, and within the process, the ego-self is set aside. In its place, if one allows it, one may draw-forth through affirmation, the Spirit of the artistic endeavor, and learn more about his whole self.
Today, the confident and lovely female figure located at the top of the Spiritual Support detail below, gained just that - Spiritual Support. The form is in the image of Christ, who has placed her upon His shoulders. There are also other spiritually-supporting characters present, seen in the humorous, abstract fellow on Christ's left, and the masked, supportive female on the right. Overall, there is evidence here of more than I could have ever dreamed possible for myself to create compositionally. Also, this is not 'imagination.' This is evidence of the superconscious-self working through the altered, and lovingly devotional focus of my mind upon His Spirit. In this way, I see more.
Observations
Preparation of the mind and body before drawing is extremely helpful in achieving a depth of awareness beyond the ego-mind. This depth of focus is a natural shift within oneself, achieved through a body-scan with the mind, from foot to head and back again. Further, training of the mind to focus singularly upon a point, is honed within this most beneficial exercise, and is the prelude to the focused concentration of oneself upon His Spirit only. With the eyes still closed, and after the body-scan, one learns to discern the value of a thought, and may wonder if any are a special message from His Mind to yours. This is a beautiful distraction; neverthless, even if the diverting thought is a beautiful, expansive one, there must be that singular micro-second in which the mind decides to follow it, or place it fully again upon His Presence.
Spiritual Support
What I found within the sitting was a group of characters, who located themselves underneath a figure that had been copied early on (see Spiritual Support detail image below). I first saw the character of Jesus Christ, and located the building of His form within His abdomen area. This built upward to the outline of His Face, and then I was drawn to notice that His Arms were already present, and just needed emphasis.
The girl who sits piggy-back upon Christ's shoulders (see detail below), is relaxed and pleased - even fulfilled. Humorously, she tweaks with her right hand, the cheeck of a 'Spirit', who is surreptitiously visible. I believe this latter 'Spirit' is a personalized echo of my unconscious sense of humor. This cartoonish Spirit even has a thinly drawn hand randomly coming out of his head!
On the right of Christ, a female with a mask (like a super-hero), reaches up and holds on to His arm, while simultaneously extending the other through 'another dimension of Him.' This may mean there is more to develop here visually because, in this work, hands always do something.
Overall, it was a wonderful sitting, and the results added together may draw-forth a conclusion.
Conclusions
Although it seems to the mind that 'you' are alone, this is not the case. Within the space of a decision, a passion (such as drawing) may be pursued, and within the process, the ego-self is set aside. In its place, if one allows it, one may draw-forth through affirmation, the Spirit of the artistic endeavor, and learn more about his whole self.
Today, the confident and lovely female figure located at the top of the Spiritual Support detail below, gained just that - Spiritual Support. The form is in the image of Christ, who has placed her upon His shoulders. There are also other spiritually-supporting characters present, seen in the humorous, abstract fellow on Christ's left, and the masked, supportive female on the right. Overall, there is evidence here of more than I could have ever dreamed possible for myself to create compositionally. Also, this is not 'imagination.' This is evidence of the superconscious-self working through the altered, and lovingly devotional focus of my mind upon His Spirit. In this way, I see more.
03.05.21 Spiritual Support, image detail
03.05.21 - I Am, work in progress, whole image, 14" x 21.5", graphite on watercolor paper.
03.04.21 - I Am, work in progress, 14" x 21 1/2", graphite on watercolor paper.
Observations
After relaxing into the Spirit, I began to the left of the largest face (see lower-left detail below). It seemed I was to work this lower-left section and above this large head, and watched as I erased, and then drew, and erased again. The natural building and subtraction of tones and lines, I know, will ultimately culminate in a realized form, but the 'level' of the mind felt today (literaly, my spiritual directions) maneuvered me in such a way that it did not matter if 'I' consciously realized anything upon the paper; this effort is about the joy of the Spirit realized.
The drawing, I Am, is an unusual effort. The title was realized by the reflective demeanor of the largest face's gaze, which was supported by contrasting tones set down initially (see 2.28.21 image and notes below). As it has progressed, variations in the characters' sizes induces the feeling of a story-within-a story, outlined as characters developing in small groupings daily. This strange visual landscape pulls me through it, and I become lost and found simultaneously within it.
The Abstracted Female
Not only did the energy feel 'top-heavy' today, but this was translated literally and visually in the dysmorphic body of the large-headed female (please seeThe Abstracted Female Form detail below).
First, we note that her left hand is placed gently upon the large eye of the main figure. Then, looking up the arm, we note a very small body with seemingly decorative import, that is many sizes too small for its skull. This body becomes eclipsed once the viewer's eye wanders up to the over-sized head, and it is noted that her demeanor is something of a wondering, hypnotic gaze upward. It is also noteworthy that there seems to be a hand in development, reaching down into her upward-gazing eyes.
Dysmorphic representation of a soul-symbol tells a story of one's focus. *I am not the body, blood, energy, or the thought. I am not the mind, the ego, or the astral body. 'I' am the immortal soul that illuminates them all, and here the illumination shines a light on my focus, which is (if you look around the website you may agree) one of extended thought. As such, the unequal proportions of this abstract female is explained, and reflects the obvious make-up of my 'soul-self', in this life, now.
*This is an affirmation I paraphrase from Paramahansa Yogananda.
Peace
In the lower-left corner detail (see below), the word PEACE appeared. There are four characters above this word, with the first of these a female that lays horizontally just above the word, and is 'embedded' in this group. There is more information to transcribe in this section, but it is noted that the word 'embedded' is of importance, and really means 'fixed, stationary, or unmoving.' It will be interesting to see the visual narrative develop here.
Letters and Language
I have seen letters develop in the application of this shifted-focus of the mind before. They have usually bubbled-up, and then quickly disappeared. I have only recently been directed to evaluate their inclusion, which explains their transcription and presence here. Language is a symbolic mode of communication, that becomes a route to defining one's 'self,' but ultimately, we realize language is not who or what we are. We can say 'this or that' about who we think we are, but it is within the devotional focus upon the Spirit that we see identity beyond the limitations of language-symbols. Overall, I am currently consciously reflecting on their evolution upward and outward onto the paper within a drawing, foregoing judgement on the product, in preference of the process (this is a faithful state within the mind, wherein I understand that I am a student who is learning something through the Spirit).
Conclusions
The landscape of I Am, so far describes parts of the whole self through the development of varied character types. Regardless of the story-within-a-story messaging system of the soul that is relayed by these forms, all characters are interrelated with each other, and influence the meaning of the others. To draw in this way is to self-analyze beyond the conscious mind, and appreciate the endless correspondence one may have with the most illuminated part of one's self. In this way, spiritual growth through daily meditation, as well as these meditative drawing efforts, informs outwardly, revealing loving reflections from beyond the conscious mind.
Observations
After relaxing into the Spirit, I began to the left of the largest face (see lower-left detail below). It seemed I was to work this lower-left section and above this large head, and watched as I erased, and then drew, and erased again. The natural building and subtraction of tones and lines, I know, will ultimately culminate in a realized form, but the 'level' of the mind felt today (literaly, my spiritual directions) maneuvered me in such a way that it did not matter if 'I' consciously realized anything upon the paper; this effort is about the joy of the Spirit realized.
The drawing, I Am, is an unusual effort. The title was realized by the reflective demeanor of the largest face's gaze, which was supported by contrasting tones set down initially (see 2.28.21 image and notes below). As it has progressed, variations in the characters' sizes induces the feeling of a story-within-a story, outlined as characters developing in small groupings daily. This strange visual landscape pulls me through it, and I become lost and found simultaneously within it.
The Abstracted Female
Not only did the energy feel 'top-heavy' today, but this was translated literally and visually in the dysmorphic body of the large-headed female (please seeThe Abstracted Female Form detail below).
First, we note that her left hand is placed gently upon the large eye of the main figure. Then, looking up the arm, we note a very small body with seemingly decorative import, that is many sizes too small for its skull. This body becomes eclipsed once the viewer's eye wanders up to the over-sized head, and it is noted that her demeanor is something of a wondering, hypnotic gaze upward. It is also noteworthy that there seems to be a hand in development, reaching down into her upward-gazing eyes.
Dysmorphic representation of a soul-symbol tells a story of one's focus. *I am not the body, blood, energy, or the thought. I am not the mind, the ego, or the astral body. 'I' am the immortal soul that illuminates them all, and here the illumination shines a light on my focus, which is (if you look around the website you may agree) one of extended thought. As such, the unequal proportions of this abstract female is explained, and reflects the obvious make-up of my 'soul-self', in this life, now.
*This is an affirmation I paraphrase from Paramahansa Yogananda.
Peace
In the lower-left corner detail (see below), the word PEACE appeared. There are four characters above this word, with the first of these a female that lays horizontally just above the word, and is 'embedded' in this group. There is more information to transcribe in this section, but it is noted that the word 'embedded' is of importance, and really means 'fixed, stationary, or unmoving.' It will be interesting to see the visual narrative develop here.
Letters and Language
I have seen letters develop in the application of this shifted-focus of the mind before. They have usually bubbled-up, and then quickly disappeared. I have only recently been directed to evaluate their inclusion, which explains their transcription and presence here. Language is a symbolic mode of communication, that becomes a route to defining one's 'self,' but ultimately, we realize language is not who or what we are. We can say 'this or that' about who we think we are, but it is within the devotional focus upon the Spirit that we see identity beyond the limitations of language-symbols. Overall, I am currently consciously reflecting on their evolution upward and outward onto the paper within a drawing, foregoing judgement on the product, in preference of the process (this is a faithful state within the mind, wherein I understand that I am a student who is learning something through the Spirit).
Conclusions
The landscape of I Am, so far describes parts of the whole self through the development of varied character types. Regardless of the story-within-a-story messaging system of the soul that is relayed by these forms, all characters are interrelated with each other, and influence the meaning of the others. To draw in this way is to self-analyze beyond the conscious mind, and appreciate the endless correspondence one may have with the most illuminated part of one's self. In this way, spiritual growth through daily meditation, as well as these meditative drawing efforts, informs outwardly, revealing loving reflections from beyond the conscious mind.
03.04.21 - The Abstract Female Form, detail image
03.04.21 Lower left corner, detail image
03.04.21 - I Am, whole image, work in progress, 14" x 21.5", graphite on watercolor paper.
03.01.21 - I Am, work in progress, 14" x 21.5", graphite on watercolor paper.
Observations
After relaxing into the spirit, I began at the top of the largest figures' oddly positioned hand. The arm itself became the 'body' of a new smiling figure. This figure's left arm foreshortens toward the viewer, and her hand lays upon the shape of the largest figure's hand. While drawing the face of this new, smiling figure, I realized her smile was a mask, and her lips bite down upon it, revealing her smaller lips.
Behind her, a large male form is seen, and upon his chest letters 'randomly' appeared for transcription. As I completed each letter, and then looked to the right, to see if there was another, I saw that the letters for the word 'Love' were already in place, and only needed darkening. Then, underneath this word, I perceived another one - the word 'Up.' In total, these two new characters, as well as the words 'Love Up' appeared today.
Spiritual Conduits
When examining the whole image (see below), there is the distinct feeling that the new, smiling female and her male 'counterpart' are spiritual conduits through which energy moves. This spiritual energy, as I understand it, is flowing from this spiritual entity and her friend, to my drawing hand. In this way, and because of this, I am able to see what is available for transcription upon the paper.
The Smile that is a Mask
Through the meditative preparations of the mind, the consciousness has shifted and is able to more easily perceive intuitively. The outermost egoic-mind sits and watches, and without any urge or notion to do anything, is able to intuitively sense these 'other' spiritual entities at work within myself. The visual manifestation of a symbolic image of this Spirit here, positions this Spiritual Presence as central and influential; this new strangely masked female is happily contributing her energy, and links all parts of my self, as represented by her hand upon the larger girl's. Overall, these two new characters, along with the words 'Love Up', define the presence of my oversoul, and the message for today.
Conclusions
Within the spiritual body there is contained a soul, which is a 'fragment' of God Himself. As a child of God, it is natural to desire evidence of His Presence. Here, a personalized spiritual female, symbolizes again the idea of a mouth, but because it is masked, the message changes from how words demand of the universe what one wants, and instead represents the idea of 'covering the mouth' to silence oneself (which effectively interiorizes the mind). Overall, the work today may be summarized as: "It is better to say nothing, and wait on God's Spirit to direct one's language; if necessary, 'put on a smile', and physically do your part until the information from Him is realized within the conscious mind."
Observations
After relaxing into the spirit, I began at the top of the largest figures' oddly positioned hand. The arm itself became the 'body' of a new smiling figure. This figure's left arm foreshortens toward the viewer, and her hand lays upon the shape of the largest figure's hand. While drawing the face of this new, smiling figure, I realized her smile was a mask, and her lips bite down upon it, revealing her smaller lips.
Behind her, a large male form is seen, and upon his chest letters 'randomly' appeared for transcription. As I completed each letter, and then looked to the right, to see if there was another, I saw that the letters for the word 'Love' were already in place, and only needed darkening. Then, underneath this word, I perceived another one - the word 'Up.' In total, these two new characters, as well as the words 'Love Up' appeared today.
Spiritual Conduits
When examining the whole image (see below), there is the distinct feeling that the new, smiling female and her male 'counterpart' are spiritual conduits through which energy moves. This spiritual energy, as I understand it, is flowing from this spiritual entity and her friend, to my drawing hand. In this way, and because of this, I am able to see what is available for transcription upon the paper.
The Smile that is a Mask
Through the meditative preparations of the mind, the consciousness has shifted and is able to more easily perceive intuitively. The outermost egoic-mind sits and watches, and without any urge or notion to do anything, is able to intuitively sense these 'other' spiritual entities at work within myself. The visual manifestation of a symbolic image of this Spirit here, positions this Spiritual Presence as central and influential; this new strangely masked female is happily contributing her energy, and links all parts of my self, as represented by her hand upon the larger girl's. Overall, these two new characters, along with the words 'Love Up', define the presence of my oversoul, and the message for today.
Conclusions
Within the spiritual body there is contained a soul, which is a 'fragment' of God Himself. As a child of God, it is natural to desire evidence of His Presence. Here, a personalized spiritual female, symbolizes again the idea of a mouth, but because it is masked, the message changes from how words demand of the universe what one wants, and instead represents the idea of 'covering the mouth' to silence oneself (which effectively interiorizes the mind). Overall, the work today may be summarized as: "It is better to say nothing, and wait on God's Spirit to direct one's language; if necessary, 'put on a smile', and physically do your part until the information from Him is realized within the conscious mind."
03.01.21 - 'Love Up', detail
03.01.21 Spiritual Conduits, detail
03.01.21 - I Am, whole image, work in progress, 14" x 21.5", graphite on watercolor paper.
02.28.21 I Am, work in progress, 14" x 21.5", graphite on watercolor paper.
Observations
The images below are two sittings' worth of work. Yesterday's sitting was very moving, in that I found the large, central face that fuels an emotional tone, or spirit, within myself.
The girl's face is looking over her right shoulder, directly at the viewer. The spirit of the gaze is the explanation that became the title for the work: I Am. It is a brief title, but summative of the overall import of this drawing effort, which is to focus upon the spirit perceived within the shifted-state.
As I worked both yesterday and today, I found my eyes pulled back to the large, singular eye, and all that was transcribed in between these lingering glances ( I intuitively knew), was strongly influenced by this orb.
Spiritual Radar
When we look directly at someone, there is awareness of more than the other's physical body in proximity to oneself. Like a radar dome, psychic energy is projected outward from our own spiritual bodies, and we are able to perceive the spiritual make-up of those near us. Our own spiritual projections tell others about our inner selves as well. Further, identity within oneself provides the spiritual perspective to know that 'I' am not the physical body, blood, energy, thought, mind, ego, or astral body, but 'I' am an immortal soul. Living in this powerful identity, physical reality or 'things', as well as the spiritual projections of others, are all automatically qualified as neutral. In this way, what others do, say, or think, are all irrelevant to qualify one's self-identity.
The Space Through Which Her Soul Radiates
The whole image (see below) blends abstracted forms of multidimensional lenses of the mind. First, the size of the main girl's face is much larger than the usual sizes that have most recently evolved. Also, it is beginning to fill with a story of smaller characters, who are built within and upon the shape of the head and face. Her arms seem to be propped-up on something before her, and she leans forward into them. Overall, this combination of visual metrics culminates in the reading of an intimate, yet active space-of-self, through which her soul radiates.
Her head and face are not quite straight-on with the viewer, and they twist to look over the right shoulder. Next, she seems at once 'somewhere else', yet fully engaged with whom she is gazing at. I do not miss the synchronicity of her apparent inner demeanor, as echoing the state achieved and accessed to meditate and draw. It is the active and relaxed mind that reflects this state, which is a self-assured disposition. Thus, the title's brevity: I Am.
Within the eye on the left, an almost decorative collection of lines and shapes form into a small dragon. This dragon enters in from the right, and extends across the face. Atop this form stands a male figure who has yet to be fully copied. Further, the shape of a hand bent oddly at the wrist appears to be holding him.
The large mouth is, I believe, the second most powerful visual aspect of this drawing. It looks as if the lips are beginning to morph into small outline-figures. This idea that the mouth becomes the outline of ourselves to others is significant. What is voiced to others through the voice determines our outer, physical reality, as what we say is our demand to the universe as to what we wish to see manifest.
Conclusions
This drawing appears to be a self-portrait of a new kind. A size variation of the main character, with a narrowing of the mind's visual lens, has created a corresponding increase in emotional appeal. For example, when a camera's lens is extended, the optics of the device expand, and bring the point of focus seemingly closer to the viewer. This is what is happening here.
Nevertheless, the mind is providing smaller characters as well, who inform the substantial presence of the largest form. The combination of large and small, along with the immanent need to somehow blend these variations into a cohesive picturesque unit, presents a challenging variation for the mind. As the Spirit works through the mind, I realize in this work that He is communicating through me, to my outermost consciousness, the need for greater expanded-focus. This can be likened to an athlete's daily practice, minus the physical-body exercise. Overall, this drawing's landscape seems a self-portrait designed by the soul, working through the subconscious storehouse of images, but is really about the inner, Higher state achieved by the mind within the spiritual effort.
Note: As I go about my day, and walk past this work that remains on the easel, there is experienced an overwhelming peace, and pull toward, the Spirit that is described by these efforts. I realize 'I" am not alone in these perceptions within myself, and that there are no boundaries between myself and God, except those 'I' create. These 'blockages' of perception occur much less frequently when I am not drawing, and never occur when 'I' am. I believe that God's Spirit does have a sense of humor, and in this moment, 'I' find it humorous that He lives through me.
Observations
The images below are two sittings' worth of work. Yesterday's sitting was very moving, in that I found the large, central face that fuels an emotional tone, or spirit, within myself.
The girl's face is looking over her right shoulder, directly at the viewer. The spirit of the gaze is the explanation that became the title for the work: I Am. It is a brief title, but summative of the overall import of this drawing effort, which is to focus upon the spirit perceived within the shifted-state.
As I worked both yesterday and today, I found my eyes pulled back to the large, singular eye, and all that was transcribed in between these lingering glances ( I intuitively knew), was strongly influenced by this orb.
Spiritual Radar
When we look directly at someone, there is awareness of more than the other's physical body in proximity to oneself. Like a radar dome, psychic energy is projected outward from our own spiritual bodies, and we are able to perceive the spiritual make-up of those near us. Our own spiritual projections tell others about our inner selves as well. Further, identity within oneself provides the spiritual perspective to know that 'I' am not the physical body, blood, energy, thought, mind, ego, or astral body, but 'I' am an immortal soul. Living in this powerful identity, physical reality or 'things', as well as the spiritual projections of others, are all automatically qualified as neutral. In this way, what others do, say, or think, are all irrelevant to qualify one's self-identity.
The Space Through Which Her Soul Radiates
The whole image (see below) blends abstracted forms of multidimensional lenses of the mind. First, the size of the main girl's face is much larger than the usual sizes that have most recently evolved. Also, it is beginning to fill with a story of smaller characters, who are built within and upon the shape of the head and face. Her arms seem to be propped-up on something before her, and she leans forward into them. Overall, this combination of visual metrics culminates in the reading of an intimate, yet active space-of-self, through which her soul radiates.
Her head and face are not quite straight-on with the viewer, and they twist to look over the right shoulder. Next, she seems at once 'somewhere else', yet fully engaged with whom she is gazing at. I do not miss the synchronicity of her apparent inner demeanor, as echoing the state achieved and accessed to meditate and draw. It is the active and relaxed mind that reflects this state, which is a self-assured disposition. Thus, the title's brevity: I Am.
Within the eye on the left, an almost decorative collection of lines and shapes form into a small dragon. This dragon enters in from the right, and extends across the face. Atop this form stands a male figure who has yet to be fully copied. Further, the shape of a hand bent oddly at the wrist appears to be holding him.
The large mouth is, I believe, the second most powerful visual aspect of this drawing. It looks as if the lips are beginning to morph into small outline-figures. This idea that the mouth becomes the outline of ourselves to others is significant. What is voiced to others through the voice determines our outer, physical reality, as what we say is our demand to the universe as to what we wish to see manifest.
Conclusions
This drawing appears to be a self-portrait of a new kind. A size variation of the main character, with a narrowing of the mind's visual lens, has created a corresponding increase in emotional appeal. For example, when a camera's lens is extended, the optics of the device expand, and bring the point of focus seemingly closer to the viewer. This is what is happening here.
Nevertheless, the mind is providing smaller characters as well, who inform the substantial presence of the largest form. The combination of large and small, along with the immanent need to somehow blend these variations into a cohesive picturesque unit, presents a challenging variation for the mind. As the Spirit works through the mind, I realize in this work that He is communicating through me, to my outermost consciousness, the need for greater expanded-focus. This can be likened to an athlete's daily practice, minus the physical-body exercise. Overall, this drawing's landscape seems a self-portrait designed by the soul, working through the subconscious storehouse of images, but is really about the inner, Higher state achieved by the mind within the spiritual effort.
Note: As I go about my day, and walk past this work that remains on the easel, there is experienced an overwhelming peace, and pull toward, the Spirit that is described by these efforts. I realize 'I" am not alone in these perceptions within myself, and that there are no boundaries between myself and God, except those 'I' create. These 'blockages' of perception occur much less frequently when I am not drawing, and never occur when 'I' am. I believe that God's Spirit does have a sense of humor, and in this moment, 'I' find it humorous that He lives through me.
02.28.21 Another Lens, detail
02.28.21 The Right Eye, detail
02.28.21 I Am, whole image, work in progress, 14" x 21.5", graphite on watercolor paper.
02.26.21 FINAL WHOLE IMAGE, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Time today was spent on the developing book. Topics written about include the following:
Time today was spent on the developing book. Topics written about include the following:
- Perceptual Constructs
- The Building Materials: Spiritual Truths
- Humor & Self-Analysis
- A Personalized God (because aliens don't wear hats!)
02.26.21 Small figures, right upper corner detail
02.26.21 FINAL WHOLE IMAGE, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.24.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Synchronicity is the Spirit of God Communicating with You
Time spent drawing is special, and I look forward to it everyday. It is usually very quiet, but distractions arose, and these events ended up transcribed by my superconscious mind onto the paper (please see detail image below). I began at the line of the large males' left shoulder, and watched the silvery lines bubble out from there downward. I immediately found the two elongated, cartoon-type characters; the one on the left holds his hands together in front of him, but they are both still in progress.
I watched as the arm for the largest male disappeared, and a cat-woman landed suddenly at the base of the remaining hand. She looks at the two cartoon-fellows, and she is proudly points downward at something, excited about sharing it with them.
I was then moved to the very lower right corner, and a cross-legged woman was found. She was found looking over her right shoulder, and holds her left arm and hand bent in front of her chest. I found her right arm, and then suddenly saw the female to the left of her; this female bubbled up completely, and I copied her form as quickly as the graphite allowed. Both of the new character's arms were transcribed last, with her left arm and hand placing a 'coin that is an eye,' within the hand of the character before her. Lastly, her right arm foreshortens (projects straight out) toward the viewer, and the fingers intertwine upon the previous character's outstretched hand.
I was then moved to the left, and found the two, silly-little guys, who both seem very concerned with the 'transaction', or object handed-off between the first two (I will look more deeply into this spot, but as of now, I do not consciously know what these two characters both are holding on to).
I was distracted multiple times after this, and as I was called away and returned over and over, I suddenly saw a little boy with a cape prancing behind the four chacters just transcribed, so I copied him in as well. I did not consciously relate at the time that the person distracting my drawing time was very elated about something, and then I sat down and saw an elated little boy bounding forward (to the edge of the paper - ha ha).
The Magnetized Polarities of the Energy Centers within the Brain & Spine
The subconscious is the receptacle of images from this life as well as others' lived. As the superconscious mind is connected with, by interiorization of the consciousness, the energy of it moves through this image storehouse. What is felt, perceived, and experienced physically, mentally, and spiritually is 'taped' by the subconscious mind, and imprinted upon these forms. This results in their multidimensional qualities. The soul expresses through multiple dimensions of energy, simultaneously, and although most do not remember this fact, it is the case, nevertheless.
This expressing of the soul can be likened to how a tape recorder works. The tape of a cassette represents the energy of the consciousness, and once this is placed within the tape recorder (the physical body), the magnetic tape (consciousness) inside the cassette passes around the five magnetic heads of the recorder (energy centers within the brain and spine). Each magnetic head (energy centers within the brain and spine) realigns the magnetic particles on the passing tape (consciousness) in patterns that correspond to the loudness and frequency (rate of vibration) of the incoming sounds (spirit).
The body is built similarly, with the consciousness likened to the cassette tape, and the magnetized polarities of the cassette recorder likened to energy centers within the brain and spine. Overall, the soul's energy becomes 'personalized' by the experiences of the individual, which includes recordings of everything about the physical, mental, and, spiritual self.
Conclusions
The superconscious mind does not only translate the past, but also iterates the present, and this is reflected in the elation of the cape-wearing boy. Distractions, or interruptions to the drawing time resulted in the transcription of the interrupter.
I suppose I can only conclude that today's drawing lesson is that time is irrelevant to this process. I am intuitively aware that I draw more than the content of this life, but when occassion arises, such as today, the present becomes the topic of the visual focus unbeknownst to my conscious self (although I was not conscious of this as I drew in this boy - I just watched it all happen).
Further, because the mind is a multidimensional machine, I am able to 'step-aside' within myself, and project the soul's visual translation of relevant physical, mental, and spiritual content, such as the symbols seen here and throughout this work. Like a cassette recorder, the consciousness weaves outward from the soul, through the superconscious and subconscious minds, and finally projects through the conscious self - who is the last to know what is happening. Eventually, I am made consciously aware of the symbols' meanings, and through writing such as this, I assist myself in the purveyance of a self-landscape with broader depth and breadth than previously fathomable. Overall, although 'I' am aware that time is present, it has nothing to do with spiritual sight, which is a timeless gift from the Spirit of God.
Synchronicity is the Spirit of God Communicating with You
Time spent drawing is special, and I look forward to it everyday. It is usually very quiet, but distractions arose, and these events ended up transcribed by my superconscious mind onto the paper (please see detail image below). I began at the line of the large males' left shoulder, and watched the silvery lines bubble out from there downward. I immediately found the two elongated, cartoon-type characters; the one on the left holds his hands together in front of him, but they are both still in progress.
I watched as the arm for the largest male disappeared, and a cat-woman landed suddenly at the base of the remaining hand. She looks at the two cartoon-fellows, and she is proudly points downward at something, excited about sharing it with them.
I was then moved to the very lower right corner, and a cross-legged woman was found. She was found looking over her right shoulder, and holds her left arm and hand bent in front of her chest. I found her right arm, and then suddenly saw the female to the left of her; this female bubbled up completely, and I copied her form as quickly as the graphite allowed. Both of the new character's arms were transcribed last, with her left arm and hand placing a 'coin that is an eye,' within the hand of the character before her. Lastly, her right arm foreshortens (projects straight out) toward the viewer, and the fingers intertwine upon the previous character's outstretched hand.
I was then moved to the left, and found the two, silly-little guys, who both seem very concerned with the 'transaction', or object handed-off between the first two (I will look more deeply into this spot, but as of now, I do not consciously know what these two characters both are holding on to).
I was distracted multiple times after this, and as I was called away and returned over and over, I suddenly saw a little boy with a cape prancing behind the four chacters just transcribed, so I copied him in as well. I did not consciously relate at the time that the person distracting my drawing time was very elated about something, and then I sat down and saw an elated little boy bounding forward (to the edge of the paper - ha ha).
The Magnetized Polarities of the Energy Centers within the Brain & Spine
The subconscious is the receptacle of images from this life as well as others' lived. As the superconscious mind is connected with, by interiorization of the consciousness, the energy of it moves through this image storehouse. What is felt, perceived, and experienced physically, mentally, and spiritually is 'taped' by the subconscious mind, and imprinted upon these forms. This results in their multidimensional qualities. The soul expresses through multiple dimensions of energy, simultaneously, and although most do not remember this fact, it is the case, nevertheless.
This expressing of the soul can be likened to how a tape recorder works. The tape of a cassette represents the energy of the consciousness, and once this is placed within the tape recorder (the physical body), the magnetic tape (consciousness) inside the cassette passes around the five magnetic heads of the recorder (energy centers within the brain and spine). Each magnetic head (energy centers within the brain and spine) realigns the magnetic particles on the passing tape (consciousness) in patterns that correspond to the loudness and frequency (rate of vibration) of the incoming sounds (spirit).
The body is built similarly, with the consciousness likened to the cassette tape, and the magnetized polarities of the cassette recorder likened to energy centers within the brain and spine. Overall, the soul's energy becomes 'personalized' by the experiences of the individual, which includes recordings of everything about the physical, mental, and, spiritual self.
Conclusions
The superconscious mind does not only translate the past, but also iterates the present, and this is reflected in the elation of the cape-wearing boy. Distractions, or interruptions to the drawing time resulted in the transcription of the interrupter.
I suppose I can only conclude that today's drawing lesson is that time is irrelevant to this process. I am intuitively aware that I draw more than the content of this life, but when occassion arises, such as today, the present becomes the topic of the visual focus unbeknownst to my conscious self (although I was not conscious of this as I drew in this boy - I just watched it all happen).
Further, because the mind is a multidimensional machine, I am able to 'step-aside' within myself, and project the soul's visual translation of relevant physical, mental, and spiritual content, such as the symbols seen here and throughout this work. Like a cassette recorder, the consciousness weaves outward from the soul, through the superconscious and subconscious minds, and finally projects through the conscious self - who is the last to know what is happening. Eventually, I am made consciously aware of the symbols' meanings, and through writing such as this, I assist myself in the purveyance of a self-landscape with broader depth and breadth than previously fathomable. Overall, although 'I' am aware that time is present, it has nothing to do with spiritual sight, which is a timeless gift from the Spirit of God.
02.24.21 Synchronicity is the Spirit of God Communicating with You, lower right corner detail.
02.24.21, Work in Progress, Master Guides, whole image, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.23.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Observations
After completing the body-scan, I relaxed into the Spirit, and then opened my eyes. It was apparent that I was to work above the largest face on the left, whose arm reaches up and behind her. It was through this arm that I began to see beyond the space carved out by this limb, and my pencil followed in transcription of the multiple dimensions there.
Deeper Seeing
Within this space the woman kissing the boy is still present (see left upper detail, below), and behind her an abstracted set of wings fluttered upward. The silver lines I see feel as though they radiate a call that is psychicly read as a 'pulling' sensation. I relaxed further and looked into and beyond this space. Apparently, this section is still unfinished, but some interesting shapes that make up these wings, became a profiled, abstract character, who belongs in this space in his own right. This fellow is a 'deeper' emanation of the soul, and uses the fourth and fifth dimensional lenses of the mind to manifest itself. When there are multiple dimensions in small section of a work like this, I often find I can only see so far, then need to take a break and return. In this way, it seems my visual acumen has time to 'process' for this deeper seeing.
Multidimensional Mind Shift
There is a girl in the foreground, whose face is seen at three-quarters angle. Her left arm reaches upward, with her hand becoming the lower, back portion of the skull of this abstract wing-fellow. Her right arm reaches downward, and ends reaching into the eye of another abstract fellow. The latter's body is of a lower dimensional lens, so to appreciate his existence here, the mind must shift yet again.
The 'U' Crown
In the very left of the detail (below), there is the development of a large, female head, whose body is much too small for her. She appears to be reaching into her right front pants pocket, and her left arm still needs some attention. When fully relaxed and gazing at this large-headed woman, another whole figure is appreciated within her mind. This holographic, small figure stands within a crown upon the large head, and the crown swoops upward on both sides of the skull, creating a 'U' shape that encloses it.
Geometry & Meanings
There is a feeling of serious focus and fun within this detail. The central character's smile, the curving lines, as well as the fact that they all feel contributory to the whole, as though they are one thing that manifests through the multiple-dimension-lenses of the mind. There feels a freedom to what is obviously the use of geometrical shapes that build to form the whole. Overall, it can be concluded that the mind projects geometrical shapes that when clocked with my sight and transcribed, communicates beyond the shape itself, revealing deeper meanings.
The Soul Map
I can only conclude that the mind is a multi-dimensional machine through which the soul projects these spiritual, silver lines that I transcribe. Conscious recognition of these forms is not the point; there is even more here than what I have copied. Nevertheless, smaller sections like this pull strongly on me, calling out to be investigated so deeply it seems 'I' am completely absent, and another Spirit has filled my self. As a result of this inner-depth achieved, there seems to be a 'map' discernible to my mind, within the conglomerate whole detail section below, and it is vascillating behind the obvious character outlines. This map is the Spirit projecting through my soul.
Observations
After completing the body-scan, I relaxed into the Spirit, and then opened my eyes. It was apparent that I was to work above the largest face on the left, whose arm reaches up and behind her. It was through this arm that I began to see beyond the space carved out by this limb, and my pencil followed in transcription of the multiple dimensions there.
Deeper Seeing
Within this space the woman kissing the boy is still present (see left upper detail, below), and behind her an abstracted set of wings fluttered upward. The silver lines I see feel as though they radiate a call that is psychicly read as a 'pulling' sensation. I relaxed further and looked into and beyond this space. Apparently, this section is still unfinished, but some interesting shapes that make up these wings, became a profiled, abstract character, who belongs in this space in his own right. This fellow is a 'deeper' emanation of the soul, and uses the fourth and fifth dimensional lenses of the mind to manifest itself. When there are multiple dimensions in small section of a work like this, I often find I can only see so far, then need to take a break and return. In this way, it seems my visual acumen has time to 'process' for this deeper seeing.
Multidimensional Mind Shift
There is a girl in the foreground, whose face is seen at three-quarters angle. Her left arm reaches upward, with her hand becoming the lower, back portion of the skull of this abstract wing-fellow. Her right arm reaches downward, and ends reaching into the eye of another abstract fellow. The latter's body is of a lower dimensional lens, so to appreciate his existence here, the mind must shift yet again.
The 'U' Crown
In the very left of the detail (below), there is the development of a large, female head, whose body is much too small for her. She appears to be reaching into her right front pants pocket, and her left arm still needs some attention. When fully relaxed and gazing at this large-headed woman, another whole figure is appreciated within her mind. This holographic, small figure stands within a crown upon the large head, and the crown swoops upward on both sides of the skull, creating a 'U' shape that encloses it.
Geometry & Meanings
There is a feeling of serious focus and fun within this detail. The central character's smile, the curving lines, as well as the fact that they all feel contributory to the whole, as though they are one thing that manifests through the multiple-dimension-lenses of the mind. There feels a freedom to what is obviously the use of geometrical shapes that build to form the whole. Overall, it can be concluded that the mind projects geometrical shapes that when clocked with my sight and transcribed, communicates beyond the shape itself, revealing deeper meanings.
The Soul Map
I can only conclude that the mind is a multi-dimensional machine through which the soul projects these spiritual, silver lines that I transcribe. Conscious recognition of these forms is not the point; there is even more here than what I have copied. Nevertheless, smaller sections like this pull strongly on me, calling out to be investigated so deeply it seems 'I' am completely absent, and another Spirit has filled my self. As a result of this inner-depth achieved, there seems to be a 'map' discernible to my mind, within the conglomerate whole detail section below, and it is vascillating behind the obvious character outlines. This map is the Spirit projecting through my soul.
02.23.21 Left upper detail
02.23.21, Work in Progress, Master Guides, whole image, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.22.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.22.21 Upper right detail
02.22.21, Work in Progress, Master Guides, whole image, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.21.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Devotional Love
Devotional love is earnest. This means there is an attachment within the conscious mind to the form so focused upon.
Today, after interiorizing the mind, and completing the body-scan, I focused all of my self-concept within the spiritual eye, effectively sublimating the ego-self, and shifting the mind within spiritual awareness to that of the observer-self. Now relaxed and singularly focused upon the Higher spirit of the artistic endeavor, I watched the lines and forms bubble across the paper.
Initially, I was directed to erase, which was an overall lightening of the space above the largest female's head (see whole image below). Within this space, the original reaching female with a large singular eye was already built. Upon this form, another female appeared, and I copied her in faithfully. Then, upon this, the torso of the devotionally-loving female appeared. Her upstretched left arm and face were found next, and once these were complete, the little boy who leans toward her was found. Needless to say, I was moved (please see Devotional Love detail below).
The beauty and intricate meshing of her kissing face upon his forehead caused a sweet, uplifting wave of spiritual grace to fill my perceptions. The devotional love apparent in the gestures captured here, are a timeless message of the point of love, which is to give it. The meaning to the recipient of love of this kind, as symbolized by the little boy, is an invisible thread that when pulled, and psychically reverberates beyond the moment. The act of devotion is the expansive now in which time slows, memories congeal, and the beginning self-conceptualizations of self-as-lovable are born within the recipient.
One may be led to believe through the receipt of the act of devotional love, that he is worthy of it. Even if the recipient does not believe he is deserving of this form of love within himself in that moment, this act by another spiritually catalyzes the idea, and the recipient has it within him forever. Further, we are primed through familial enculturation to understand this form of love, and it is that ceaseless, faithfully assured devotional state that is the key to spiritual growth. Overall, through the belief that 'you' are deserving of devotional love by another, it may be understood within the mind how to outpour the self to God within meditations, as well as within your own artistic endeavors.
Rapture
Rapture is a state-of-consciousness, in which 'you' are carried into a Higher sphere of existence. Through devotional meditation upon the Presence of God, the mind looks out and through the spiritual eye and experiences the expansion of the mind as Real, and ever-increasingly realizes for himself that the spirit perceived is the definition of Living Intuition. This understanding is realized through non-inferential knowledge, or the consciousness' use of the mechanism itself. With time and practice within this altered, meditative state, the unconscious use of intuition is made conscious, and the Higher Spirit's functional geometry is revealed.
Functional Geometry of the Higher Spirit
Abstractions are necessary to a certain extent, when describing the beginning conceptualization of the invisible (Spirit) within the artist's mind. This is an act of building a geometry-of-loving-logic, initially, that steps upon the perceptual construct that originated before it, and is akin to stream-of-consciousness thinking. Through meditation, these loving perceputal constructs, such as higher levels of consciousness, and spiritual matter, are the inner, fluid geometries with which Higher spiritual levels are understood, and lead to the conception and realization of one's own soul. At least this is true for me. The how and why of existence is too broad a topic here, but through faithful observation and deconstruction of the forms perceived within the meditative state, one's true identity is revealed, which is that of a soul within the physical body.
Basic drawing skills are dependent upon internalization of basic shapes. The artist realizes that all froms may be broken down into squares, triangles, rectangles, circles, or into increasingly complex geometries as well. When observing the fluid, gaseous qualities of the spiritual matter within one's own mind, there seems a discrepancy in the use of the word 'geometry,' as well as what seems a challenging pursuit to see within oneself the invisble spirit of Another. Nevertheless, this desirous looking inward and observation of one's own mind, initially presents as this dual-identity. For example, the idea that there exists 'me' as my own spiritual-self who is present, which is the known identity of the mind. But also, there is God's Spirit, which we must somehow 'locate.' To do what seems a monumental feat (know the Higher Mind within oneself), perceptual constructs are built through the observations within meditation of what obviously appears, and for the artist this naturally means the use of shapes.
Thoughts form shapes of emotional and feeling qualities, and there is a corresponding unconscious, physical outplaying of these inner, invisible forms. For example, if you are tense, the muscles in the neck and upper back may tighten, creating a tringular area of discomfort, which affects the posture, gait, and mannerisms that are dispersed outwardly to others; the brows may tighten as well, with corresponding visible wrinkles evident on the brow in the shape of a triangle. These are outward manifestions of inner geometric-energy-conditions that form within the mind before they manifest outwardly. In this case, it is the triangular shape of tightening in the neck, shoulders, and upper back. That is, within the spiritual matter of the self, one has literally made the astral, triangular shape of tension unconsciously, which then manifests physically. In this realization, it is easily conceived that understanding the state-within-oneself is of paramount importance because it is the determining factor to the quality of life lived.
From an early age, most children are taught their basic shapes. I recall a plastic, round toy with negative spaces of shapes upon its circumference, through which I tried to correctly put a cut-out toy shape through. Whatever way basic shapes have been learned and internalized, matters only in regard to how you feel about each form.
As your negative belief deconstruction continues, it is important to know within the conscious mind the personal emotional feeling for each basic shape. The following exercises are in addition to meditating twice daily for thirty minutes, and will assist not only with your own intuitive symbol-building as you progress in the workshop, but also invoke memories associated with each one. The memories will fully invest the shape with conscious meaning, and awareness of what your soul-symbols for each sitting are communicating to you.
Devotional Love
Devotional love is earnest. This means there is an attachment within the conscious mind to the form so focused upon.
Today, after interiorizing the mind, and completing the body-scan, I focused all of my self-concept within the spiritual eye, effectively sublimating the ego-self, and shifting the mind within spiritual awareness to that of the observer-self. Now relaxed and singularly focused upon the Higher spirit of the artistic endeavor, I watched the lines and forms bubble across the paper.
Initially, I was directed to erase, which was an overall lightening of the space above the largest female's head (see whole image below). Within this space, the original reaching female with a large singular eye was already built. Upon this form, another female appeared, and I copied her in faithfully. Then, upon this, the torso of the devotionally-loving female appeared. Her upstretched left arm and face were found next, and once these were complete, the little boy who leans toward her was found. Needless to say, I was moved (please see Devotional Love detail below).
The beauty and intricate meshing of her kissing face upon his forehead caused a sweet, uplifting wave of spiritual grace to fill my perceptions. The devotional love apparent in the gestures captured here, are a timeless message of the point of love, which is to give it. The meaning to the recipient of love of this kind, as symbolized by the little boy, is an invisible thread that when pulled, and psychically reverberates beyond the moment. The act of devotion is the expansive now in which time slows, memories congeal, and the beginning self-conceptualizations of self-as-lovable are born within the recipient.
One may be led to believe through the receipt of the act of devotional love, that he is worthy of it. Even if the recipient does not believe he is deserving of this form of love within himself in that moment, this act by another spiritually catalyzes the idea, and the recipient has it within him forever. Further, we are primed through familial enculturation to understand this form of love, and it is that ceaseless, faithfully assured devotional state that is the key to spiritual growth. Overall, through the belief that 'you' are deserving of devotional love by another, it may be understood within the mind how to outpour the self to God within meditations, as well as within your own artistic endeavors.
Rapture
Rapture is a state-of-consciousness, in which 'you' are carried into a Higher sphere of existence. Through devotional meditation upon the Presence of God, the mind looks out and through the spiritual eye and experiences the expansion of the mind as Real, and ever-increasingly realizes for himself that the spirit perceived is the definition of Living Intuition. This understanding is realized through non-inferential knowledge, or the consciousness' use of the mechanism itself. With time and practice within this altered, meditative state, the unconscious use of intuition is made conscious, and the Higher Spirit's functional geometry is revealed.
Functional Geometry of the Higher Spirit
Abstractions are necessary to a certain extent, when describing the beginning conceptualization of the invisible (Spirit) within the artist's mind. This is an act of building a geometry-of-loving-logic, initially, that steps upon the perceptual construct that originated before it, and is akin to stream-of-consciousness thinking. Through meditation, these loving perceputal constructs, such as higher levels of consciousness, and spiritual matter, are the inner, fluid geometries with which Higher spiritual levels are understood, and lead to the conception and realization of one's own soul. At least this is true for me. The how and why of existence is too broad a topic here, but through faithful observation and deconstruction of the forms perceived within the meditative state, one's true identity is revealed, which is that of a soul within the physical body.
Basic drawing skills are dependent upon internalization of basic shapes. The artist realizes that all froms may be broken down into squares, triangles, rectangles, circles, or into increasingly complex geometries as well. When observing the fluid, gaseous qualities of the spiritual matter within one's own mind, there seems a discrepancy in the use of the word 'geometry,' as well as what seems a challenging pursuit to see within oneself the invisble spirit of Another. Nevertheless, this desirous looking inward and observation of one's own mind, initially presents as this dual-identity. For example, the idea that there exists 'me' as my own spiritual-self who is present, which is the known identity of the mind. But also, there is God's Spirit, which we must somehow 'locate.' To do what seems a monumental feat (know the Higher Mind within oneself), perceptual constructs are built through the observations within meditation of what obviously appears, and for the artist this naturally means the use of shapes.
Thoughts form shapes of emotional and feeling qualities, and there is a corresponding unconscious, physical outplaying of these inner, invisible forms. For example, if you are tense, the muscles in the neck and upper back may tighten, creating a tringular area of discomfort, which affects the posture, gait, and mannerisms that are dispersed outwardly to others; the brows may tighten as well, with corresponding visible wrinkles evident on the brow in the shape of a triangle. These are outward manifestions of inner geometric-energy-conditions that form within the mind before they manifest outwardly. In this case, it is the triangular shape of tightening in the neck, shoulders, and upper back. That is, within the spiritual matter of the self, one has literally made the astral, triangular shape of tension unconsciously, which then manifests physically. In this realization, it is easily conceived that understanding the state-within-oneself is of paramount importance because it is the determining factor to the quality of life lived.
From an early age, most children are taught their basic shapes. I recall a plastic, round toy with negative spaces of shapes upon its circumference, through which I tried to correctly put a cut-out toy shape through. Whatever way basic shapes have been learned and internalized, matters only in regard to how you feel about each form.
As your negative belief deconstruction continues, it is important to know within the conscious mind the personal emotional feeling for each basic shape. The following exercises are in addition to meditating twice daily for thirty minutes, and will assist not only with your own intuitive symbol-building as you progress in the workshop, but also invoke memories associated with each one. The memories will fully invest the shape with conscious meaning, and awareness of what your soul-symbols for each sitting are communicating to you.
02.21.21 Devotional Love, small figures detail
02.21.21, Work in Progress, Master Guides, whole image, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.20.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Observations
After interiorizing the mind and completing the body scan, devotional focus was placed upward and upon the spiritual eye. Expansion of the consciousness ensued, and the outermost ego-self fell away. I opened my eyes and the Spirit of the endeavor pulled me toward the upper right corner. In the detail below, titled The Three Figures of Thought, we see the largest face that was found on 02.14.21 (please see notes below). This largest face is symbolic of the Holy Son within the Trinity of Christian Spiritual understanding.
The Three Figures of Thought (see detail below)
Today, the three figures arrived. First, the central male figure bubbled forth and was faithfully copied. He reaches into the mind of the largest face, and finds an 'abstracted spirit.' Next, I found the female figure on the left, who leans agains the largest face, and points to its Spiritual Eye. She also appears to be looking over her shoulder at the figure reaching into the mind of this face.
Lastly, the right-most figure of a small, happy female was found. She appears to be balancing on her tip-toes while her feet are very close together. Both of her arms are outstretched in this balancing attempt.
Oveall, two of these small figures are engaging with the the largest, reaching into the shape of his head toward the Spiritual Eye, while the small girl who stands on her tip-toes balances herself outside of these events.
Conclusions
Today's work that evolved into three figures who are placed around the form symbolically representative of the Son of God, are representative of thought. What we think often becomes what we do, but independent balance is the goal. To achieve this, one must look away from others, and instead gaze into his own mind. In this way, the true location of oneself is realized, which is the Soul within the Spirit.
Sometimes it seems that balance is a careful awareness of energies that are not evident to the outermost mind. The abstract and invisible, heightened inner-states necessary to realize the Presence of God, and thus the expansion of the mind past the limitations of the body, are maintained through a regular meditation practice. 'Others' are present when we truly free the mind beyond the lower energies of fear and doubt, and although it may feel like 'you' are metaphorically on your 'tippy-toes', comfort can be found in the fact that every moment of effort is growth toward God. Overall, by practicing what your own perception of joy, love, peace, and kindness are within meditation, and without, the spiritual path is made evident, and expansion of the consciousness beyond the visible is made possible.
Observations
After interiorizing the mind and completing the body scan, devotional focus was placed upward and upon the spiritual eye. Expansion of the consciousness ensued, and the outermost ego-self fell away. I opened my eyes and the Spirit of the endeavor pulled me toward the upper right corner. In the detail below, titled The Three Figures of Thought, we see the largest face that was found on 02.14.21 (please see notes below). This largest face is symbolic of the Holy Son within the Trinity of Christian Spiritual understanding.
The Three Figures of Thought (see detail below)
Today, the three figures arrived. First, the central male figure bubbled forth and was faithfully copied. He reaches into the mind of the largest face, and finds an 'abstracted spirit.' Next, I found the female figure on the left, who leans agains the largest face, and points to its Spiritual Eye. She also appears to be looking over her shoulder at the figure reaching into the mind of this face.
Lastly, the right-most figure of a small, happy female was found. She appears to be balancing on her tip-toes while her feet are very close together. Both of her arms are outstretched in this balancing attempt.
Oveall, two of these small figures are engaging with the the largest, reaching into the shape of his head toward the Spiritual Eye, while the small girl who stands on her tip-toes balances herself outside of these events.
Conclusions
Today's work that evolved into three figures who are placed around the form symbolically representative of the Son of God, are representative of thought. What we think often becomes what we do, but independent balance is the goal. To achieve this, one must look away from others, and instead gaze into his own mind. In this way, the true location of oneself is realized, which is the Soul within the Spirit.
Sometimes it seems that balance is a careful awareness of energies that are not evident to the outermost mind. The abstract and invisible, heightened inner-states necessary to realize the Presence of God, and thus the expansion of the mind past the limitations of the body, are maintained through a regular meditation practice. 'Others' are present when we truly free the mind beyond the lower energies of fear and doubt, and although it may feel like 'you' are metaphorically on your 'tippy-toes', comfort can be found in the fact that every moment of effort is growth toward God. Overall, by practicing what your own perception of joy, love, peace, and kindness are within meditation, and without, the spiritual path is made evident, and expansion of the consciousness beyond the visible is made possible.
02.20.21 The Three Figures of Thought, right upper corner detail
02.20.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.19.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
The Body-Scan Investment
I closed my eyes and relaxed through the completion of a body scan. I began at the left foot, and followed this energy up the left side of my body, seeing and feeling with my whole mind every part of the physical structure I live within. I pause for half a moment, and then begin on the right side, always deeply orienting myself to the energy within the flesh, and not the flesh itself.
This body-scan process is an investment of the whole mind in the energy within the body. It re-vivifies the consciousness, increasing awareness to the Spirit of the artistic endeavor. The ever-heightening joy of this building of awareness to my own physical energy, is a conduit for the shifted-state necessary to fully immerse myself in this work.
The Mind Visualizes Spiritual Matter
By scanning the body with a visualized 'ray of energy' that is envisioned from the Spiritual Eye to each section of the body, I am using my will and focus to awaken the spiritual energy that is already there (it is everywhere, really). In this way, new sensations within the body are evident to the mind, which builds into a collective outpouring that expands exponentially. [It seems that the smallest matter of oneself projects outward an energy, vibrating upward, through the body, via direction from the mind.
Gather Energy 'As You Go'
This energy is 'gathered as you go' - meaning, awareness of the energy for all parts of the body thus scanned, is maintained at this new, heightened level. Once done, and the two halves of the 'spiritual body suit' just created are 'zipped up' (one last scan of the whole body from foot-to-head), I look fully upward, gazing at the Spiritual Eye.
The Holy Form Made of Lighted, Spiritual Filaments
Within the Spiritual Eye, The Holy Form now awaits. He is placed within the Spiritual Eye's Circle, and appears as shifting and undulating shapes of Lighted Filaments. This is a natural manifestation of Spiritual awareness, which is the development of a second sight that perceives Spiritual Matter. Around this Form, which is a symbol but also Real, the Filaments transform and weave circle-upon-circle, and the echoes of the ego are no longer discernable. Now, I am in the observer-state, a 'heart' symbol appears, which is the moment I am ready to open my eyes and begin. The heart is the key.
Now, watching the energy on the paper begins, and it whispers through and upon it. These 'sparkling lines' (filaments) are seen on the paper, and the lines are not seen with my eyes. It is the Intuition that has created 'my' seeing, and it feels as if I stand within myself as though dually-aware; it is as though I AM two Spiritual parts working together. Overall, I experience the Presence of God, and I watch this Spirit work through me upon the paper.
Conclusions
The experience of drawing through use of the meditative method of a body-scan beforehand is useful to the artist who wants to see with his spiritual sight. This is because as the focus of one's mind creates the corresponding rise in awareness of spiritual energies, a reactionary mechanism to this desirous request occurs. That is, my focused mind upon a part of the body enlivens it so, that the physical body feels increasingly invisible to my awareness. This enables the awareness to expand beyond body-consciousness, into the Universal or Superconscious state.
The Body-Scan Investment
I closed my eyes and relaxed through the completion of a body scan. I began at the left foot, and followed this energy up the left side of my body, seeing and feeling with my whole mind every part of the physical structure I live within. I pause for half a moment, and then begin on the right side, always deeply orienting myself to the energy within the flesh, and not the flesh itself.
This body-scan process is an investment of the whole mind in the energy within the body. It re-vivifies the consciousness, increasing awareness to the Spirit of the artistic endeavor. The ever-heightening joy of this building of awareness to my own physical energy, is a conduit for the shifted-state necessary to fully immerse myself in this work.
The Mind Visualizes Spiritual Matter
By scanning the body with a visualized 'ray of energy' that is envisioned from the Spiritual Eye to each section of the body, I am using my will and focus to awaken the spiritual energy that is already there (it is everywhere, really). In this way, new sensations within the body are evident to the mind, which builds into a collective outpouring that expands exponentially. [It seems that the smallest matter of oneself projects outward an energy, vibrating upward, through the body, via direction from the mind.
Gather Energy 'As You Go'
This energy is 'gathered as you go' - meaning, awareness of the energy for all parts of the body thus scanned, is maintained at this new, heightened level. Once done, and the two halves of the 'spiritual body suit' just created are 'zipped up' (one last scan of the whole body from foot-to-head), I look fully upward, gazing at the Spiritual Eye.
The Holy Form Made of Lighted, Spiritual Filaments
Within the Spiritual Eye, The Holy Form now awaits. He is placed within the Spiritual Eye's Circle, and appears as shifting and undulating shapes of Lighted Filaments. This is a natural manifestation of Spiritual awareness, which is the development of a second sight that perceives Spiritual Matter. Around this Form, which is a symbol but also Real, the Filaments transform and weave circle-upon-circle, and the echoes of the ego are no longer discernable. Now, I am in the observer-state, a 'heart' symbol appears, which is the moment I am ready to open my eyes and begin. The heart is the key.
Now, watching the energy on the paper begins, and it whispers through and upon it. These 'sparkling lines' (filaments) are seen on the paper, and the lines are not seen with my eyes. It is the Intuition that has created 'my' seeing, and it feels as if I stand within myself as though dually-aware; it is as though I AM two Spiritual parts working together. Overall, I experience the Presence of God, and I watch this Spirit work through me upon the paper.
Conclusions
The experience of drawing through use of the meditative method of a body-scan beforehand is useful to the artist who wants to see with his spiritual sight. This is because as the focus of one's mind creates the corresponding rise in awareness of spiritual energies, a reactionary mechanism to this desirous request occurs. That is, my focused mind upon a part of the body enlivens it so, that the physical body feels increasingly invisible to my awareness. This enables the awareness to expand beyond body-consciousness, into the Universal or Superconscious state.
02.19.21 The Waving Girl & Her King
02.19.21 The Gazing Face, detail
02.19.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.18.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Observations
After completing a body-scan, and shifting the mind inward, the interiorized state expanded outward, and my body dissolved pleasantly from awareness. I looked down at the paper, and was brought to start to the right of the large dragon found yesterday. I say large, because today a smaller, 'baby dragon,' appeared behind five dancing characters.
Will, Focus, & Synchronicity
Just yesterday, I woke with an intuitive resolve to do my part to make something happen. The Spirit was present consciously, and I focused inward in devotional, inner repose. This energized an easy fluidity of movement and events, wherein every person I interacted with said, 'yes', had a smile and friendly, caring attitude, and all generally went my way. I also seemed to be able to watch this all occur quietly within myself, as though every bit of the day had been synchronized by God.
Line Delicacy & Holographic Features
Today, I see in these five figures (see The Baby Dragon and Dancing Friends, detail below) more of this type of synchronicity. Generally, when I draw, I learn something new, and ach sitting is an opportunity for my observing mind to study the overall process, but today was somewhat unusual. As I observed the silver lines bubble up from the paper, it seemed as if the Spiritual Presence pulled my outermost consciousness (the 'I' of ego) closer to the paper. As I understood this shift in my awareness, the purpose was to appreciate the 'line-delicacy' in relation to 'holographic' features of this work.
The Dancing Friends
The Invisible Man
To begin, from left to right in the detail below, a generalized form has begun, but this first figure is incomplete as it is (it was the last figure to be brought out today).
The Keeper
The second figure is a female who stands with her back to the first figure, and rests her right hand on the leg of a baby dinosaur. [Making sure to achieve the fire-gazing state, and relaxing the body while looking, this little fellow can be appreciated.] Her left amr seems to simultaneously rest upon the side of this baby dinosaur, as well as upon the uplifted hand of the next figure. I understand she is 'caring for the baby dinosaur.'
The Groovy Guy
The third figure from the left is a funny little fellow, who makes it obvious this group is caught in a moment of movement; one arm is reaching up, the other bends at the elbow and extends out in front of his chest. His left leg also extends out, as though he is in mid-groove. He happily waves, and openly dances in delight. This is a groovy guy.
Observe the Silvery-Sound of Aum
The fourth character is actually a good example of multidimensionality of this work, or the holographic quality mentioned at the top of the page. When gazing at her, one notes she has two bodies. One is slender and hidden under what seems a dress that is too large, but also is the body for her other-dimensional self that leans backward. This dual-placement of a single figure may represent the feeling of the pulling of the consciousnes when observing the Spiritual Eye in meditation, while simultaneously observing the breath. I have found that a reminder of the word 'awareness' (of the breath) during such an exercise, is the goal. Otherwise, it is very difficult for me to divide my full focus fairly between the two. Finally, her left arm holds something up to the corresponding left ear, and is a reminder to observe the Silvery Sound (my perception of Aum) during meditation time.
The Crab and Aum
The last of the five characters I am calling 'Mr. Crabs,' at the very right of the detail. He has a very large head that is disproportionate to the size of his body. Further, his right arm is realized as the hand itself, truncated by this shortened shape. In that hand/arm, he holds a heart, and appears to be holding it out toward the dually-placed woman who was previously mentioned. Further, his left arm is also odd, as it does begin as an arm, but then turns into a very large hand that is crab-like, and seems to be emphasizing the ear. Again, this is a symbol from the soul, and a literal direction to the conscious mind to listen to Aum.
Conclusions
Today a whole party of dancing characters arrived. They relate a story of caring, dance, and focus upon sound. Specifically, I intuitively understand that what I am to listen to is the sound of Aum, as it is understood by myself at this moment. In this way, a 'brightened spiritual path is made clear.'
Observations
After completing a body-scan, and shifting the mind inward, the interiorized state expanded outward, and my body dissolved pleasantly from awareness. I looked down at the paper, and was brought to start to the right of the large dragon found yesterday. I say large, because today a smaller, 'baby dragon,' appeared behind five dancing characters.
Will, Focus, & Synchronicity
Just yesterday, I woke with an intuitive resolve to do my part to make something happen. The Spirit was present consciously, and I focused inward in devotional, inner repose. This energized an easy fluidity of movement and events, wherein every person I interacted with said, 'yes', had a smile and friendly, caring attitude, and all generally went my way. I also seemed to be able to watch this all occur quietly within myself, as though every bit of the day had been synchronized by God.
Line Delicacy & Holographic Features
Today, I see in these five figures (see The Baby Dragon and Dancing Friends, detail below) more of this type of synchronicity. Generally, when I draw, I learn something new, and ach sitting is an opportunity for my observing mind to study the overall process, but today was somewhat unusual. As I observed the silver lines bubble up from the paper, it seemed as if the Spiritual Presence pulled my outermost consciousness (the 'I' of ego) closer to the paper. As I understood this shift in my awareness, the purpose was to appreciate the 'line-delicacy' in relation to 'holographic' features of this work.
The Dancing Friends
The Invisible Man
To begin, from left to right in the detail below, a generalized form has begun, but this first figure is incomplete as it is (it was the last figure to be brought out today).
The Keeper
The second figure is a female who stands with her back to the first figure, and rests her right hand on the leg of a baby dinosaur. [Making sure to achieve the fire-gazing state, and relaxing the body while looking, this little fellow can be appreciated.] Her left amr seems to simultaneously rest upon the side of this baby dinosaur, as well as upon the uplifted hand of the next figure. I understand she is 'caring for the baby dinosaur.'
The Groovy Guy
The third figure from the left is a funny little fellow, who makes it obvious this group is caught in a moment of movement; one arm is reaching up, the other bends at the elbow and extends out in front of his chest. His left leg also extends out, as though he is in mid-groove. He happily waves, and openly dances in delight. This is a groovy guy.
Observe the Silvery-Sound of Aum
The fourth character is actually a good example of multidimensionality of this work, or the holographic quality mentioned at the top of the page. When gazing at her, one notes she has two bodies. One is slender and hidden under what seems a dress that is too large, but also is the body for her other-dimensional self that leans backward. This dual-placement of a single figure may represent the feeling of the pulling of the consciousnes when observing the Spiritual Eye in meditation, while simultaneously observing the breath. I have found that a reminder of the word 'awareness' (of the breath) during such an exercise, is the goal. Otherwise, it is very difficult for me to divide my full focus fairly between the two. Finally, her left arm holds something up to the corresponding left ear, and is a reminder to observe the Silvery Sound (my perception of Aum) during meditation time.
The Crab and Aum
The last of the five characters I am calling 'Mr. Crabs,' at the very right of the detail. He has a very large head that is disproportionate to the size of his body. Further, his right arm is realized as the hand itself, truncated by this shortened shape. In that hand/arm, he holds a heart, and appears to be holding it out toward the dually-placed woman who was previously mentioned. Further, his left arm is also odd, as it does begin as an arm, but then turns into a very large hand that is crab-like, and seems to be emphasizing the ear. Again, this is a symbol from the soul, and a literal direction to the conscious mind to listen to Aum.
Conclusions
Today a whole party of dancing characters arrived. They relate a story of caring, dance, and focus upon sound. Specifically, I intuitively understand that what I am to listen to is the sound of Aum, as it is understood by myself at this moment. In this way, a 'brightened spiritual path is made clear.'
12.18.21 The Baby Dragon and Dancing Friends, left center bottom detail
02.18.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.17.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Observations
Today has been a very productive day, outside of drawing as well as in. I sat happily down at my easel, struck the shifted-state, and with a grin on my face, looked out beyond my 'self' and began.
The Dragon Spirit and 'U'
I easily found a girl in the lower-left corner (see The Dragon Spirit & 'U' detail below). Her right arm was found after her whole body and face were completed, with the right hand 'measuring' the space behind her ear and bottom-half of the skull. This area is the medulla oblongota, and through it, spiritual energy is funneled (P. Yogananda). I then found a second copy of the right arm, with its hand seeming to hold, or 'pat' something unseen upon her left shoulder.
The Excitement of Illusion & Paradox
In the moment she was completed, there was an inundation of silver lines that began to flower out of the paper to the right of her. This collection of overlapping shapes and tones began the illusion-building process, and I excitedly watched as I realized a paradox was forthcoming. The illusions of space, and the slowing of time within this meditative drawing state, faithfully combined to outpour a paradox, and the Dragon Spirit was realized. Its face and claws suddenly appeared, and its corresponding body intuitively clicked into place (I realized they already existed as light sketch marks). I pulled the whole form out through subtraction of color tones, and removed the supportive matrix that did not belong to the final image. Overall, this effort culminated in a Dragon Spirit, who holds a 'rune' with the shape of a cup, or 'U', in the center of it.
Uruz
I intuitively knew that the symbol the dragon is holding in his left claw is a rune. A little research revealed that this particular rune is called 'Uruz,' and key concepts it speaks to include life force, physical health, courage, organic structure, manifestation, formation, healing, vigor, and endurance. Further, its energy is one of vital formative force, archetypal patterning, raw primal power, survival, healing, endurance, manifestation and organic structuring. Uruz is the governing energy shaping and forcing fortunate circumstances creatively through will and inspiration. Overall, the Uruz symbol represents my goal, manifested here as the soul-symbol of the superconscious mind, and this is held in the claw of the Dragon Spirit.
The Dragon Spirit
Intuitively reading the clever outplay of the dragon's image, his relationship to the girl is evident; he lays his chin upon her left shoulder fondly, and one of her two arms 'pats' it on the snout. This idea of patting was present before I saw there was a dragon to transcribe. Intuitive information such as this, usually presents a 'state of being,' as represented by the word 'heard' within the mind. Specifically, if you 'pat' a dog or cat, it is an affectionate gesture. Here, the idea of an affectionate relationship between the girl and the dragon is emphasized by the additional arm of the female, which is read as a 'spiritual arm.'
The Dragon Spirit announces his own state-of-being with the affection expressed toward the girl, and the announcement of Uruz, represented by the rune with its 'U' shape. Although it seems to the modern, texting mind that this symbol could easily mean 'you,' that would be a lazy interpretation, but also accurate. This is because all of the work is a reflection of One Spirit, who has many parts. My part is symbolized here, and pertains to the life I am living now, manifesting naturally as a reflection of my whole inner self. Overall, the Dragon Spirit is literally shaping and forcing fortunate circumstances creatively, through will and the inspirational, superconscious experience of Spiritual Sight.
Conclusions
Through an inner-state of joy and willinginess to work with my own inner, Higher understanding of Spirit, courage is naturally produced. To endure through organic structuring of the self in an intuitive way (negative belief deconstruction and a regular meditation practice upon this Spirit, as well as the organic structuring of the spiritual drawing process), the vital forces of Spiritual Energy creates an archetypal patterning upon the paper. The energy of the dragon, which is a primal power, is accessed and translated through the soul, creating an outpouring of spiritually seen lines, that when copied, produced the illusions and paradox necessary to see this symbol itself. This was faithfully transcribed. Overall, the soul-symbol of the Dragon Spirit governs the creative will and inspiration, in affectionate vigor.
Observations
Today has been a very productive day, outside of drawing as well as in. I sat happily down at my easel, struck the shifted-state, and with a grin on my face, looked out beyond my 'self' and began.
The Dragon Spirit and 'U'
I easily found a girl in the lower-left corner (see The Dragon Spirit & 'U' detail below). Her right arm was found after her whole body and face were completed, with the right hand 'measuring' the space behind her ear and bottom-half of the skull. This area is the medulla oblongota, and through it, spiritual energy is funneled (P. Yogananda). I then found a second copy of the right arm, with its hand seeming to hold, or 'pat' something unseen upon her left shoulder.
The Excitement of Illusion & Paradox
In the moment she was completed, there was an inundation of silver lines that began to flower out of the paper to the right of her. This collection of overlapping shapes and tones began the illusion-building process, and I excitedly watched as I realized a paradox was forthcoming. The illusions of space, and the slowing of time within this meditative drawing state, faithfully combined to outpour a paradox, and the Dragon Spirit was realized. Its face and claws suddenly appeared, and its corresponding body intuitively clicked into place (I realized they already existed as light sketch marks). I pulled the whole form out through subtraction of color tones, and removed the supportive matrix that did not belong to the final image. Overall, this effort culminated in a Dragon Spirit, who holds a 'rune' with the shape of a cup, or 'U', in the center of it.
Uruz
I intuitively knew that the symbol the dragon is holding in his left claw is a rune. A little research revealed that this particular rune is called 'Uruz,' and key concepts it speaks to include life force, physical health, courage, organic structure, manifestation, formation, healing, vigor, and endurance. Further, its energy is one of vital formative force, archetypal patterning, raw primal power, survival, healing, endurance, manifestation and organic structuring. Uruz is the governing energy shaping and forcing fortunate circumstances creatively through will and inspiration. Overall, the Uruz symbol represents my goal, manifested here as the soul-symbol of the superconscious mind, and this is held in the claw of the Dragon Spirit.
The Dragon Spirit
Intuitively reading the clever outplay of the dragon's image, his relationship to the girl is evident; he lays his chin upon her left shoulder fondly, and one of her two arms 'pats' it on the snout. This idea of patting was present before I saw there was a dragon to transcribe. Intuitive information such as this, usually presents a 'state of being,' as represented by the word 'heard' within the mind. Specifically, if you 'pat' a dog or cat, it is an affectionate gesture. Here, the idea of an affectionate relationship between the girl and the dragon is emphasized by the additional arm of the female, which is read as a 'spiritual arm.'
The Dragon Spirit announces his own state-of-being with the affection expressed toward the girl, and the announcement of Uruz, represented by the rune with its 'U' shape. Although it seems to the modern, texting mind that this symbol could easily mean 'you,' that would be a lazy interpretation, but also accurate. This is because all of the work is a reflection of One Spirit, who has many parts. My part is symbolized here, and pertains to the life I am living now, manifesting naturally as a reflection of my whole inner self. Overall, the Dragon Spirit is literally shaping and forcing fortunate circumstances creatively, through will and the inspirational, superconscious experience of Spiritual Sight.
Conclusions
Through an inner-state of joy and willinginess to work with my own inner, Higher understanding of Spirit, courage is naturally produced. To endure through organic structuring of the self in an intuitive way (negative belief deconstruction and a regular meditation practice upon this Spirit, as well as the organic structuring of the spiritual drawing process), the vital forces of Spiritual Energy creates an archetypal patterning upon the paper. The energy of the dragon, which is a primal power, is accessed and translated through the soul, creating an outpouring of spiritually seen lines, that when copied, produced the illusions and paradox necessary to see this symbol itself. This was faithfully transcribed. Overall, the soul-symbol of the Dragon Spirit governs the creative will and inspiration, in affectionate vigor.
02.17.21 The Dragon-Spirit & "U", lower-left corner detail
02.14.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
Observations
Today's drawing-time was very rewarding. I closed my eyes, looked up, and focused upon the Spritiual Eye. Inner mechanisms of desire and yearing instinctively ensued, and resulted in a simultaneous expansion of my awareness of 'self.' I sat for a few minutes submerged in the evolution of desire to joy, and felt a smile bloom upon my face. This invoked another body-scan within my mind, so once complete, the eyes slipped open, and I saw electrically-twinkling, the location I was to begin (please see Father, Son, and Spirit, detail below).
Looking out through the shifted-state, I easily found this location, and within it quickly transcribed a sitting man holding a child (or beloved). Time was also spent in this section upon the birds that are flying upward, aligning behind and within his head. The ideas presented in these three symbols (Father, Son, and Spirit [symbolized by the bird]), originate in the soul.
The Geometry of God: The Father, Son, and Spirit
In Christianity, instruction for access to God is through the Holy Spirit. To my mind, the geometry of God begins when one understands the process of awakening to His Spirit. My own Spiritual geometry grew from the Christian trinity perceptualization. 'I' have always understood the simple directions that to know the Father, one is guided first by the Spirit, to Christ, and then through Christ-Consciousness, the soul may Realize the Father. Geometrically, that is, the Holy Spirit represents the lower-left corner; Christ represents the lower-right corner, and the Father is the point above and between the two. Overall, the triangle is my own inner-symbol, plumbed from the Christian trinity of God-Relationships.
Although this is a trinity of triangular proportions, it is through the Holy Spirit that the mind moves toward knowing the other two. Jesus spoke of this when he stated, "But the Helper (Advocate), the Holy Spirit, whom the Father will send in my name, he will teach you all things and bring to your remembrance all that I have said to you" (John 14:26 ESV). Further, Romans 1 states, "The righteous shall live by Faith," which may be cultivated by prayer and meditation. Overall, through faith in the Spirit perceived within one's meditations, one may know Christ-Consciousness, and God the Father's Presence.
One's awareness, of who is realizing Whom in the traveling of the consciousness inward and upward, is fueled by a focused and concentrated funneling of devotion and adoration for this Spirit perceived. Time is wonderfully lost in His Presence, and recompense is the ultimate joy known for the effort.
The Son and Spirit
Interestingly, my soul used the likeness of my own son in the upper-right corner of this work, to represent Christ-Consciousness through the Holy Spirit. The idea of separation from the Son's (Christ's) Spirit is an impossibility, except of course if the outermost ego-mind has convinced itself this is not the case. The Truth of Reality, realized through deep meditation, reveals there are no boundaries between who we conceive ourselves to be as humans, and the Spirit of Higher Understanding. Again, the only exception to knowing all are One, is the belief to the contrary (we are all woven within the same Spiritual Matter, so distances perceived by the mind are illusions, as is time; this may be understood through deep meditation upon the Presence of God). Overall, through contact with the Holy Spirit within devotional meditation, Christ-consciousness presents, and the beliefs fueling materialsm and limitation dissolve; intuition is awakened.
The Whole Colored Image
I am not "use to" working with color. I am repelled by its addition on top of completed drawings. Nevertheless, in the last few, as well as Master Guides, I have happily attempted to work with color by spreading it on with a brush beforehand. This is done rather quickly, and of course after initial shifting of the mind inward.
Excavation Through Color
Although the color is extremely thin upon the paper, its addition adds a 'digging' sensation within myself. It is as if the Spirit sent the sparkling-silver line underneath the color, so I must dig around it. Subtraction becomes a very big part of working with color for myself, because the lines feel as if they cut through the thickness of the dimensions that color creates; color seems something I am 'working around' at this point. Overall, the Spiritual silver of the lines perceived, seems oblivious to color's addition, and I watch as the lines splice deeply through it, causing an inner urge to "excavate" the line from within the color.
The result of this excavation of the line is that a residue of color remains, as it has imbedded very deeply into the paper. These abstracted colored- shapes appear as "echo-marks," that to my mind, are suggesting a whole other dimensional drawing within the one obviously underway.
Conclusions:
The symbols representative of Father, Son, and Holy Ghost/Spirit presented in the work today. In my mind, this trinity-relationship of the geometry of God is important for myself to understand, as the process of Spiritually drawing, and seeing the silver lines, is dependent upon basic compositional principles that are geometrical.
The superconscious mind is a projection of the soul, and through it, the soul speaks. Symbols are built out of one's inner perceptual constructs, which are conceptualizations gained through life experiences. For the idea of the son of God to present as a literal transcription of my own son's face, is evidence of the soul's understanding of Spiritual relationships: to reach the son/Christ, one must first know the Spirit. In this way, and overall, the focus and course advised by the soul today is meditation upon the Presence of God's Spirit.
Observations
Today's drawing-time was very rewarding. I closed my eyes, looked up, and focused upon the Spritiual Eye. Inner mechanisms of desire and yearing instinctively ensued, and resulted in a simultaneous expansion of my awareness of 'self.' I sat for a few minutes submerged in the evolution of desire to joy, and felt a smile bloom upon my face. This invoked another body-scan within my mind, so once complete, the eyes slipped open, and I saw electrically-twinkling, the location I was to begin (please see Father, Son, and Spirit, detail below).
Looking out through the shifted-state, I easily found this location, and within it quickly transcribed a sitting man holding a child (or beloved). Time was also spent in this section upon the birds that are flying upward, aligning behind and within his head. The ideas presented in these three symbols (Father, Son, and Spirit [symbolized by the bird]), originate in the soul.
The Geometry of God: The Father, Son, and Spirit
In Christianity, instruction for access to God is through the Holy Spirit. To my mind, the geometry of God begins when one understands the process of awakening to His Spirit. My own Spiritual geometry grew from the Christian trinity perceptualization. 'I' have always understood the simple directions that to know the Father, one is guided first by the Spirit, to Christ, and then through Christ-Consciousness, the soul may Realize the Father. Geometrically, that is, the Holy Spirit represents the lower-left corner; Christ represents the lower-right corner, and the Father is the point above and between the two. Overall, the triangle is my own inner-symbol, plumbed from the Christian trinity of God-Relationships.
Although this is a trinity of triangular proportions, it is through the Holy Spirit that the mind moves toward knowing the other two. Jesus spoke of this when he stated, "But the Helper (Advocate), the Holy Spirit, whom the Father will send in my name, he will teach you all things and bring to your remembrance all that I have said to you" (John 14:26 ESV). Further, Romans 1 states, "The righteous shall live by Faith," which may be cultivated by prayer and meditation. Overall, through faith in the Spirit perceived within one's meditations, one may know Christ-Consciousness, and God the Father's Presence.
One's awareness, of who is realizing Whom in the traveling of the consciousness inward and upward, is fueled by a focused and concentrated funneling of devotion and adoration for this Spirit perceived. Time is wonderfully lost in His Presence, and recompense is the ultimate joy known for the effort.
The Son and Spirit
Interestingly, my soul used the likeness of my own son in the upper-right corner of this work, to represent Christ-Consciousness through the Holy Spirit. The idea of separation from the Son's (Christ's) Spirit is an impossibility, except of course if the outermost ego-mind has convinced itself this is not the case. The Truth of Reality, realized through deep meditation, reveals there are no boundaries between who we conceive ourselves to be as humans, and the Spirit of Higher Understanding. Again, the only exception to knowing all are One, is the belief to the contrary (we are all woven within the same Spiritual Matter, so distances perceived by the mind are illusions, as is time; this may be understood through deep meditation upon the Presence of God). Overall, through contact with the Holy Spirit within devotional meditation, Christ-consciousness presents, and the beliefs fueling materialsm and limitation dissolve; intuition is awakened.
The Whole Colored Image
I am not "use to" working with color. I am repelled by its addition on top of completed drawings. Nevertheless, in the last few, as well as Master Guides, I have happily attempted to work with color by spreading it on with a brush beforehand. This is done rather quickly, and of course after initial shifting of the mind inward.
Excavation Through Color
Although the color is extremely thin upon the paper, its addition adds a 'digging' sensation within myself. It is as if the Spirit sent the sparkling-silver line underneath the color, so I must dig around it. Subtraction becomes a very big part of working with color for myself, because the lines feel as if they cut through the thickness of the dimensions that color creates; color seems something I am 'working around' at this point. Overall, the Spiritual silver of the lines perceived, seems oblivious to color's addition, and I watch as the lines splice deeply through it, causing an inner urge to "excavate" the line from within the color.
The result of this excavation of the line is that a residue of color remains, as it has imbedded very deeply into the paper. These abstracted colored- shapes appear as "echo-marks," that to my mind, are suggesting a whole other dimensional drawing within the one obviously underway.
Conclusions:
The symbols representative of Father, Son, and Holy Ghost/Spirit presented in the work today. In my mind, this trinity-relationship of the geometry of God is important for myself to understand, as the process of Spiritually drawing, and seeing the silver lines, is dependent upon basic compositional principles that are geometrical.
The superconscious mind is a projection of the soul, and through it, the soul speaks. Symbols are built out of one's inner perceptual constructs, which are conceptualizations gained through life experiences. For the idea of the son of God to present as a literal transcription of my own son's face, is evidence of the soul's understanding of Spiritual relationships: to reach the son/Christ, one must first know the Spirit. In this way, and overall, the focus and course advised by the soul today is meditation upon the Presence of God's Spirit.
02.15.21 The Son and Spirit
02.15.21 The Father, Son, and Spirit
02.15.21 Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.14.21, Work in Progress, Master Guides, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.14.21 Master Guides, detail.
02.14.21, Work in Progress, Master Guides, whole image, 8 1/4" x 12 1/4", rose madder, cadmium orange & yellow painting powder pigment, with graphite pencil on watercolor paper.
02.14.21 FINAL IMAGES, Greater Rewards, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Observations
I intuitively understood that today I was to finish-up Greater Rewards, as I sat down and shifted my mind. I completed the body-scan, and melted into the Spirit. This dissipation of the ego that occurs is a mental and physical relief, with Spirit filling-in the perceived tensions of the mind and body with relaxation and peace. Now focused fully upon, and gazing toward the Spiritual Eye, I am overwhelmed with adoration for this shift: "I" have 'stepped-aside' within myself. The work begins.
I then look and see the invisible-silver energy that imbues this work.
Mind-Over-Matter
Pulled to the lower-left corner, I began behind the largest female's legs (see Sublimation of the Ego detail below). The two foremost characters had already been transcribed, and I was directed to build upon the generalized form alreading present. The transformation is evident in comparison of today's detail additions here, and the work done on 02.09.21 (see Left Side detail notes from 02.09.21 below).
This additional character is represented of a second-effort of my soul's direction to 'stamp upon' childish things. In this repetitive theme (that is also seen by the largest female's feet, and the fellow she has incapacitated under some pretty fancy shoes), the soul communicates loudly, re-directing my mind to this topic, in order to make its point. Overall, the idea of mind over matter is essential in these visual-lessons of the soul.
The Rabbit and The Penguin
The symbol of the penguin showed up with his owner, the boy on 02.12.21 (please see notes for that date). The penguin's symbolism was 'adaptation' in that case, with "wondering about flightless-flight, wherein this bird has become transformed from the waddling oddity it appears on land, and into an acrobat of water spaces."
Today, a new other-dimensional character showed up to the right of the largest female, and atop his head there was a rabbit (see The Rabbit and The Penguin detail below). I thought this curious, and then looked to the right, noting that the second largest fellow on the other side of the largest female, has a penguin flying above his head. I understand these large, male characters that encircle the large female represent Spiritual ideas. That these two fellows each have an animal atop their head is noteworthy, because it is in the deconstruction of the intuitive-understanding of these forms (their reflective inner-symbolic-meaning for myself), that enlightens the story that is transcribed here.
Symbolically, the rabbit is fertile and prosperous through my own observational experience, and in many cultures it is a sign of good luck. Furthermore, the flying penguin (given my own intuitive-thought expressed above), is an impossibility, except if it has reached its natural environment (water), wherein he appears to fly through it. Overall, deconstruction of these two animal symbols is important, as I understand they are traits within the spirits of the character's they are directly above.
Looking now at their associated male-human-character forms, we can see that these two surrounding the largest female are located in different dimensions. The leftmost rabbit's fellow is seen through, as well as overlapping the central female. The penguin's fellow seems to enwrap her with himself - he exists within the same dimension as she.
Conclusions drawn from this deconstruction, enlighten through these images that unbeknownst to my outermost consciousness, there are two Spirits at work, assisting me. The first intuitively councils that True freedom is realized within the natural, inner-Spiritual environment (represented by the flying penguin); the second, intuitively councils that prosperity and good luck are my lot (represented by the rabbit). Lastly, "I" am represented by the form of the centralized, largest female, and listen to their council.
Time, Love and the Eternal Condition
This last detail (see below), reminds the conscious mind of the Presence of Love and Time. Regardless of the location of one's physical body (life or death), the soul is everlasting, and the soul is Love. The soul is encased within the physical body for this lifetime's duration, but time has no meaning to the soul. Physical life is a dream-story, and Love Eternal is the Condition of the Soul.
Conclusions: 'I' Die Daily
It is good to gravitate to that which is Spiritual Truth, and the symbols found today again explify the worth of this drawing and intuitive-deconstruction effort. I now realize that self-analysis is what I have been practicing all along - that is, this work is the way "I" have come to understand my own Spiritual Evolution.
By filling my days in pursuit of God's Spirit, and listening to this 'found' Spiritual council, reassurances, directions, and lessons outplay through the conscious mind. Today, my soul communicated that I am truly free and prosperous, even lucky. Further, the symbols themselves evoked deeper lessons and insights, which astound my outer mind (ego) who has fallen asleep. I now remember Paul said, "I die daily" (1 Corinthians 15:31), about his own Spiritual experience, and in that method, 'I' agree completely.
Observations
I intuitively understood that today I was to finish-up Greater Rewards, as I sat down and shifted my mind. I completed the body-scan, and melted into the Spirit. This dissipation of the ego that occurs is a mental and physical relief, with Spirit filling-in the perceived tensions of the mind and body with relaxation and peace. Now focused fully upon, and gazing toward the Spiritual Eye, I am overwhelmed with adoration for this shift: "I" have 'stepped-aside' within myself. The work begins.
I then look and see the invisible-silver energy that imbues this work.
Mind-Over-Matter
Pulled to the lower-left corner, I began behind the largest female's legs (see Sublimation of the Ego detail below). The two foremost characters had already been transcribed, and I was directed to build upon the generalized form alreading present. The transformation is evident in comparison of today's detail additions here, and the work done on 02.09.21 (see Left Side detail notes from 02.09.21 below).
This additional character is represented of a second-effort of my soul's direction to 'stamp upon' childish things. In this repetitive theme (that is also seen by the largest female's feet, and the fellow she has incapacitated under some pretty fancy shoes), the soul communicates loudly, re-directing my mind to this topic, in order to make its point. Overall, the idea of mind over matter is essential in these visual-lessons of the soul.
The Rabbit and The Penguin
The symbol of the penguin showed up with his owner, the boy on 02.12.21 (please see notes for that date). The penguin's symbolism was 'adaptation' in that case, with "wondering about flightless-flight, wherein this bird has become transformed from the waddling oddity it appears on land, and into an acrobat of water spaces."
Today, a new other-dimensional character showed up to the right of the largest female, and atop his head there was a rabbit (see The Rabbit and The Penguin detail below). I thought this curious, and then looked to the right, noting that the second largest fellow on the other side of the largest female, has a penguin flying above his head. I understand these large, male characters that encircle the large female represent Spiritual ideas. That these two fellows each have an animal atop their head is noteworthy, because it is in the deconstruction of the intuitive-understanding of these forms (their reflective inner-symbolic-meaning for myself), that enlightens the story that is transcribed here.
Symbolically, the rabbit is fertile and prosperous through my own observational experience, and in many cultures it is a sign of good luck. Furthermore, the flying penguin (given my own intuitive-thought expressed above), is an impossibility, except if it has reached its natural environment (water), wherein he appears to fly through it. Overall, deconstruction of these two animal symbols is important, as I understand they are traits within the spirits of the character's they are directly above.
Looking now at their associated male-human-character forms, we can see that these two surrounding the largest female are located in different dimensions. The leftmost rabbit's fellow is seen through, as well as overlapping the central female. The penguin's fellow seems to enwrap her with himself - he exists within the same dimension as she.
Conclusions drawn from this deconstruction, enlighten through these images that unbeknownst to my outermost consciousness, there are two Spirits at work, assisting me. The first intuitively councils that True freedom is realized within the natural, inner-Spiritual environment (represented by the flying penguin); the second, intuitively councils that prosperity and good luck are my lot (represented by the rabbit). Lastly, "I" am represented by the form of the centralized, largest female, and listen to their council.
Time, Love and the Eternal Condition
This last detail (see below), reminds the conscious mind of the Presence of Love and Time. Regardless of the location of one's physical body (life or death), the soul is everlasting, and the soul is Love. The soul is encased within the physical body for this lifetime's duration, but time has no meaning to the soul. Physical life is a dream-story, and Love Eternal is the Condition of the Soul.
Conclusions: 'I' Die Daily
It is good to gravitate to that which is Spiritual Truth, and the symbols found today again explify the worth of this drawing and intuitive-deconstruction effort. I now realize that self-analysis is what I have been practicing all along - that is, this work is the way "I" have come to understand my own Spiritual Evolution.
By filling my days in pursuit of God's Spirit, and listening to this 'found' Spiritual council, reassurances, directions, and lessons outplay through the conscious mind. Today, my soul communicated that I am truly free and prosperous, even lucky. Further, the symbols themselves evoked deeper lessons and insights, which astound my outer mind (ego) who has fallen asleep. I now remember Paul said, "I die daily" (1 Corinthians 15:31), about his own Spiritual experience, and in that method, 'I' agree completely.
02.14.21 Time and Love, upper-center detail.
02.14.21 The Rabbit and The Penguin, upper-left corner detail.
02.14.21 Sublimation of the Ego, lower-left corner detail.
02.14.21 FINAL IMAGE, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.13.21 Please see the middle of the Home page for creative work accomplished today. The work in progress image and writings will be updated here tomorrow.
02.12.21 Work in Progress, Greater Rewards, whole image, (without writings) 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper. Please see the Symbol Notebook page for all observations and deconstructions of this work.
The Inner Demeanor to Spiritual Sight
Today I easily achieved the shifted-state, and began observation of the spiritual lines, at a point between the two largest females on the left (see The Boy and The Penguin detail below). The boy's face had already been brought out a bit (see 02.10.21 notes), but I had no idea (of course) if he would even have a body. I assume nothing, and think nothing, while I do this work. Instead, my inner demeanor is of an earnest child - one that wants to know with all her heart the Source of this multidimensional sight.
An Earnest Child
Notes: This is the inner demeanor that causes sublimation of the ego-self completely. This state is stillness of the body and mind, with asthetic and devotionally sincere demeanor. Then, I then see the spiritual lines.
The Boy and The Penguin
I looked and found the boy's body, and then suddenly saw the penguin's head. The mind has slowed and is like still water, and in this state I observe the surface of the paper, and easily see the energy become the whole penguin. I understood that the boy is the owner of this penguin, and the penguin 'belongs to him.' I also recall wondering about flightless-flight, wherein this bird has become transformed from the waddling oddity it appears on land, and into an acrobat of water spaces. Further, this penguin's head is caressed by the boy's right hand, and one can't help but note the current 'look upon his face' as somewhat mischievious. Overall, the Spiritual Source for evolutionary mechanisms created these ideas and these forms, and is appearing here through a symbol of adaption (penguin), who does have a master (boy).
Intutive Perceptions
Intuitive perceptions like those made above, arrive easily as I plumb the depths of the drawn forms. In doing this, I learned that the penguin represents adaption of form, which brings to mind the ABC's of Spiritual Matter that I have discerned through these studies. These ABC's are merely an acronym to remind oneself that spirituality is not just about sitting and observing the Spiritual Eye, or Chirst-Consciousness center between the brows. Through the idea of Assignment: Build Concept, or ABC's of Spiritual Matter, I have assigned myself a life-long, inner, spiritual 'construction project,' through which 'I' hope to grow toward Christ-Consciousness. Overall, the ability to adapt in this construction project, seems to be reflected in the symbol of the penguin and the boy.
.The Quartet and the Fourth Dimension
This detail image (see below) is a great example of how it feels to shift the mind spiritually. By gazing at these images, as though one is looking at the candle of a flame, it is easy to discern the multidimensions of characters. This particular example is an opitcal illusion, wherin there are four dimensions discernible by the mind. There are four faces in this detail as well, with the center two seeming to visually hover within and across each other. This is an example illustrating a perception of a fourth dimension of visual layering. Ultimately, this particular example is highly independent, in that the mind has used all parts of the symbolic characters, almost completely, out of what seems one body. Perceptually, this would be the right-center character, who seems recessed behind the other three.
The Fourth-Dimensional Face
After gazing at The Fourth-Dimensional Face (see detail below), the mind may note his subtle presence in the bottom center. His face is manifesting upon the whispering man, and just in front of the chest of the tall, female character on the left. Because he is above the boy, and I again note the mischievious look on the boy's face, I can discern that this 4D-Fellow is a manifestation of this Master- child, and literally belongs to the boy.
This face represents the idea that 'reality is not what you think.'
Reality is Not What 'You' Think: Hinton's Method
Following the breadcrumbs of my excitement, and to assist in the explanation of 'Fourth Dimension,' I found this information that rings true within my own mind. Eplained through Wikipedia, the fourth dimension visually, may be understood through Hinton's method, wherein one "draws two ordinary 3D cubes in 2D space, one encompassing the other, separated by an "unseen" distance, and then draw lines between their equivalent vertices. This can be seen in the accompanying animation whenever it shows a smaller inner cube inside a larger outer cube. The eight lines connecting the vertices of the two cubes in this case represent a single direction in the "unseen" fourth dimension (n. p.) Click this link to observe Hinton's conceptualization of fourth-dimensional space.
Observing Hinton's method play out, makes the mind feel a certain way. This is a good exercise of the mind for someone interested in how it is I see the way I see. Interestingly, gazing at Hinton's cubes-in-space feels curious to my own mind, and what strikes me in my observation of this feeling, is that the cubes are all a part of the one, moving representation of the fourth dimension. Essentially, this is a conceptual framework for God, and in Him, the many are the One.
Conclusions
Overall, there was a lot discovered today. First, freedom functions within the boundaries of adaptation, and spiritually speaking, one has the ability to control this development. Through application of the ABC's of Spiritual Matter (Assignment: Build Concept), and a devotional meditation practice upon the Presence of God, one is fueled to conceptually re-form himself, within and without. This is a daily practice, one that Paul stated was to "die daily" (1 Corinthians 15:31).
Second, the fourth dimension is easily understood through Hinton's Method, which upon observation of the moving formula, is a good representation of the feeling of shifting the mind, as well as a good representation of knowing God as One, with one's 'self' a literal part of the Larger Form.
The Inner Demeanor to Spiritual Sight
Today I easily achieved the shifted-state, and began observation of the spiritual lines, at a point between the two largest females on the left (see The Boy and The Penguin detail below). The boy's face had already been brought out a bit (see 02.10.21 notes), but I had no idea (of course) if he would even have a body. I assume nothing, and think nothing, while I do this work. Instead, my inner demeanor is of an earnest child - one that wants to know with all her heart the Source of this multidimensional sight.
An Earnest Child
Notes: This is the inner demeanor that causes sublimation of the ego-self completely. This state is stillness of the body and mind, with asthetic and devotionally sincere demeanor. Then, I then see the spiritual lines.
The Boy and The Penguin
I looked and found the boy's body, and then suddenly saw the penguin's head. The mind has slowed and is like still water, and in this state I observe the surface of the paper, and easily see the energy become the whole penguin. I understood that the boy is the owner of this penguin, and the penguin 'belongs to him.' I also recall wondering about flightless-flight, wherein this bird has become transformed from the waddling oddity it appears on land, and into an acrobat of water spaces. Further, this penguin's head is caressed by the boy's right hand, and one can't help but note the current 'look upon his face' as somewhat mischievious. Overall, the Spiritual Source for evolutionary mechanisms created these ideas and these forms, and is appearing here through a symbol of adaption (penguin), who does have a master (boy).
Intutive Perceptions
Intuitive perceptions like those made above, arrive easily as I plumb the depths of the drawn forms. In doing this, I learned that the penguin represents adaption of form, which brings to mind the ABC's of Spiritual Matter that I have discerned through these studies. These ABC's are merely an acronym to remind oneself that spirituality is not just about sitting and observing the Spiritual Eye, or Chirst-Consciousness center between the brows. Through the idea of Assignment: Build Concept, or ABC's of Spiritual Matter, I have assigned myself a life-long, inner, spiritual 'construction project,' through which 'I' hope to grow toward Christ-Consciousness. Overall, the ability to adapt in this construction project, seems to be reflected in the symbol of the penguin and the boy.
.The Quartet and the Fourth Dimension
This detail image (see below) is a great example of how it feels to shift the mind spiritually. By gazing at these images, as though one is looking at the candle of a flame, it is easy to discern the multidimensions of characters. This particular example is an opitcal illusion, wherin there are four dimensions discernible by the mind. There are four faces in this detail as well, with the center two seeming to visually hover within and across each other. This is an example illustrating a perception of a fourth dimension of visual layering. Ultimately, this particular example is highly independent, in that the mind has used all parts of the symbolic characters, almost completely, out of what seems one body. Perceptually, this would be the right-center character, who seems recessed behind the other three.
The Fourth-Dimensional Face
After gazing at The Fourth-Dimensional Face (see detail below), the mind may note his subtle presence in the bottom center. His face is manifesting upon the whispering man, and just in front of the chest of the tall, female character on the left. Because he is above the boy, and I again note the mischievious look on the boy's face, I can discern that this 4D-Fellow is a manifestation of this Master- child, and literally belongs to the boy.
This face represents the idea that 'reality is not what you think.'
Reality is Not What 'You' Think: Hinton's Method
Following the breadcrumbs of my excitement, and to assist in the explanation of 'Fourth Dimension,' I found this information that rings true within my own mind. Eplained through Wikipedia, the fourth dimension visually, may be understood through Hinton's method, wherein one "draws two ordinary 3D cubes in 2D space, one encompassing the other, separated by an "unseen" distance, and then draw lines between their equivalent vertices. This can be seen in the accompanying animation whenever it shows a smaller inner cube inside a larger outer cube. The eight lines connecting the vertices of the two cubes in this case represent a single direction in the "unseen" fourth dimension (n. p.) Click this link to observe Hinton's conceptualization of fourth-dimensional space.
Observing Hinton's method play out, makes the mind feel a certain way. This is a good exercise of the mind for someone interested in how it is I see the way I see. Interestingly, gazing at Hinton's cubes-in-space feels curious to my own mind, and what strikes me in my observation of this feeling, is that the cubes are all a part of the one, moving representation of the fourth dimension. Essentially, this is a conceptual framework for God, and in Him, the many are the One.
Conclusions
Overall, there was a lot discovered today. First, freedom functions within the boundaries of adaptation, and spiritually speaking, one has the ability to control this development. Through application of the ABC's of Spiritual Matter (Assignment: Build Concept), and a devotional meditation practice upon the Presence of God, one is fueled to conceptually re-form himself, within and without. This is a daily practice, one that Paul stated was to "die daily" (1 Corinthians 15:31).
Second, the fourth dimension is easily understood through Hinton's Method, which upon observation of the moving formula, is a good representation of the feeling of shifting the mind, as well as a good representation of knowing God as One, with one's 'self' a literal part of the Larger Form.
01.12.21 The Fourth Dimensional Face, upper-left detail.
02.12.21 The Quartet and The Fourth Dimension, right-middle detail.
02.12.21 The Boy and the Penguin, left-middle detail.
02.12.21 Work in Progress, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper. Please see Notebook page for all observations and deconstructions of this work
02.10.21 Work in Progress, Greater Rewards, whole image, (without writings) 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper. Please see Notebook page for all observations and deconstructions of this work.
Observations
Today, after achieving the meditative, shifted-state-of-mind, I easily found a new character who has placed himself upon and within the wings of the largest female on the left (see Left Side detail below). He is behind her, holding onto her moon-shaped wings with his left arm. Also, his demeanor is filled with playful happiness, whispering something softly in her ear.
His form is as tall as hers, and there is a feeling he is lifting her up from behind, informed by his bent right leg behind her. It seems his right hand is about to take hold of the other end of her cresent wings. Overall, this fun character who whispers quietly to the mature female (see 02.09.21 work in progress notes), ensures her of success in her endeavors.
The Others
In one's spiritual growth toward oneness with God within self, there are Others present. These symbolic character-manifestations upon the paper are signals from the Higher Mind (realized through the meditative drawing experience) that are present. This particular form - a happy, whispering fellow - is another manifestation, speaking to the need and pull of maintaining one's concentration upon God throughout the day. There may seem a lack of satisfactory, quality time to meditate and create, but one's efforts all boil down to decisions. Overall, by placing one's self within the Spiritual Eye during meditative time, and frequently reflecting on the overall feeling achieved within this state (morning and evening at least), there is spiritual growth. Nevertheless, if more time is 'needed,' then a serious examination of one's schedule is in order, with a corresponding committment to using time more wisely.
Conclusions
Easily found, the tall, whispering fellow that arrived today speaks to the whole mind about organization of time. We know that time is a perceptual construct of physical reality, and that this grossest form of existence is an illusion, or dream. The soul is the realized Self, and through use of the intuitive discernment gained through a continual, devoted meditation practice upon the Presence of God, we see in this character's manifestation the idea of reliance of the mind upon the Presence of Divine Others known to self - continually, and throughout the day. Overall, one must consciously 'work with God's Mind' upon awakening, always reaching for the moon (the full orb seen and realized within meditation).
Observations
Today, after achieving the meditative, shifted-state-of-mind, I easily found a new character who has placed himself upon and within the wings of the largest female on the left (see Left Side detail below). He is behind her, holding onto her moon-shaped wings with his left arm. Also, his demeanor is filled with playful happiness, whispering something softly in her ear.
His form is as tall as hers, and there is a feeling he is lifting her up from behind, informed by his bent right leg behind her. It seems his right hand is about to take hold of the other end of her cresent wings. Overall, this fun character who whispers quietly to the mature female (see 02.09.21 work in progress notes), ensures her of success in her endeavors.
The Others
In one's spiritual growth toward oneness with God within self, there are Others present. These symbolic character-manifestations upon the paper are signals from the Higher Mind (realized through the meditative drawing experience) that are present. This particular form - a happy, whispering fellow - is another manifestation, speaking to the need and pull of maintaining one's concentration upon God throughout the day. There may seem a lack of satisfactory, quality time to meditate and create, but one's efforts all boil down to decisions. Overall, by placing one's self within the Spiritual Eye during meditative time, and frequently reflecting on the overall feeling achieved within this state (morning and evening at least), there is spiritual growth. Nevertheless, if more time is 'needed,' then a serious examination of one's schedule is in order, with a corresponding committment to using time more wisely.
Conclusions
Easily found, the tall, whispering fellow that arrived today speaks to the whole mind about organization of time. We know that time is a perceptual construct of physical reality, and that this grossest form of existence is an illusion, or dream. The soul is the realized Self, and through use of the intuitive discernment gained through a continual, devoted meditation practice upon the Presence of God, we see in this character's manifestation the idea of reliance of the mind upon the Presence of Divine Others known to self - continually, and throughout the day. Overall, one must consciously 'work with God's Mind' upon awakening, always reaching for the moon (the full orb seen and realized within meditation).
02.10.21 Left side detail.
02.10.21 Work in Progress, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper. Please see Notebook page for all observations and deconstructions of this work.
02.09.21 Work in Progress, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Adjustments
Adjustments occur in life regarding time, so I am writing from a great distance (8 hours or so) from the creation of today's drawn work. This is relevant because the exercise of the mind - the shifted-state-of-consciousness utilized, must be re-achieved.
A Method of Achieving Superconscious Awareness is Created through Visualization of God's Image
Now, I upturn my eyes, close my eyelids, and center my mind with a feeling of intent. My desire for this conscious change of self-orientation, wherein the shift is made to superconscious awareness, is created through visualization. I complete a body-scan to this end, tracing and filling my minds awareness from the left foot/left side of body upward, and then the right side of the body. This feels like zipping on an invisible suit of spiritual matter, always keeping my full focus upon the upturned singular eye. Now the mind is prepared to not be in two places at once, and full inner focus (one's whole 'self') is devotionally placed within the Inner Circle. Conscious devotional acknowledgement ensues, and the decision is made Together to begin the creative work. Overall, visualization is a powerful tool that prepares the mind for use within this new placement of the whole self, and means that 'you' decide to simultaneously relax, close your eyes, and see the desired Form (which naturally includes 'you').
Create the Presence of God
Many people say visualization is difficult for them, so an easy way to overcome this self-imposed limitation, is to find a picture of God (Whomever this is to you), and memorize it by gazing at it. Look at your chosen image and study it carefully with all of your senses. How does it look; how does it feel? Close your eyes and gently see the image of His or Her Form in your mind. In this way, the mind begins with an honest effort of seeing Him within oneself, and this overlapping conceptualization of you within the Inner Circle, creates the pointed-moment-of-now-realization that your consciousness is literally One with His Spirit. Overall, by using visualization of God's Form as a means to shift the mind from the limiting ego-self, you literally create within your 'self' His Presence.
Spiritual Growth and 1 Corinthians 12:11
Today, the forms drawn may best be appreciated in the left side detail (see below). Under the feet of the largest female form, a surprised-looking child is being stepped-upon. The child represents 'childish' conceptualizations within the mind that are currently being squashed. Overall, this scene represents the acceptance of maturity within oneself, which is a kindness to the self.
The idea of the 'state' of childishness within the mind is worthy of consideration. 'For example, Christ said, "When I was a child, I spoke and thought and reasoned as a child. But when I grew up, I put away childish things" (1 Corinthians 13:11, NLT). Paul uses this throughout his epistles to compare people who do not grow in spiritual understanding or discernment to infants; he uses Christ's words about one's ability to reason as a spiritual child, and as a spiritual adult. Overall, it is clear that the idea of spiritual growth is at the core of this unusual scene of character stepping-upon character.
Conclusions
I have learned today that I prefer writing directly after transcribing a portion of a drawing, but a distance in time is easily surpassed with a few minutes' look at the drawn work again. Further, adjusting the mind, or 'shifting-the-self' within oneself to achieve the superconscious state, and continue the written half of the work, is a matter of visualization (described above).
Although the brief description of this shifting-process, or method, can be grasped through reading the writing here, it is nevertheless dependent upon the mind knowing itself. This can be achieved through a persistent and devotional meditation practice upon the Spirit of God. Overall, the idea of spiritual growth is important within the work today, with the superconscious mind instructing through the stepped-upon childish form that, although our love and hearts must be like a child within God's Form, to grow spiritually, one's spiritual reason must mature as well, and the latter is one's second proof of God - the development of Intuition.
Adjustments
Adjustments occur in life regarding time, so I am writing from a great distance (8 hours or so) from the creation of today's drawn work. This is relevant because the exercise of the mind - the shifted-state-of-consciousness utilized, must be re-achieved.
A Method of Achieving Superconscious Awareness is Created through Visualization of God's Image
Now, I upturn my eyes, close my eyelids, and center my mind with a feeling of intent. My desire for this conscious change of self-orientation, wherein the shift is made to superconscious awareness, is created through visualization. I complete a body-scan to this end, tracing and filling my minds awareness from the left foot/left side of body upward, and then the right side of the body. This feels like zipping on an invisible suit of spiritual matter, always keeping my full focus upon the upturned singular eye. Now the mind is prepared to not be in two places at once, and full inner focus (one's whole 'self') is devotionally placed within the Inner Circle. Conscious devotional acknowledgement ensues, and the decision is made Together to begin the creative work. Overall, visualization is a powerful tool that prepares the mind for use within this new placement of the whole self, and means that 'you' decide to simultaneously relax, close your eyes, and see the desired Form (which naturally includes 'you').
Create the Presence of God
Many people say visualization is difficult for them, so an easy way to overcome this self-imposed limitation, is to find a picture of God (Whomever this is to you), and memorize it by gazing at it. Look at your chosen image and study it carefully with all of your senses. How does it look; how does it feel? Close your eyes and gently see the image of His or Her Form in your mind. In this way, the mind begins with an honest effort of seeing Him within oneself, and this overlapping conceptualization of you within the Inner Circle, creates the pointed-moment-of-now-realization that your consciousness is literally One with His Spirit. Overall, by using visualization of God's Form as a means to shift the mind from the limiting ego-self, you literally create within your 'self' His Presence.
Spiritual Growth and 1 Corinthians 12:11
Today, the forms drawn may best be appreciated in the left side detail (see below). Under the feet of the largest female form, a surprised-looking child is being stepped-upon. The child represents 'childish' conceptualizations within the mind that are currently being squashed. Overall, this scene represents the acceptance of maturity within oneself, which is a kindness to the self.
The idea of the 'state' of childishness within the mind is worthy of consideration. 'For example, Christ said, "When I was a child, I spoke and thought and reasoned as a child. But when I grew up, I put away childish things" (1 Corinthians 13:11, NLT). Paul uses this throughout his epistles to compare people who do not grow in spiritual understanding or discernment to infants; he uses Christ's words about one's ability to reason as a spiritual child, and as a spiritual adult. Overall, it is clear that the idea of spiritual growth is at the core of this unusual scene of character stepping-upon character.
Conclusions
I have learned today that I prefer writing directly after transcribing a portion of a drawing, but a distance in time is easily surpassed with a few minutes' look at the drawn work again. Further, adjusting the mind, or 'shifting-the-self' within oneself to achieve the superconscious state, and continue the written half of the work, is a matter of visualization (described above).
Although the brief description of this shifting-process, or method, can be grasped through reading the writing here, it is nevertheless dependent upon the mind knowing itself. This can be achieved through a persistent and devotional meditation practice upon the Spirit of God. Overall, the idea of spiritual growth is important within the work today, with the superconscious mind instructing through the stepped-upon childish form that, although our love and hearts must be like a child within God's Form, to grow spiritually, one's spiritual reason must mature as well, and the latter is one's second proof of God - the development of Intuition.
02.09.21 Left side detail.
02.09.21 Work in Progress, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.08.21 Work in Progress, Greater Rewards, whole image, (without writings) 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
The Other Teachers
In the lower-left-center detail (see below), a fellow arrived behind the reaching woman. In observing this new character, we see his left hand on her left shoulder, and his other arm appears to overlap upon hers, reaching toward the larger female to the left. In this reaching, there is something to note upon the adjacent female's lower hip; he points to this spot while looking in explanation directly at the viewer.
As I understand it, his purpose in the drawing is that of another teacher. In the Self-Realization Fellowship lessons, Paramahansa Yogananda (our modern-world, Christ-conscious avatar), instructs his students about the inclusion of Holy Teachers within one's prayers. These are adepts of Kundalini Yoga, who, through Divine Master-to-student relationships, develop a spiritual awareness of God as their own.
As a student, the budding yogi observed miraculous events, and describes these throughout Autobiography of a Yogi. Further, he explains how the relationship one has with the Higher Spirit that is also the Yog's Mind Itself, works within physical reality. He actually explains God-Consciousness as a mechanism; that is, a series of individual steps and methods that reform the mind to know the same Life. And, he attests that after passing from his own physical form, if the student invokes His Presence within devotional prayer, He will be there with you.
The Light Filaments and The ABC's of Spiritual Matter
The idea of building a spiritual-guide/friend conceptual-framework is introduced to the mind by reading Parmahansa's work. Within my own meditation early on, entry into the inner realm without his instructions (his written works), included descriptions of what I now understand to be 'astral' energy forms. The word 'astral,' links within my own mind,' a comfortable segway to understanding Spiritual Matter. For example, when I gaze at the True Circle of astral energy that is between the brows, I will see extremely detailed pictures that feel and fit my mind like building-blocks that are unremembered as missing. It is this energy that "I" see, which looks similar to ligted filaments floating within the space of my inner gaze, that transform into the Holy Personages I invoke, imagine, or create. So, to understand, it is through the balance, love, and intention to have a league of guiding gurus as your spiritual friends, that the meditative mind allows-and-imagines this Holy group as literally Present.
Conclusions
I do not know if Yogananda the man would agree with my descriptions. Nevertheless, the Spirit He manifests within his own work, combined with my perception of His Spirit within my meditations, leads me to conclude that to understand the multifaceted manifestation of spiritual workings within one's life, one must follow the most basic rule of working with spiritual matter: Assignment: Build Concept. These ABC's are essential, and when applied toward improving one's mind in all ways, the assignment of adding the gurus met in Autobiography of a Yogi to one's meditation, changes you. Their addition lightens the mental load, and this is because Masters are very good friends to have within one's own mind. Overall, I can conclude that the framework of inner-self conceptualization is made excellent, content, and delighted by the Presence of these Other Teachers.
The Other Teachers
In the lower-left-center detail (see below), a fellow arrived behind the reaching woman. In observing this new character, we see his left hand on her left shoulder, and his other arm appears to overlap upon hers, reaching toward the larger female to the left. In this reaching, there is something to note upon the adjacent female's lower hip; he points to this spot while looking in explanation directly at the viewer.
As I understand it, his purpose in the drawing is that of another teacher. In the Self-Realization Fellowship lessons, Paramahansa Yogananda (our modern-world, Christ-conscious avatar), instructs his students about the inclusion of Holy Teachers within one's prayers. These are adepts of Kundalini Yoga, who, through Divine Master-to-student relationships, develop a spiritual awareness of God as their own.
As a student, the budding yogi observed miraculous events, and describes these throughout Autobiography of a Yogi. Further, he explains how the relationship one has with the Higher Spirit that is also the Yog's Mind Itself, works within physical reality. He actually explains God-Consciousness as a mechanism; that is, a series of individual steps and methods that reform the mind to know the same Life. And, he attests that after passing from his own physical form, if the student invokes His Presence within devotional prayer, He will be there with you.
The Light Filaments and The ABC's of Spiritual Matter
The idea of building a spiritual-guide/friend conceptual-framework is introduced to the mind by reading Parmahansa's work. Within my own meditation early on, entry into the inner realm without his instructions (his written works), included descriptions of what I now understand to be 'astral' energy forms. The word 'astral,' links within my own mind,' a comfortable segway to understanding Spiritual Matter. For example, when I gaze at the True Circle of astral energy that is between the brows, I will see extremely detailed pictures that feel and fit my mind like building-blocks that are unremembered as missing. It is this energy that "I" see, which looks similar to ligted filaments floating within the space of my inner gaze, that transform into the Holy Personages I invoke, imagine, or create. So, to understand, it is through the balance, love, and intention to have a league of guiding gurus as your spiritual friends, that the meditative mind allows-and-imagines this Holy group as literally Present.
Conclusions
I do not know if Yogananda the man would agree with my descriptions. Nevertheless, the Spirit He manifests within his own work, combined with my perception of His Spirit within my meditations, leads me to conclude that to understand the multifaceted manifestation of spiritual workings within one's life, one must follow the most basic rule of working with spiritual matter: Assignment: Build Concept. These ABC's are essential, and when applied toward improving one's mind in all ways, the assignment of adding the gurus met in Autobiography of a Yogi to one's meditation, changes you. Their addition lightens the mental load, and this is because Masters are very good friends to have within one's own mind. Overall, I can conclude that the framework of inner-self conceptualization is made excellent, content, and delighted by the Presence of these Other Teachers.
02.08.21 Lower left center detail.
02.06.21 Work in Progress, Greater Rewards, whole image, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.06.21 Work in Progress notes for Greater Rewards, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Observations
After completing the body scan, and shifting the mind's focus inward, I opened my eyes and watched as I scooted over to the right side of the paper. Once there, I easily found the body and face of a new female character (see right side detail below). She appears to be looking over her right shoulder downward, while simultaneously holding something in her right hand, which lays against her chest. Further, her left arm and hand express away from her body, and I intuitively understand this gesture as meaning, "Here it is." What this intutitive statement is referencing is the collection of images thus far (including her own), as evidence to Spiritual inner components at work.
Greater Rewards
Upon the head of this new female, a spiritual eye is evident. This manifestation may be her own, or simultaneously develop into an overlapping second figure interacting with her in some way. There is also the idea of 'wings' forming behind her, indicated by the up-swooping crescent shape seen. Whether this will actually turn into a set of wings is unknown, but the idea is present. Lastly, we note that her larger size and sure-footed placement on the right side, speaks to her centrality in the overall meaning of this drawing as a whole. She is the reflective, spiritually awakened form, a character of beauty and grace. Overall, I feel this character's presence is a defining devolpment that speaks to the title that I realize this moment - "Greater Rewards."
Observations
After completing the body scan, and shifting the mind's focus inward, I opened my eyes and watched as I scooted over to the right side of the paper. Once there, I easily found the body and face of a new female character (see right side detail below). She appears to be looking over her right shoulder downward, while simultaneously holding something in her right hand, which lays against her chest. Further, her left arm and hand express away from her body, and I intuitively understand this gesture as meaning, "Here it is." What this intutitive statement is referencing is the collection of images thus far (including her own), as evidence to Spiritual inner components at work.
Greater Rewards
Upon the head of this new female, a spiritual eye is evident. This manifestation may be her own, or simultaneously develop into an overlapping second figure interacting with her in some way. There is also the idea of 'wings' forming behind her, indicated by the up-swooping crescent shape seen. Whether this will actually turn into a set of wings is unknown, but the idea is present. Lastly, we note that her larger size and sure-footed placement on the right side, speaks to her centrality in the overall meaning of this drawing as a whole. She is the reflective, spiritually awakened form, a character of beauty and grace. Overall, I feel this character's presence is a defining devolpment that speaks to the title that I realize this moment - "Greater Rewards."
02.06.21 Right side detail development.
02.06.21 Greater Rewards, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.05.21 Work in Progress notes for Untitled, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Observations
After completing the body scan from foot to head and back again, I relaxed into the Spirit. Time slows in this interiorization of the mind, and Who and What "I" find intently waiting is of uplifting, profound proportions. This shifting of the mind cannot be fully understood without also understanding the multifaceted Spiritual 'counterpart' that is the Sound of Silence, and Who lives within oneself. Thus energized by this conscious-meeting of God's Uplifting Spirit, a simple inner wish of expansion of the consciousness further results in a superconscious state.
My Meditative Drawing Experience
Now changed in being, the consciousness has achieved access to the unending source of Creation within himself, and looks through the delusion of time and matter. This Spirit looks out through my eyes, and sometimes descends so far into the outermost consciousness, that a devotion so great upheaves all inner remnants of the ego-mind, and bestows an elixer of Divine Grace in its place. The delicate echoes of Its Form within the mind and heart enrapture all parts, becoming silvery lines I intuitively know "I" Am too follow. This is my meditative drawing experience.
Observations
After completing the body scan from foot to head and back again, I relaxed into the Spirit. Time slows in this interiorization of the mind, and Who and What "I" find intently waiting is of uplifting, profound proportions. This shifting of the mind cannot be fully understood without also understanding the multifaceted Spiritual 'counterpart' that is the Sound of Silence, and Who lives within oneself. Thus energized by this conscious-meeting of God's Uplifting Spirit, a simple inner wish of expansion of the consciousness further results in a superconscious state.
My Meditative Drawing Experience
Now changed in being, the consciousness has achieved access to the unending source of Creation within himself, and looks through the delusion of time and matter. This Spirit looks out through my eyes, and sometimes descends so far into the outermost consciousness, that a devotion so great upheaves all inner remnants of the ego-mind, and bestows an elixer of Divine Grace in its place. The delicate echoes of Its Form within the mind and heart enrapture all parts, becoming silvery lines I intuitively know "I" Am too follow. This is my meditative drawing experience.
02.05.21 Upper middle detail.
02.05.21 Lower right-of-middle detail.
02.05.21 Lower right corner detail.
02.05.21 ​Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.04.21 Work in Progress notes for Untitled, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Observations
Hands on Heads
The theme within the right side of the work continues with repetitions of 'hands on heads.' The hand is a tool through which the mind directs the specifics of his thoughts and desires - we write, draw, pour, type, and express, generally experiencing difficulty doing things within time without them. In the upper right corner detail (see below), a small male character who has another's hand upon his head, also seems to stare across the paper, looking directly into a hand as well. This little fellow appears to be stepping down and across the hand of another character, with the latter's face apparent to the mind when one strikes the meditative state and looks beyond the little fellow. Overall, this strange little fellow who has a hand on his head, also looks directly into a hand, and walks upon another hand.
The Living Trinity
Christian theology teaches a living trinity of God the Father, God the Son, and God the Holy Ghost. This is the geometrical-relational conceptualization of understanding God that my own mind learned and 'believed as True' growing up. I unconsciously visualized this triangle within the 'self' known at the time, as likened to what a tree feels like through my experiences. I realize now that in doing this, I gave God a Living Conceptualization within the unknown consciousness of my soul: I deeply internalized this Living Structure as the core of my world view energization.
Conclusions
This triangular-living-tree conceptualization powerfully influenced an affinity for experiencing the world through the lens of kindness, which can be lost in the conscious mind's understanding if the tree is not watered and tended. Spiritual growth, one learns, must be a daily pursuit, with one's Self leading himself. Further, maintaining one's focus throughout the day upon the positive, kind idea of seeing the best in all is strenghtened through devoltional periods of meditation. Overall, one may build his own understanding of God's structure within himself, but all individual souls - whether a straight or swervy path - are a part of the Living Tree/Trinity that is God.
Observations
Hands on Heads
The theme within the right side of the work continues with repetitions of 'hands on heads.' The hand is a tool through which the mind directs the specifics of his thoughts and desires - we write, draw, pour, type, and express, generally experiencing difficulty doing things within time without them. In the upper right corner detail (see below), a small male character who has another's hand upon his head, also seems to stare across the paper, looking directly into a hand as well. This little fellow appears to be stepping down and across the hand of another character, with the latter's face apparent to the mind when one strikes the meditative state and looks beyond the little fellow. Overall, this strange little fellow who has a hand on his head, also looks directly into a hand, and walks upon another hand.
The Living Trinity
Christian theology teaches a living trinity of God the Father, God the Son, and God the Holy Ghost. This is the geometrical-relational conceptualization of understanding God that my own mind learned and 'believed as True' growing up. I unconsciously visualized this triangle within the 'self' known at the time, as likened to what a tree feels like through my experiences. I realize now that in doing this, I gave God a Living Conceptualization within the unknown consciousness of my soul: I deeply internalized this Living Structure as the core of my world view energization.
Conclusions
This triangular-living-tree conceptualization powerfully influenced an affinity for experiencing the world through the lens of kindness, which can be lost in the conscious mind's understanding if the tree is not watered and tended. Spiritual growth, one learns, must be a daily pursuit, with one's Self leading himself. Further, maintaining one's focus throughout the day upon the positive, kind idea of seeing the best in all is strenghtened through devoltional periods of meditation. Overall, one may build his own understanding of God's structure within himself, but all individual souls - whether a straight or swervy path - are a part of the Living Tree/Trinity that is God.
2.4.21 Right upper corner detail.
02.04.21 ​Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.03.21 Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
Joy
I struck the meditative state and found myself gazing at the right side of this work in progress. I closed my eyes, and relaxing further, completed a 'body scan.' As this was completed, I perceived an inner joy, and in this moment "I" was no longer alone within myself: my mind loosened from the physical body, and orientation to 'self' changed. The result in that moment was the spiritual awareness of the Presence of God's Spirit. This awareness was the simultaneous feeling of joy that permeated my being, and swept throughout my heart and mind. I smiled, and then opened my eyes.
The Body-Scan
Shifting the mind into an altered state-of-awareness feels better than anything "I" can imagine. The body scan relaxes and encapsulates this joyous energy, holding it within, but this is expressed without, when the eyelids uplift. In this moment, I looked at the right side of the work again, and whole new characters were seen, waiting to be transcribed. I see that the lines for these characters are already there, appearing as etched indentations that simultaneously radiate an energy I know is invisible to anyone else's mind.
The Interiorized Mermaid's Mind
The result of this looking and transcribing resulted in the multidimensional collection of forms within this space (see detail image below). The most easily discerned character that arose today is the female that sits at the very right-lower corner. Another character has his hand enwrapping her head, and we pause and note the hypnotic stare she has struck.
Moving the eye down her form, we see her left arm, with its hand cupped openly; her right arm foreshortens directly at the viewer, and its corresponding hand enwraps the crossed arms of a different visual type of male character. He lays almost like a shodow before her, and it is in this moment that we understand that her left arm and hand are within his head - her hand encircling the inner back of his skull. Overall, we can conclude that this female character appears to be experiencing her mind as 'interiorized,' while simultaneously holding the shadow-mind of a male form in her left hand - and, we then drop our eyes downward, and appreciate that she has no feet, but instead wears the fins of a mermaid.
Complex and Interwoven Characters
The character whose hand is upon the mermaid's head is directly above her, and shares its space with a smaller, single-eyed fellow. Looking through these two faces, the original female who stood in this section of the work is apparent, with her face clearly still in its place above them, and her left arm reaching to the edge of the paper. The little, discontent male is also still present, and we see he holds a knife that he leans upon. There is more in this section that is evolving, but overall, the lower-right-corner characters are much more complex and interwoven than the larger forms that have evolved thus far.
Conclusions: The Mind is a Multidimensional, Spiritual Tool
The state of Joy is the inherent and automatic result of the conscious realization of the Presence of God's Spirit. This Spirit is The Source for knowing one's own eternally creative spirit within himself, and is the source for this work. I do not see reflections of my own conscious ideas in this work. There is no conscious working-out of forms; instead, it is as simple as observing which line 'electrifies' most, and that is what my pencil, eraser, and mind follow. Overall, the work in the lower-right-corner that evolved today, is a very good example of seeing through multiple dimensions simultaneously, and the visual interdependence that all these characters have with each other as a result. This is how the mind sees and works - it is a multidimensional, spiritual tool, through which Higher Consciousness expresses itself.
Joy
I struck the meditative state and found myself gazing at the right side of this work in progress. I closed my eyes, and relaxing further, completed a 'body scan.' As this was completed, I perceived an inner joy, and in this moment "I" was no longer alone within myself: my mind loosened from the physical body, and orientation to 'self' changed. The result in that moment was the spiritual awareness of the Presence of God's Spirit. This awareness was the simultaneous feeling of joy that permeated my being, and swept throughout my heart and mind. I smiled, and then opened my eyes.
The Body-Scan
Shifting the mind into an altered state-of-awareness feels better than anything "I" can imagine. The body scan relaxes and encapsulates this joyous energy, holding it within, but this is expressed without, when the eyelids uplift. In this moment, I looked at the right side of the work again, and whole new characters were seen, waiting to be transcribed. I see that the lines for these characters are already there, appearing as etched indentations that simultaneously radiate an energy I know is invisible to anyone else's mind.
The Interiorized Mermaid's Mind
The result of this looking and transcribing resulted in the multidimensional collection of forms within this space (see detail image below). The most easily discerned character that arose today is the female that sits at the very right-lower corner. Another character has his hand enwrapping her head, and we pause and note the hypnotic stare she has struck.
Moving the eye down her form, we see her left arm, with its hand cupped openly; her right arm foreshortens directly at the viewer, and its corresponding hand enwraps the crossed arms of a different visual type of male character. He lays almost like a shodow before her, and it is in this moment that we understand that her left arm and hand are within his head - her hand encircling the inner back of his skull. Overall, we can conclude that this female character appears to be experiencing her mind as 'interiorized,' while simultaneously holding the shadow-mind of a male form in her left hand - and, we then drop our eyes downward, and appreciate that she has no feet, but instead wears the fins of a mermaid.
Complex and Interwoven Characters
The character whose hand is upon the mermaid's head is directly above her, and shares its space with a smaller, single-eyed fellow. Looking through these two faces, the original female who stood in this section of the work is apparent, with her face clearly still in its place above them, and her left arm reaching to the edge of the paper. The little, discontent male is also still present, and we see he holds a knife that he leans upon. There is more in this section that is evolving, but overall, the lower-right-corner characters are much more complex and interwoven than the larger forms that have evolved thus far.
Conclusions: The Mind is a Multidimensional, Spiritual Tool
The state of Joy is the inherent and automatic result of the conscious realization of the Presence of God's Spirit. This Spirit is The Source for knowing one's own eternally creative spirit within himself, and is the source for this work. I do not see reflections of my own conscious ideas in this work. There is no conscious working-out of forms; instead, it is as simple as observing which line 'electrifies' most, and that is what my pencil, eraser, and mind follow. Overall, the work in the lower-right-corner that evolved today, is a very good example of seeing through multiple dimensions simultaneously, and the visual interdependence that all these characters have with each other as a result. This is how the mind sees and works - it is a multidimensional, spiritual tool, through which Higher Consciousness expresses itself.
Right side detail.
02.03.21 Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
02.01.21 Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite on watercolor paper.
Observations
Blessings and Peace
After achieving the meditative state, I observed the whole work in progress, and found myself working on the right side today (see Right Side detail below). First, a body formed for the hand that was plainly laying upon the meditating woman's head. This new character represents to my conscious mind the idea of 'prayer and blessings' received within the altered state-of-consciousness achieved while meditating, and there is an overall feeling of 'peace' when I gaze at this character.
Boundaries are Creations of the Mind
To the right of this, the lines bubbled up and created what seemed a matrix of abstract forms - I felt baffled for a bit, but continued looking and transcribing faithfully. These abstract shapes then transformed into two new characters who appear to be focusing on the edge of the paper. (Note: I apply blue painter's tape around the edges of every drawing before I begin, and for some reason, in the manifestation of these two, I understood their concern was 'the edge of the paper') Overall, they present the idea of 'boundaries', and these two characters - one tall and happy, and the other small and appearing discontent - look to the edge.
Mental Freedom vs Self-Imposed Mental Prison
Boundaries are important in physical matter reality, and the ability to respect others' boundaries shows maturity. The small male here represents 'selfishness and smug childishness'. On the other hand, the tall, pleased female holds the wavy-lines of the beginnings of a bow-and-arrow, and applies herself productively in understanding her environment and place in it, oblivious to this smaller character's impotent energy. Overall, respecting the boundaries or 'edges' of others is a non-sequiter for those who suffer delusional/selfish orientation to reality; whereas, those individuals who understand who and what they are, are free of the 'punishing mental construct' the former type endures.
Conclusions
Through meditation upon the Presence of God, His Spirit informs one's mind. In these private, silent, prayerful and devotional endeavors, a natural outcome is the development of intuition. The development of intuition is not the goal; instead, the goal is knowing the Presence of God. To see a seemingly 'negative' character manifest upon the paper, alerts the whole mind to the fact that an observer of this website is living a limited, self-imposed, delusional orientation to reality. The only recourse for any individual that feels convicted by reading this is to meditate: Please see the Read and Learn page for resouces to this end.
Observations
Blessings and Peace
After achieving the meditative state, I observed the whole work in progress, and found myself working on the right side today (see Right Side detail below). First, a body formed for the hand that was plainly laying upon the meditating woman's head. This new character represents to my conscious mind the idea of 'prayer and blessings' received within the altered state-of-consciousness achieved while meditating, and there is an overall feeling of 'peace' when I gaze at this character.
Boundaries are Creations of the Mind
To the right of this, the lines bubbled up and created what seemed a matrix of abstract forms - I felt baffled for a bit, but continued looking and transcribing faithfully. These abstract shapes then transformed into two new characters who appear to be focusing on the edge of the paper. (Note: I apply blue painter's tape around the edges of every drawing before I begin, and for some reason, in the manifestation of these two, I understood their concern was 'the edge of the paper') Overall, they present the idea of 'boundaries', and these two characters - one tall and happy, and the other small and appearing discontent - look to the edge.
Mental Freedom vs Self-Imposed Mental Prison
Boundaries are important in physical matter reality, and the ability to respect others' boundaries shows maturity. The small male here represents 'selfishness and smug childishness'. On the other hand, the tall, pleased female holds the wavy-lines of the beginnings of a bow-and-arrow, and applies herself productively in understanding her environment and place in it, oblivious to this smaller character's impotent energy. Overall, respecting the boundaries or 'edges' of others is a non-sequiter for those who suffer delusional/selfish orientation to reality; whereas, those individuals who understand who and what they are, are free of the 'punishing mental construct' the former type endures.
Conclusions
Through meditation upon the Presence of God, His Spirit informs one's mind. In these private, silent, prayerful and devotional endeavors, a natural outcome is the development of intuition. The development of intuition is not the goal; instead, the goal is knowing the Presence of God. To see a seemingly 'negative' character manifest upon the paper, alerts the whole mind to the fact that an observer of this website is living a limited, self-imposed, delusional orientation to reality. The only recourse for any individual that feels convicted by reading this is to meditate: Please see the Read and Learn page for resouces to this end.
Right side detail
02.01.21, Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite, on watercolor paper.
01.31.21 Untitled, work in progress, 10" x 14", ultramarine blue powdered pigment with graphite, on watercolor paper.
Observations
Two new characters evolved in today's sitting (see detail image below). Directly on the right of the female on her tip-toes (see 1.30.21 notes), is a new female character, whose mouth is covered by the former's outstretched left hand. This new character is observed to be 'holding' a developing bird upon her lower chest with her right hand, and turns her left hand into an odd, signaling, horizontal pose, as though she is indicating with this sign-language an 'amount'; or, she is indicating a 'level' of something. Further, she appears to be walking toward the viewer, and as we note her stride, we see that she is stepping upon and through the feet of the other character that developed today.
The Interiorized Mind
In the lower right corner, this sitting/reclining character that is stepped upon, is cognitively unphased; nevertheless, the 'doll' that appears in front of her (and as I understand it, it 'belongs' to her) watches the voiceless, walking woman, while carefully stepping forward. Overall, this second sitting woman that appeared today, is cognitively 'unmoved' by all of the other characters' actions because (regardless of her open eyes), her mind is interiorized.
Conclusions
It appears each character relates within this developing scene, a story of quiet action and application of the self with singular focus. For example, the smaller 'male doll' that hesitantly moves away from his meditative sitter, relates a conscious release of dependence upon the symbolic outer comfort it previously provided, for the comfort of the interiorized mind that is placed upon the Presence of God. Further, the muted, walking woman who signs a 'limit' with one hand, also holds the beginning form of a bird upon her chest, and overall represents a growing inner freedom. Lastly, the female on her tip-toes (see 1.30.21 notes), decisively reaches beyond her body, weilding an 'invisible energy' in the direction of the interiorized mind of the lattermost sitting character. Overall, quiet action and focused application of the mind seems the prevalent topic for this scene thus far.
Observations
Two new characters evolved in today's sitting (see detail image below). Directly on the right of the female on her tip-toes (see 1.30.21 notes), is a new female character, whose mouth is covered by the former's outstretched left hand. This new character is observed to be 'holding' a developing bird upon her lower chest with her right hand, and turns her left hand into an odd, signaling, horizontal pose, as though she is indicating with this sign-language an 'amount'; or, she is indicating a 'level' of something. Further, she appears to be walking toward the viewer, and as we note her stride, we see that she is stepping upon and through the feet of the other character that developed today.
The Interiorized Mind
In the lower right corner, this sitting/reclining character that is stepped upon, is cognitively unphased; nevertheless, the 'doll' that appears in front of her (and as I understand it, it 'belongs' to her) watches the voiceless, walking woman, while carefully stepping forward. Overall, this second sitting woman that appeared today, is cognitively 'unmoved' by all of the other characters' actions because (regardless of her open eyes), her mind is interiorized.
Conclusions
It appears each character relates within this developing scene, a story of quiet action and application of the self with singular focus. For example, the smaller 'male doll' that hesitantly moves away from his meditative sitter, relates a conscious release of dependence upon the symbolic outer comfort it previously provided, for the comfort of the interiorized mind that is placed upon the Presence of God. Further, the muted, walking woman who signs a 'limit' with one hand, also holds the beginning form of a bird upon her chest, and overall represents a growing inner freedom. Lastly, the female on her tip-toes (see 1.30.21 notes), decisively reaches beyond her body, weilding an 'invisible energy' in the direction of the interiorized mind of the lattermost sitting character. Overall, quiet action and focused application of the mind seems the prevalent topic for this scene thus far.
Lower right corner detail
01.31.21, Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite on watercolor paper.
01.30.21 Untitled, work in progress, 10" x 14", ultramarine blue powdered pigment with graphite, on watercolor paper.
Observations
After achieving the meditative state, I gazed at the blank, white paper, and wondered what would evolve. I relaxed further, and then began to take note of the lines that bubbled up from within the paper. It has been a few days since I allowed myself to sit and look. Regardless of the distance in time between sittings, there is always something waiting to be transcribed.
The Magnetic Pull of Spiritual Truths
Today, the paper filled with ultramarine blue, and it seems now, to my conscious mind, that this effort to add color is a side-note to the reality that there are unconscious images interdimensionally expressed in these drawing efforts. What I mean, is that the way I see (the conduit within the mind) looks through self, and like a magnet that attracts metal to it, the act of looking always reveals spiritual truths. There is no planning, prepping, or ideas that are consciously acted upon; nevertheless, what is transcribed is a visual description beyond who I "think" I am.
The Girl on Her Tip-Toes
I copied faithfully a broad connective matrix of lines across the whole surface of the paper, and within this beginning work, I found a reaching girl (see Detail Image below). Literally, her foreshortened left arm occurred in a singular line, and her corresponding hand is pulling, or out-pouring, some thing yet unidentified. As I followed the energy lines downward, her feet were easily seen and copied as well. I watched and then consciously realized she was standing on her tip-toes. These small details of the outermost extremities define what the mind of such a character may be experiencing, and speak to an effort to extend beyond the reach of the body.
"I" Am Not the Body
I remember a day when I was 14-years-old, wherein I was awakened to the fact that I am not my body. I walked out of the family house onto the front yard, and instantly knew this inner Truth as a state-of-being. Simultaneous recognition of the brightened colors of the green grass, bark on the trees, and an energetic feeling in the air also occurred. There was no trauma or 'eventful' precursor to this sudden awareness, and the physical body I inhabit has seemed an expression of a Greater Thing unknown since that time.
This female image on her tip-toes, reaching outward and extending herself forward, reminded me of this realization, which is something I recall daily in meditation and prayerful efforts. I am not the body, blood, or energy. I am not the thought, the mind, or the ego. I am not the astral body. What I have come to understand, is that I am the Immortal Soul, and this life is one of many that I am now consciously aware that I have lived. This is the Truth of Life, that every soul is here to work out the understanding of for themselves. It can easily be denied, and one can choose to cleave his consciousness to the physical form. But if this is what one values more than his own spiritual growth, the recompense is misery in some form, eventually. This is because (as can easily be observed) the body is temporary, as well as any collection of 'things' you claim to love that are outside of self. It is only in the search for God Himself - the Higher Love and Spiritual Truth realized within meditation - that one truly finds eternal sustenance, joy, and freedom.
Conclusions
Meditate to know who and what you really are.
Observations
After achieving the meditative state, I gazed at the blank, white paper, and wondered what would evolve. I relaxed further, and then began to take note of the lines that bubbled up from within the paper. It has been a few days since I allowed myself to sit and look. Regardless of the distance in time between sittings, there is always something waiting to be transcribed.
The Magnetic Pull of Spiritual Truths
Today, the paper filled with ultramarine blue, and it seems now, to my conscious mind, that this effort to add color is a side-note to the reality that there are unconscious images interdimensionally expressed in these drawing efforts. What I mean, is that the way I see (the conduit within the mind) looks through self, and like a magnet that attracts metal to it, the act of looking always reveals spiritual truths. There is no planning, prepping, or ideas that are consciously acted upon; nevertheless, what is transcribed is a visual description beyond who I "think" I am.
The Girl on Her Tip-Toes
I copied faithfully a broad connective matrix of lines across the whole surface of the paper, and within this beginning work, I found a reaching girl (see Detail Image below). Literally, her foreshortened left arm occurred in a singular line, and her corresponding hand is pulling, or out-pouring, some thing yet unidentified. As I followed the energy lines downward, her feet were easily seen and copied as well. I watched and then consciously realized she was standing on her tip-toes. These small details of the outermost extremities define what the mind of such a character may be experiencing, and speak to an effort to extend beyond the reach of the body.
"I" Am Not the Body
I remember a day when I was 14-years-old, wherein I was awakened to the fact that I am not my body. I walked out of the family house onto the front yard, and instantly knew this inner Truth as a state-of-being. Simultaneous recognition of the brightened colors of the green grass, bark on the trees, and an energetic feeling in the air also occurred. There was no trauma or 'eventful' precursor to this sudden awareness, and the physical body I inhabit has seemed an expression of a Greater Thing unknown since that time.
This female image on her tip-toes, reaching outward and extending herself forward, reminded me of this realization, which is something I recall daily in meditation and prayerful efforts. I am not the body, blood, or energy. I am not the thought, the mind, or the ego. I am not the astral body. What I have come to understand, is that I am the Immortal Soul, and this life is one of many that I am now consciously aware that I have lived. This is the Truth of Life, that every soul is here to work out the understanding of for themselves. It can easily be denied, and one can choose to cleave his consciousness to the physical form. But if this is what one values more than his own spiritual growth, the recompense is misery in some form, eventually. This is because (as can easily be observed) the body is temporary, as well as any collection of 'things' you claim to love that are outside of self. It is only in the search for God Himself - the Higher Love and Spiritual Truth realized within meditation - that one truly finds eternal sustenance, joy, and freedom.
Conclusions
Meditate to know who and what you really are.
01.30.21, Girl on Her Tip-Toes, detail.
01.30.21, Untitled, whole image, work in progress, 10" x 14", ultramarine blue powdered pigment and graphite on watercolor paper.
1.16.21 Work in progress notes for Building Structures Within, 10” x 14”, viridian green powdered pigment with graphite, on watercolor paper.
Observations
The work has continued over the last seven or so days, but for Higher reasons, I have been focusing on my meditative, overall form (it does take time to take pictures, upload, and then write).
I have included below, the images of this work's development through the first four sittings, with each sitting's duration lasting one to three hours. I placed myself in front of the paper, closed my eyes, and 'zipped on' the 'spiritual-body-suit' (see the blog entry titled "The Spiritual Body-Suit & Ascension," dated 11/2/20, for discussion). What occurs when the mind interacts with the physical body in this one-pointed, focused way, is that it becomes spiritualized. Through repetition of this method, sensations to each part of the body are enlived, and culminate quietly and peacefully into the disappeance of the body to the mind's awareness. Now, in this altered state-of-mind, time has slowed. The focus of the mind is then simultanesously projected inward and outward, and "I" watch the lines of what is to be drawn out, suddenly appear.
The Map of the Mind
One can appreciate in the Middle Detail (see below), a new layering of dimensions. For example, as one gazes (remember to adjust the mind into a meditative state - like gazing at a fire) at the centermost female's face, one might note the evolution of a bird upon her chest. The bird ascends upward from within this space, but conceptually feels as though it is also mimicking the structure of The Cross.
The Humorist
Moving the eye down the bird's tail, it intersects with a multidimensional female face, who seems to be in two places at once. I find great pleasure looking at the multdimensional manifestation of this form: the spirit invoked by her image feels to my mind like the personalized image of a humorist. The depth of her presence, and the meaning imbued, is of a sharp-wit. Overall, her quirky-smiling profile sits beyond and within a visual story unfolding around her.
The Validation of Love's Possible Forms
Within the Right Side detail, there is apparent a group of smaller figures. I counted fourteen thus far. In the uppermost right corner, one may appreciate a robed female and male who face each other. It is a discussion about God's Mind as Love that they are having, and the forms He may manifest within physical reality. Apparently, this discussion is about 'validation.'
To the left of these two robed figures, one appreciates a larger male enwrapping a female with his arms. Next, three figures that still have need of being fully traced into the work are perceived. This 'level' of figures ends with a small boy reaching upward, and as he reaches, his feet turn inward toward each other. Moving the eye downward, there are three characters that are sitting, reclining, and kneeling, with the lattermost pointing upward to her chin. The reclining female and the kneeling figure also appear to be conversing about 'possibiliites.'
The Fairy-Fellow, Dragon, & Jeweled-Balloon
In the bottom right corner, I was thrilled to watch the initial building of a little fairy-type fellow. He is pointing to a woman at the edge of the paper, with the latter patting a small character that holds onto her lower legs. (Note: I had only glanced at a 'types of fairies' book just yesterday to move it, but as I looked, I felt a loosening of ideas regarding body-type manifestations upon the paper). Overall, this small scene, as I understand it, is about taking personal responsibility for one's own expressions of love.
Lastly, what I perceive is being built behind this little fairy-fellow, is the beginning of a 'dragon and jeweled ballon.' These symbolic idea-forms are subtly tucked between the multidimensional female's face and the fairy-fellow. More will be revealed, I intuitively understand, as I progress.
From Out of an Invisble Ether
Within the Left Side detail (see below), a small girl (who has mutliple arms), reaches upward while holding onto her doll. It is common to see the idea of a 'doll' manifest upon the paper as an image within this work, and I understand it is my mind's way of expressing the idea of a totem (a person or thing regarded as being representative of a particular quality or concept). Here (and I have seen this doll in other drawings), it is a symbol for loving devotion. I remember doting on my own dolls as a child, and physically feeling love for the comforting roles practiced within each of their perceived identities - their existence was enlivened by this mental effort. Overall, this child and her doll are floating upward from the lower left corner, from out of an invisible ether.
There is Always More...
Observations
The work has continued over the last seven or so days, but for Higher reasons, I have been focusing on my meditative, overall form (it does take time to take pictures, upload, and then write).
I have included below, the images of this work's development through the first four sittings, with each sitting's duration lasting one to three hours. I placed myself in front of the paper, closed my eyes, and 'zipped on' the 'spiritual-body-suit' (see the blog entry titled "The Spiritual Body-Suit & Ascension," dated 11/2/20, for discussion). What occurs when the mind interacts with the physical body in this one-pointed, focused way, is that it becomes spiritualized. Through repetition of this method, sensations to each part of the body are enlived, and culminate quietly and peacefully into the disappeance of the body to the mind's awareness. Now, in this altered state-of-mind, time has slowed. The focus of the mind is then simultanesously projected inward and outward, and "I" watch the lines of what is to be drawn out, suddenly appear.
The Map of the Mind
One can appreciate in the Middle Detail (see below), a new layering of dimensions. For example, as one gazes (remember to adjust the mind into a meditative state - like gazing at a fire) at the centermost female's face, one might note the evolution of a bird upon her chest. The bird ascends upward from within this space, but conceptually feels as though it is also mimicking the structure of The Cross.
The Humorist
Moving the eye down the bird's tail, it intersects with a multidimensional female face, who seems to be in two places at once. I find great pleasure looking at the multdimensional manifestation of this form: the spirit invoked by her image feels to my mind like the personalized image of a humorist. The depth of her presence, and the meaning imbued, is of a sharp-wit. Overall, her quirky-smiling profile sits beyond and within a visual story unfolding around her.
The Validation of Love's Possible Forms
Within the Right Side detail, there is apparent a group of smaller figures. I counted fourteen thus far. In the uppermost right corner, one may appreciate a robed female and male who face each other. It is a discussion about God's Mind as Love that they are having, and the forms He may manifest within physical reality. Apparently, this discussion is about 'validation.'
To the left of these two robed figures, one appreciates a larger male enwrapping a female with his arms. Next, three figures that still have need of being fully traced into the work are perceived. This 'level' of figures ends with a small boy reaching upward, and as he reaches, his feet turn inward toward each other. Moving the eye downward, there are three characters that are sitting, reclining, and kneeling, with the lattermost pointing upward to her chin. The reclining female and the kneeling figure also appear to be conversing about 'possibiliites.'
The Fairy-Fellow, Dragon, & Jeweled-Balloon
In the bottom right corner, I was thrilled to watch the initial building of a little fairy-type fellow. He is pointing to a woman at the edge of the paper, with the latter patting a small character that holds onto her lower legs. (Note: I had only glanced at a 'types of fairies' book just yesterday to move it, but as I looked, I felt a loosening of ideas regarding body-type manifestations upon the paper). Overall, this small scene, as I understand it, is about taking personal responsibility for one's own expressions of love.
Lastly, what I perceive is being built behind this little fairy-fellow, is the beginning of a 'dragon and jeweled ballon.' These symbolic idea-forms are subtly tucked between the multidimensional female's face and the fairy-fellow. More will be revealed, I intuitively understand, as I progress.
From Out of an Invisble Ether
Within the Left Side detail (see below), a small girl (who has mutliple arms), reaches upward while holding onto her doll. It is common to see the idea of a 'doll' manifest upon the paper as an image within this work, and I understand it is my mind's way of expressing the idea of a totem (a person or thing regarded as being representative of a particular quality or concept). Here (and I have seen this doll in other drawings), it is a symbol for loving devotion. I remember doting on my own dolls as a child, and physically feeling love for the comforting roles practiced within each of their perceived identities - their existence was enlivened by this mental effort. Overall, this child and her doll are floating upward from the lower left corner, from out of an invisible ether.
There is Always More...
Right Side Detail on 1.16.21
Middle Detail on 1.16.21
Left Side detail on 1.16.21
Building Structures Within, 01/16/21, 10" x 14", viridian green powdered pigment with graphite on watercolor paper.
Third sitting, developmental.
Second sitting, developmental.
First sitting, developmental.
01.07.21 Evolution, work in progress notes
Unconscious Spiritual Processes
In the Lower Center detail (see below), one may appreciate where the drawing Evolution began again today. Within this space on the very right, we see the earlier transcribed form of a female that leans oddly backward while twisting. Today, there first arrived at her feet, the image of two small characters. I read this as a female on the left, and a male on the right. The former is holding out before her something that appears to be a book, or paper. The latter stands behind the female with his arm wrapped around her in support. Further, to the left of these two, there is a new female character that reaches over to the tall, twisting female, and blesses her while touching her head. How these images manifest are reflective of unconscious spiritual processes.
Spiritual Teachers
Next, in the Upper Right Corner detail (see below), an endearing scene was traced. There is a thin female sitting on the shoulder of the larger form, with her hand on her leg, and the other bent and resting on an invisible something. Before her there is a diagonally placed male form that seems to my mind to also be her own reflection (there is a spiritual connection between them that is symbolized by the eye with a line that hovers between them). Also, another male draped in a similar robe, is reaching out and touching the first male. Lastly, the female furthermost right, is a literal transcription of myself, with a spiritual eye inside of an oblong shape that sets upon her head. Overall, this scene translates as an unconscious understanding of the spiritual presence of Spiritual Teachers within my meditations.
One Mind
The idea of One Mind reverberates through my senses as I look at the Upper Right Corner detail. Each of us has an individual life to live, but in the living of it, we are only alone within ourselves if we choose to be. To pray, affirm, and consciously request the Presence of Spiritual Teachers within oneself, is to know these individuals through personal meditative experiences. Further, through one-pointed focus upon the Divine Presence of these Holy Personages, such as Christ, Krishna, or Paramahansa Yogananda, one effectively invokes the Excellence within himself that reflects the Spiritual energies they represent. It is a blessing to see and consciously acknowledge Their Presence here.
Unconscious Compositional Structure (Paradox)
This work is unconscious. There is no planning, only a meditative state struck, in which the mind is shifted beyond body-consciousness, into a Higher Realm of understanding and insight. What is seen upon the blank surface of the paper as a result, is a reflection of this state achieved, and through the use of this process, "I" (the outermost consciousness) is transformed. Overall, what the viewer encounters by visiting and re-visiting this artist's notebook, is the revelatory unfoldment of the artist's soul-expressions. This creative matrix of inner energy within and beyond the body and mind, informs through these unconscious processes, effectively sublimating the outermost "I" or ego-self as an 'independent watcher.'
Reflecting the Divine
As I sat and observed the overall composition of this meditative drawing-effort, I realized a peace that was the direct result of visual weight distributed throughout the work. There seems to be an 'intuitive circle' of characters from left to right, with this circular-grouping-idea echoed in the smaller collection of characters in the upper right corner. What this proves to my own mind is that the unconscious and superconscious constructs through which these images flow within myself, are not absent of structure. Symbol is the predominate mechanism of communication within these ever-subtler parts of oneself, and presenting in complex, interdependent and interwoven forms of characters and symbols speaks to Higher spiritual meanings. Ultimately, we see and discern valid, unconscious compositional structure, and the Presence of Divine Spiritual Personages within the meditative drawing state, which is reflected upon the paper.
Unconscious Spiritual Processes
In the Lower Center detail (see below), one may appreciate where the drawing Evolution began again today. Within this space on the very right, we see the earlier transcribed form of a female that leans oddly backward while twisting. Today, there first arrived at her feet, the image of two small characters. I read this as a female on the left, and a male on the right. The former is holding out before her something that appears to be a book, or paper. The latter stands behind the female with his arm wrapped around her in support. Further, to the left of these two, there is a new female character that reaches over to the tall, twisting female, and blesses her while touching her head. How these images manifest are reflective of unconscious spiritual processes.
Spiritual Teachers
Next, in the Upper Right Corner detail (see below), an endearing scene was traced. There is a thin female sitting on the shoulder of the larger form, with her hand on her leg, and the other bent and resting on an invisible something. Before her there is a diagonally placed male form that seems to my mind to also be her own reflection (there is a spiritual connection between them that is symbolized by the eye with a line that hovers between them). Also, another male draped in a similar robe, is reaching out and touching the first male. Lastly, the female furthermost right, is a literal transcription of myself, with a spiritual eye inside of an oblong shape that sets upon her head. Overall, this scene translates as an unconscious understanding of the spiritual presence of Spiritual Teachers within my meditations.
One Mind
The idea of One Mind reverberates through my senses as I look at the Upper Right Corner detail. Each of us has an individual life to live, but in the living of it, we are only alone within ourselves if we choose to be. To pray, affirm, and consciously request the Presence of Spiritual Teachers within oneself, is to know these individuals through personal meditative experiences. Further, through one-pointed focus upon the Divine Presence of these Holy Personages, such as Christ, Krishna, or Paramahansa Yogananda, one effectively invokes the Excellence within himself that reflects the Spiritual energies they represent. It is a blessing to see and consciously acknowledge Their Presence here.
Unconscious Compositional Structure (Paradox)
This work is unconscious. There is no planning, only a meditative state struck, in which the mind is shifted beyond body-consciousness, into a Higher Realm of understanding and insight. What is seen upon the blank surface of the paper as a result, is a reflection of this state achieved, and through the use of this process, "I" (the outermost consciousness) is transformed. Overall, what the viewer encounters by visiting and re-visiting this artist's notebook, is the revelatory unfoldment of the artist's soul-expressions. This creative matrix of inner energy within and beyond the body and mind, informs through these unconscious processes, effectively sublimating the outermost "I" or ego-self as an 'independent watcher.'
Reflecting the Divine
As I sat and observed the overall composition of this meditative drawing-effort, I realized a peace that was the direct result of visual weight distributed throughout the work. There seems to be an 'intuitive circle' of characters from left to right, with this circular-grouping-idea echoed in the smaller collection of characters in the upper right corner. What this proves to my own mind is that the unconscious and superconscious constructs through which these images flow within myself, are not absent of structure. Symbol is the predominate mechanism of communication within these ever-subtler parts of oneself, and presenting in complex, interdependent and interwoven forms of characters and symbols speaks to Higher spiritual meanings. Ultimately, we see and discern valid, unconscious compositional structure, and the Presence of Divine Spiritual Personages within the meditative drawing state, which is reflected upon the paper.
Upper Right Corner detail on 01.07.21
Lower Center Detail on 01.07.21
Evolution, work in progress, 14 1/4 x 10 1/4, graphite on watercolor paper, 01.07.21.
01.06.21 Evolution, work in progress notes
The Magical Child
Within the Left Side detail (below), a 'very mature and loving small child' was easily copied as the lines appeared before me. She placed herself just before the face of the smaller doll that the Aviator is holding by the head. Both hands of this new girl overlap upon the doll, and the general feeling discerned by her overall expression is of love and concern. As I was drawing this new idea that has personified itself as a 'magical child,' I received an unexpected, but encouraging phone call from one of the kindest-sounding spirits that I have heard in a very long time.
The Spirit of Kindness and Synchronicity
That there was simultaneously occuring the transcription of this small, kind girl upon the paper, and the arrival of a delicate voice expressing the same kindness toward myself through the phone (one that was imbued with the same spirit), was not a synchronous point I missed. The Higher Spirit of love and kindness should always be appreciated with gratitude when one is the recipient of it. Also, the Higher mind speaks within physical reality to the outermost consciousness through synchronicities and epiphanies - even miracles. What we know then through these observations was that I was drawing unconsciously (or in a shifted state-of-consciousness), and then it occurred in another form, expressed to me from outside of 'my own mind's' creation.
'Mechanical' Explanation of the Consciousness' Conceptualization of God
The loving devotion of a child to its doll can be powerful. I remember a blue stuffed-crab-toy that I had as a child, and it represented protecting energies within my heart. That I loved it so much for its presence at night in the dark, I believe, is practice for the mature understanding of one's relationship to God within his own mind. It is a multi-dimensional placement of one's own consciousness to know God's Mind within his own. Overall, this is how I have come to mechanically explain my own relationship to Higher Mind within my own meditative mind: one simultaneously experiences through devotional one-pointed focus, a dual-placement of his consciousness within himself, which expands ad infinitum from one's Center outward.
Further, I literally see more than the Divine Eye within the mind. There is my own observing Witness Self, and as I devotedly watch, the electric, white circle disappears and "I" see beyond the limits of self-concept. The consciousness becomes seemingly independent of the physical body, and sudden 'visual episodes' occur within the mind. These are usually instructive and resolving energies that also inform geometric and symbolic, as well as emotional and analytical epiphanies. I suppose one might call these 'visions.' They are instructional, peaceful, and quite often blissful.
Conclusions
I am very grateful for today's creative time, and I am grateful for the illustrative synchronicity of kindness, showing us all 'how Spiritual energy appears to work' in physical reality.
The Magical Child
Within the Left Side detail (below), a 'very mature and loving small child' was easily copied as the lines appeared before me. She placed herself just before the face of the smaller doll that the Aviator is holding by the head. Both hands of this new girl overlap upon the doll, and the general feeling discerned by her overall expression is of love and concern. As I was drawing this new idea that has personified itself as a 'magical child,' I received an unexpected, but encouraging phone call from one of the kindest-sounding spirits that I have heard in a very long time.
The Spirit of Kindness and Synchronicity
That there was simultaneously occuring the transcription of this small, kind girl upon the paper, and the arrival of a delicate voice expressing the same kindness toward myself through the phone (one that was imbued with the same spirit), was not a synchronous point I missed. The Higher Spirit of love and kindness should always be appreciated with gratitude when one is the recipient of it. Also, the Higher mind speaks within physical reality to the outermost consciousness through synchronicities and epiphanies - even miracles. What we know then through these observations was that I was drawing unconsciously (or in a shifted state-of-consciousness), and then it occurred in another form, expressed to me from outside of 'my own mind's' creation.
'Mechanical' Explanation of the Consciousness' Conceptualization of God
The loving devotion of a child to its doll can be powerful. I remember a blue stuffed-crab-toy that I had as a child, and it represented protecting energies within my heart. That I loved it so much for its presence at night in the dark, I believe, is practice for the mature understanding of one's relationship to God within his own mind. It is a multi-dimensional placement of one's own consciousness to know God's Mind within his own. Overall, this is how I have come to mechanically explain my own relationship to Higher Mind within my own meditative mind: one simultaneously experiences through devotional one-pointed focus, a dual-placement of his consciousness within himself, which expands ad infinitum from one's Center outward.
Further, I literally see more than the Divine Eye within the mind. There is my own observing Witness Self, and as I devotedly watch, the electric, white circle disappears and "I" see beyond the limits of self-concept. The consciousness becomes seemingly independent of the physical body, and sudden 'visual episodes' occur within the mind. These are usually instructive and resolving energies that also inform geometric and symbolic, as well as emotional and analytical epiphanies. I suppose one might call these 'visions.' They are instructional, peaceful, and quite often blissful.
Conclusions
I am very grateful for today's creative time, and I am grateful for the illustrative synchronicity of kindness, showing us all 'how Spiritual energy appears to work' in physical reality.
Left Side detail on 01.06.21
Evolution, work in progress, 14 1/4 x 10 1/4, graphite on watercolor paper, 01.06.21.
01.05.21 Evolution, work in progress notes
The Extemporaneous Spirit of God
There is a freedom in what is created extemporaneously, and the Spirit of that mindset leans heavily on energies realized within meditation. That said, I have enhanced my efforts in meditation recently, with the highest points of my day continuing to be the meditative time spent in the Presence of God. The Absolute Reality within the consciousness during these sessions is of the purest and finest stuff comprehensible to the whole self - an Energy that is Myself and yet Another. The child in my mind wishes for a "That's Easy" world button, so I could press it and magically share this understanding with everyone else, and since that is highly unlikely, I pray instead.
Spiritual Support Characters
The work on Evolution today was not expansive. Specifically, one can appreciate the addition of four new characters within the detail, A Different Visual Lens (below), furthest right side. Overall, from left to right, we see the torso of the larger female form within the detail, and to the right of this begins a long line of what has been intuitively understood as 'spiritual support' characters. The smaller, darker female begins this line, and behind her are four faces and corresponding bodies. These four fellows, I believe, represent spiritually supportive energies/individuals. The most immanent of these four is the oddly leaning character who diagonally intersects them all - he is 'within and without' this group.
Today, the four new characters are to the right of this: two are very slender and 'clearly delicate', and the other two represent the 'idea of relationships.'
Conclusions
The idea of 'the human mind's ability to see only what it can comprehend' is presented. The recourse for a mind that does not understand what is happening in this work is to meditate. When I draw, I lovingly observe, see, and transcribe. These images are not created consciously; the conscious mind just watches, and the body 'disappears' from awareness. Overall, the characters in the detail, A Different Visual Lens, are (obvious to my mind) reflecting spiritual understanding of the presence of supportive spiritual individualized energies.
The Extemporaneous Spirit of God
There is a freedom in what is created extemporaneously, and the Spirit of that mindset leans heavily on energies realized within meditation. That said, I have enhanced my efforts in meditation recently, with the highest points of my day continuing to be the meditative time spent in the Presence of God. The Absolute Reality within the consciousness during these sessions is of the purest and finest stuff comprehensible to the whole self - an Energy that is Myself and yet Another. The child in my mind wishes for a "That's Easy" world button, so I could press it and magically share this understanding with everyone else, and since that is highly unlikely, I pray instead.
Spiritual Support Characters
The work on Evolution today was not expansive. Specifically, one can appreciate the addition of four new characters within the detail, A Different Visual Lens (below), furthest right side. Overall, from left to right, we see the torso of the larger female form within the detail, and to the right of this begins a long line of what has been intuitively understood as 'spiritual support' characters. The smaller, darker female begins this line, and behind her are four faces and corresponding bodies. These four fellows, I believe, represent spiritually supportive energies/individuals. The most immanent of these four is the oddly leaning character who diagonally intersects them all - he is 'within and without' this group.
Today, the four new characters are to the right of this: two are very slender and 'clearly delicate', and the other two represent the 'idea of relationships.'
Conclusions
The idea of 'the human mind's ability to see only what it can comprehend' is presented. The recourse for a mind that does not understand what is happening in this work is to meditate. When I draw, I lovingly observe, see, and transcribe. These images are not created consciously; the conscious mind just watches, and the body 'disappears' from awareness. Overall, the characters in the detail, A Different Visual Lens, are (obvious to my mind) reflecting spiritual understanding of the presence of supportive spiritual individualized energies.
A Different Visual Lens, detail on 01.05.21
Evolution, work in progress, 14 1/4 x 10 1/4, graphite on watercolor paper, 01.05.21.
01.04.21 Evolution, work in progress notes.
The Presence of Another
As I watch the evolution of the spaces within the whole drawing develop, my mind is aware of the Presence of Another within this work. This is an Idea beyond singular/solitary modalities of thought; instead, this Idea is a personified and personalized, functioning-Reflection of Divine Energies within the mind of the artist. These energies are the perceived lines inscribed on the paper, and they imbue the images with a relative distance visually to one another. The darker, smaller forms are transcribed as an inserted platform of other-dimensional characters. These bind together on top of the larger and more subtle dimensional-character-construct at play. All images - whether originating in the softer, larger forms, or in the smaller and darker ones - blend together in a complementary fashion, further underscoring the Idea of dual-placement of the mind within the whole. Overall, the personality of the artist is only present to the extent that the images have been 'filtered' through personalizing energies that float outward from the soul.
Intuition and Meditative Bliss
There are two distinct visual lenses apparent upon initial reflective exam, and visually, the two lenses overlap to create a third, 'deeper-sight.' The meditative state struck effectively absents the ego, and it is only an echo-energy in the consciousness. In this state of shifted-mind, it is as if the personalized-self has been completely forgotten. It is the sublimely peaceful state-of-observation of one's own mind - a meditative bliss.
How the Mind Works
Man is a form that has a multidimensional cognition. Also, his mind is invisible, yet it is the core of his inner sense-of-self. This 'aliveness' becomes aware of the exterior, and becomes his own conclusions based on observations of the outer-self's experiences. When this stage of self-development is personalized through the ego-mind, it further engenders increasingly specific events in physical reality that reflect it's own perceptions within. In this way, the whole mind functions to build upon an inner passion (regardless of polarity (+/-).
Understanding this self-construction, or 'how the mind works,' is relevant to these drawings in that every image weaves together a theme delivered from the Highest Mind within oneself. To see dual-visual dynamics that reflect the inner/deeper spiritual perceptions from within the drawn images, speaks to the visual-perceptual abilities of the human mind to see intuitively. Ultimately, what can be concluded is that the mind perceives multi-dimensionally, as well as spiritually (intuition), and this work is evidence to that.
An Unusual, Inter-Dimensional Group
The idea of 'keeping a balance upon one's own back' is displayed best in the Large Center detail (see below). The braided cord that feels like metal in my mind, holds a shape suspended upon the backs of the smaller characters. The female at the lead, whose head is down, but eyes are up, is supported by a group of individuals behind her. They are watching her progress, with the foremost male character holding both arms out in front of him, using them to motion - 'go-with-the-flow." This is an unusual, inter-dimensional group observing and supporting the female's determined progress.
Conclusions
I intuitively understand that this drawing is meant to instruct and illustrate the use of multi-dimensional relationships between spiritual ideas. That the ideas are further symbolized in character forms is an expression of the intuitive Higher self. What is learned is that the multidimensional human mind is formless, weightless, invisible, yet fuels expressions upon the paper from beyond the conscious mind. To see some 'thing,' without first consciously creating an idea for that thing, is what is drawn here. Ultimately, the Higher mind displays through this work the idea of 'supported progress through the multidimensional mind from other spiritual characters.'
The Presence of Another
As I watch the evolution of the spaces within the whole drawing develop, my mind is aware of the Presence of Another within this work. This is an Idea beyond singular/solitary modalities of thought; instead, this Idea is a personified and personalized, functioning-Reflection of Divine Energies within the mind of the artist. These energies are the perceived lines inscribed on the paper, and they imbue the images with a relative distance visually to one another. The darker, smaller forms are transcribed as an inserted platform of other-dimensional characters. These bind together on top of the larger and more subtle dimensional-character-construct at play. All images - whether originating in the softer, larger forms, or in the smaller and darker ones - blend together in a complementary fashion, further underscoring the Idea of dual-placement of the mind within the whole. Overall, the personality of the artist is only present to the extent that the images have been 'filtered' through personalizing energies that float outward from the soul.
Intuition and Meditative Bliss
There are two distinct visual lenses apparent upon initial reflective exam, and visually, the two lenses overlap to create a third, 'deeper-sight.' The meditative state struck effectively absents the ego, and it is only an echo-energy in the consciousness. In this state of shifted-mind, it is as if the personalized-self has been completely forgotten. It is the sublimely peaceful state-of-observation of one's own mind - a meditative bliss.
How the Mind Works
Man is a form that has a multidimensional cognition. Also, his mind is invisible, yet it is the core of his inner sense-of-self. This 'aliveness' becomes aware of the exterior, and becomes his own conclusions based on observations of the outer-self's experiences. When this stage of self-development is personalized through the ego-mind, it further engenders increasingly specific events in physical reality that reflect it's own perceptions within. In this way, the whole mind functions to build upon an inner passion (regardless of polarity (+/-).
Understanding this self-construction, or 'how the mind works,' is relevant to these drawings in that every image weaves together a theme delivered from the Highest Mind within oneself. To see dual-visual dynamics that reflect the inner/deeper spiritual perceptions from within the drawn images, speaks to the visual-perceptual abilities of the human mind to see intuitively. Ultimately, what can be concluded is that the mind perceives multi-dimensionally, as well as spiritually (intuition), and this work is evidence to that.
An Unusual, Inter-Dimensional Group
The idea of 'keeping a balance upon one's own back' is displayed best in the Large Center detail (see below). The braided cord that feels like metal in my mind, holds a shape suspended upon the backs of the smaller characters. The female at the lead, whose head is down, but eyes are up, is supported by a group of individuals behind her. They are watching her progress, with the foremost male character holding both arms out in front of him, using them to motion - 'go-with-the-flow." This is an unusual, inter-dimensional group observing and supporting the female's determined progress.
Conclusions
I intuitively understand that this drawing is meant to instruct and illustrate the use of multi-dimensional relationships between spiritual ideas. That the ideas are further symbolized in character forms is an expression of the intuitive Higher self. What is learned is that the multidimensional human mind is formless, weightless, invisible, yet fuels expressions upon the paper from beyond the conscious mind. To see some 'thing,' without first consciously creating an idea for that thing, is what is drawn here. Ultimately, the Higher mind displays through this work the idea of 'supported progress through the multidimensional mind from other spiritual characters.'
A Different Visual Lens, detail on 1.4.21
Large Center Detail on 1.4.21
Evolution, work in progress, 14 1/4 x 10 1/4, graphite on watercolor paper, 01.04.21.
01.03.21 Evolution, work in progress, 14 1/4" x 10 1/4", graphite on watercolor paper.
Observations
It has been a few days since I have updated the work in progress here, but the work has continued. What has developed over the last few sittings includes eight characters. From left to center includes the walking woman, an aviator, a doll, and a sitting woman. At the sitting woman's feet, there is the beginning of a different visual-type of character than those previously mentioned. It is a small male form that is evolving at her feet, and he is made with a darker-line.
To the right of this fellow is a small female of the same darkened-line/smaller size variety, who leans oddly, in what seems to my mind, forward and backward simultaneously. It is a twisting movement she seems to be making. I count the three eyes that are to the right of her bent elbow as a single character at this juncture - this is discerned through intuition. I also understand that what is occuring visually in this smaller space (see "A Different Visual Lens" detail below) is an expression of 'evolution.' Finally, to the very right side and toward the top, there is a large male's face sketched.
The Structure of a Dream
I sat and gazed at this work for some time before beginning to type. There seems a relational narrative between the characters that is apparent, so examination of each part speaks to the whole. In this way, a higher meaning may be garnished. The female on the very left, is walking toward the viewer, and looking beyond herself/outside of herself. She is carrying what appears to be either a bird, a heart, or a not fully drawn-in doll. These are all intuitive observations, and should be resolved in the next sitting.
Behind her and to the right, the 'aviator' is seen, and on his head are part of his 'controls', which extend back and behind him. He is holding his arms out in front of him, as though he is about to do the Makarena, and with his left hand, he is also holding a doll, who seems to yearn to be with the woman. Further, the centermost woman is read as sitting in a windowsill. We see that she holds up her right arm, and on close inspection it is noted there is something 'emanating' out of it. We also see that she has a third eye in the middle of her forehead, and on her exteneded left index finger, a braided form dangles to connect with the back of the smaller female below.
Conclusions
There seems to be the idea of spiritual restraint; specifically, the restraint of one spiritual idea by another spiritual idea, which is humorous to me because all of these images are reflections of unconscious constructs within (all spiritual). I have been using new breathing techniques learned through study, which have felt restraining initially, but I have come to enjoy, ultimately, the freedom beyond these breath-restrictions and limitations (long durations of inhalation/exhalation. Overall, to relate to the outermost mind in a meaninful way, one must label these unconscious forms to signify the representation of an idea-part (It is good to till one's own mind and eject all forms-of-self that no longer serve one to his highest preference). In this higher tilling of the mind, we also see the idea of 'the illusion of the physical form,' with its importance only being as an expression and conduit to act from a higher place realized within oneself.
Eventually, all of these unconscious forms are only a part of the larger whole idea - the entire drawing. For example, the 'aviator' restraining the doll, or the sitting woman restraining the smaller, twisting woman by the braided cord, are ideas of relatable, unconscious extensions that are expressions of change. Overall, I suppose this drawing is a reflection of one's unconscious creative vision, and the 'walking forward confidently' (see female furthest left) with a willingness to advance beyond oneself. The only way to do this is to meditate upon the highest form known within the mind - the Presence of God within oneself. In this way, more is revealed to the whole mind.
Observations
It has been a few days since I have updated the work in progress here, but the work has continued. What has developed over the last few sittings includes eight characters. From left to center includes the walking woman, an aviator, a doll, and a sitting woman. At the sitting woman's feet, there is the beginning of a different visual-type of character than those previously mentioned. It is a small male form that is evolving at her feet, and he is made with a darker-line.
To the right of this fellow is a small female of the same darkened-line/smaller size variety, who leans oddly, in what seems to my mind, forward and backward simultaneously. It is a twisting movement she seems to be making. I count the three eyes that are to the right of her bent elbow as a single character at this juncture - this is discerned through intuition. I also understand that what is occuring visually in this smaller space (see "A Different Visual Lens" detail below) is an expression of 'evolution.' Finally, to the very right side and toward the top, there is a large male's face sketched.
The Structure of a Dream
I sat and gazed at this work for some time before beginning to type. There seems a relational narrative between the characters that is apparent, so examination of each part speaks to the whole. In this way, a higher meaning may be garnished. The female on the very left, is walking toward the viewer, and looking beyond herself/outside of herself. She is carrying what appears to be either a bird, a heart, or a not fully drawn-in doll. These are all intuitive observations, and should be resolved in the next sitting.
Behind her and to the right, the 'aviator' is seen, and on his head are part of his 'controls', which extend back and behind him. He is holding his arms out in front of him, as though he is about to do the Makarena, and with his left hand, he is also holding a doll, who seems to yearn to be with the woman. Further, the centermost woman is read as sitting in a windowsill. We see that she holds up her right arm, and on close inspection it is noted there is something 'emanating' out of it. We also see that she has a third eye in the middle of her forehead, and on her exteneded left index finger, a braided form dangles to connect with the back of the smaller female below.
Conclusions
There seems to be the idea of spiritual restraint; specifically, the restraint of one spiritual idea by another spiritual idea, which is humorous to me because all of these images are reflections of unconscious constructs within (all spiritual). I have been using new breathing techniques learned through study, which have felt restraining initially, but I have come to enjoy, ultimately, the freedom beyond these breath-restrictions and limitations (long durations of inhalation/exhalation. Overall, to relate to the outermost mind in a meaninful way, one must label these unconscious forms to signify the representation of an idea-part (It is good to till one's own mind and eject all forms-of-self that no longer serve one to his highest preference). In this higher tilling of the mind, we also see the idea of 'the illusion of the physical form,' with its importance only being as an expression and conduit to act from a higher place realized within oneself.
Eventually, all of these unconscious forms are only a part of the larger whole idea - the entire drawing. For example, the 'aviator' restraining the doll, or the sitting woman restraining the smaller, twisting woman by the braided cord, are ideas of relatable, unconscious extensions that are expressions of change. Overall, I suppose this drawing is a reflection of one's unconscious creative vision, and the 'walking forward confidently' (see female furthest left) with a willingness to advance beyond oneself. The only way to do this is to meditate upon the highest form known within the mind - the Presence of God within oneself. In this way, more is revealed to the whole mind.
A Different Visual Lens, detail on 01.03.21.
Left Side Detail, 01.03.21.
Evolution, work in progress, 14 1/4 x 10 1/4, graphite on watercolor paper, 01.03.21.
12.25.20 The Blue Boy, work in progress notes
Observations
There is a conscious decision to absent my 'self' and sit in the still meditative center, watching the lines surface on the paper. I have been aware since the beginning of The Blue Boy, that mapping was occuring that first day. I remember watching as the seeming scribbles revealed larger forms. This watching is a state-of-acceptance that what is occuring in total is the way the experience is supposed to unfold. There are no mistakes or doubts. I am exactly where I am supposed to be (as I always am), in the moment, now. The experience is of an ever-increasing level of wonder though, and I am buoyed forward, completely unaware of my body.
Receipt of God's Mind within oneself
What formed today was the idea of receipt, and one's reception of the delivery of conscious knowledge of the process to know God's Mind. This is what I am doing, mapping It in my own way through this art. It is only through meditation that the outermost "I" of-the-mind knows Him, and this drawing is an altered, meditative state - the process of which is firmly rooted in a devotional, daily meditation practice upon His Presence.
The Watching Group
In the Upper Left Corner (see detail below), there arrived seven new figures. From left to right, one sees a reclining man with his dog. This is a peaceful, loving scene, and it feels presented visually (character type) as a cartoon transcription. To the right of these and upward, we see a tall, flattened female character, handing a group she stands among a piece of paper. These four figures in receipt of the information, each consider it, and we see the contemplative look of the middle character, as he sits in a booth. Further, the third fellow over has a face covered by symbolic shapes. This is a Living Master looking at the viewer. Lastly, and the furthest up is a character taking a shower, and the idea is about water and its energetic grounding qualities that are intuitively understood. Overall, there is a scene of individuals considering what is being drawn and written here.
What "I" has Learned to Do
What I have learned is that one must begin and establish his own devoted time to this pursuit of knowing his own Higher Mind within himself - and, of course, continue until your last day in this form. Also, the invitation within the meditative state, is to communicate in whatever way feels natural to your own mind. You will receive an answer: Be Still. Know. I AM. God.
The man of God's Life
Today it is Christmas, and the story of the life of Christ as a man/God is this particular holiday's focus. Further, it can be intuited through the meditative changes perceived within one's own mind through meditation, the description of Jesus' birth as also metaphorical for his own experiences within himself. We see to follow in His footsteps through His Spirit and His Word - and the prayerful, meditative state - we are one with His Mind.
His life's purpose was to deliver tools of spiritually-formed-thought for the mind-of-man to use, so that he may know for himself, within himself, and as Himself - his own Higher Mind. Although I believe the physical encasement of Christ's soul in the flesh is the course of us all, our stories are our own to write in this lifetime. Ultimately, we may reflect His Form through ourselves and our changed minds, and we find peace, comfort, clarity, excellence, and every conceivable good as receipt of the effort.
Observations
There is a conscious decision to absent my 'self' and sit in the still meditative center, watching the lines surface on the paper. I have been aware since the beginning of The Blue Boy, that mapping was occuring that first day. I remember watching as the seeming scribbles revealed larger forms. This watching is a state-of-acceptance that what is occuring in total is the way the experience is supposed to unfold. There are no mistakes or doubts. I am exactly where I am supposed to be (as I always am), in the moment, now. The experience is of an ever-increasing level of wonder though, and I am buoyed forward, completely unaware of my body.
Receipt of God's Mind within oneself
What formed today was the idea of receipt, and one's reception of the delivery of conscious knowledge of the process to know God's Mind. This is what I am doing, mapping It in my own way through this art. It is only through meditation that the outermost "I" of-the-mind knows Him, and this drawing is an altered, meditative state - the process of which is firmly rooted in a devotional, daily meditation practice upon His Presence.
The Watching Group
In the Upper Left Corner (see detail below), there arrived seven new figures. From left to right, one sees a reclining man with his dog. This is a peaceful, loving scene, and it feels presented visually (character type) as a cartoon transcription. To the right of these and upward, we see a tall, flattened female character, handing a group she stands among a piece of paper. These four figures in receipt of the information, each consider it, and we see the contemplative look of the middle character, as he sits in a booth. Further, the third fellow over has a face covered by symbolic shapes. This is a Living Master looking at the viewer. Lastly, and the furthest up is a character taking a shower, and the idea is about water and its energetic grounding qualities that are intuitively understood. Overall, there is a scene of individuals considering what is being drawn and written here.
What "I" has Learned to Do
What I have learned is that one must begin and establish his own devoted time to this pursuit of knowing his own Higher Mind within himself - and, of course, continue until your last day in this form. Also, the invitation within the meditative state, is to communicate in whatever way feels natural to your own mind. You will receive an answer: Be Still. Know. I AM. God.
The man of God's Life
Today it is Christmas, and the story of the life of Christ as a man/God is this particular holiday's focus. Further, it can be intuited through the meditative changes perceived within one's own mind through meditation, the description of Jesus' birth as also metaphorical for his own experiences within himself. We see to follow in His footsteps through His Spirit and His Word - and the prayerful, meditative state - we are one with His Mind.
His life's purpose was to deliver tools of spiritually-formed-thought for the mind-of-man to use, so that he may know for himself, within himself, and as Himself - his own Higher Mind. Although I believe the physical encasement of Christ's soul in the flesh is the course of us all, our stories are our own to write in this lifetime. Ultimately, we may reflect His Form through ourselves and our changed minds, and we find peace, comfort, clarity, excellence, and every conceivable good as receipt of the effort.
Upper Left Corner detail on 12.25.20
The Blue Boy, whole image, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite on watercolor paper, 12.25.20.
12.24.20 The Blue Boy, work in progress notes
Observations
I learned quite a bit today during my drawing time. The lines that shimmered from what seemed within the paper, also created an echo in my mind. I mean, I could feel the love from what seemed outside of myself, as well as within myself. I felt exhilarated from this energy, and two new characters began to form. In the place of my grandmother's face, a silly girl presents, who seems to be holding her breath. The idea behind this change was not my conscious mind's creation, and as I erased the original image, I could already see the energetic lines trace the new form's shape.
Rapid One-Pointed Focus of the Whole Mind
This winged little girl leans into the Blue Boy, and her billowing skirt flutters out underneath her wings. She is holding her breath for a reason, and it is so I will share a method with the breath that I find useful. This method is simple, and used before I focus with intent to see beyond myself. I relax, then breathe in gently, and hold my breath. Then, I say the following in my mind, while holistically and positively affirming it to be so: "As I release my breath (visualize and feel the location of your breath within the lungs), body (visualize and feel the whole body now), mind (I visualize and feel a bubble of energy around my whole head), and Spirit (visualize and feel what is perceived as Spiritwithin yourself - I personally visualize the largest 'empty' circle I can imagine), I will recall exactly what it is like to be in deep meditation. I now release my breath, body, mind and spirit into deep meditation" (again visualizing and feeling each as you release the breath). From here, the eyes are opened, and the focus is now beyond oneself. (Note: this is actually unnecessary for me to see the way I do; nevertheless, it is helpful for the sake of rapid, one-pointed focus of the whole mind.
Unconscious/Intutive Composition
Compositionally, there seems an intuitive structure to the placement of the characters thus far. For example, from just left of center over to the right side of the paper, there seems to be a 'V'-shape forming through the placement of characters behind and adjacent to the Blue Boy. Further, the reclining female image within the lower left corner, who extends across the entire bottom in a single descriptive line, is visually working, even though it seems the characters parade forward, stepping out from within her body. There is also something larger, an idea of spiritual import, that is suggested by the curve of the reclining body, but is not yet developed in this work fully (but I am aware of it).
Spiritual Fabric
It may be the spiritual fabric that she pulls with her right hand, or the door that can be seen behind and within the Blue Boy that I am intuitively sensing (remember to use the meditative mind while looking). This fabric has grown in identity, and it can be read now as billowing up and over the little winged girl and Blue Boy (how far this will be made apparent to a viewer other than myself, I can only guess). I believe the point of the spiritual fabric is about awareness and expression, as it is seemingly invisible stuff, accessed through the realm of the mind and Spirit. Overall, the drawing thus far describes an expression of one's spiritual awareness, and employment of the most natural source of energy - the Higher Spirit realized within.
Anything and Everything is Possible...
The second figure that arrived today was not the main focus of today's work. Nevertheless, this evolving image to the left and behind the winged girl, is a reminder to mention the concept of Living Examples of God. These individuals lived their testimony perfectly, as to the Spirit's Presence, and described (often allegorically) how to know the experience for oneself. These God-Men realized fully that "I AM" is within their own minds, and through this knowledge not only sought to Live the Presence, but felt compelled to share how to know It for oneself. Overall, this second figure is representative of one of these Living Examples of God, and His Idea is that, 'Anything and everything is possible when one meditates on God's Spirit.'
Observations
I learned quite a bit today during my drawing time. The lines that shimmered from what seemed within the paper, also created an echo in my mind. I mean, I could feel the love from what seemed outside of myself, as well as within myself. I felt exhilarated from this energy, and two new characters began to form. In the place of my grandmother's face, a silly girl presents, who seems to be holding her breath. The idea behind this change was not my conscious mind's creation, and as I erased the original image, I could already see the energetic lines trace the new form's shape.
Rapid One-Pointed Focus of the Whole Mind
This winged little girl leans into the Blue Boy, and her billowing skirt flutters out underneath her wings. She is holding her breath for a reason, and it is so I will share a method with the breath that I find useful. This method is simple, and used before I focus with intent to see beyond myself. I relax, then breathe in gently, and hold my breath. Then, I say the following in my mind, while holistically and positively affirming it to be so: "As I release my breath (visualize and feel the location of your breath within the lungs), body (visualize and feel the whole body now), mind (I visualize and feel a bubble of energy around my whole head), and Spirit (visualize and feel what is perceived as Spiritwithin yourself - I personally visualize the largest 'empty' circle I can imagine), I will recall exactly what it is like to be in deep meditation. I now release my breath, body, mind and spirit into deep meditation" (again visualizing and feeling each as you release the breath). From here, the eyes are opened, and the focus is now beyond oneself. (Note: this is actually unnecessary for me to see the way I do; nevertheless, it is helpful for the sake of rapid, one-pointed focus of the whole mind.
Unconscious/Intutive Composition
Compositionally, there seems an intuitive structure to the placement of the characters thus far. For example, from just left of center over to the right side of the paper, there seems to be a 'V'-shape forming through the placement of characters behind and adjacent to the Blue Boy. Further, the reclining female image within the lower left corner, who extends across the entire bottom in a single descriptive line, is visually working, even though it seems the characters parade forward, stepping out from within her body. There is also something larger, an idea of spiritual import, that is suggested by the curve of the reclining body, but is not yet developed in this work fully (but I am aware of it).
Spiritual Fabric
It may be the spiritual fabric that she pulls with her right hand, or the door that can be seen behind and within the Blue Boy that I am intuitively sensing (remember to use the meditative mind while looking). This fabric has grown in identity, and it can be read now as billowing up and over the little winged girl and Blue Boy (how far this will be made apparent to a viewer other than myself, I can only guess). I believe the point of the spiritual fabric is about awareness and expression, as it is seemingly invisible stuff, accessed through the realm of the mind and Spirit. Overall, the drawing thus far describes an expression of one's spiritual awareness, and employment of the most natural source of energy - the Higher Spirit realized within.
Anything and Everything is Possible...
The second figure that arrived today was not the main focus of today's work. Nevertheless, this evolving image to the left and behind the winged girl, is a reminder to mention the concept of Living Examples of God. These individuals lived their testimony perfectly, as to the Spirit's Presence, and described (often allegorically) how to know the experience for oneself. These God-Men realized fully that "I AM" is within their own minds, and through this knowledge not only sought to Live the Presence, but felt compelled to share how to know It for oneself. Overall, this second figure is representative of one of these Living Examples of God, and His Idea is that, 'Anything and everything is possible when one meditates on God's Spirit.'
Middle Detail, 12.24.20
The Blue Boy, whole image, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite on watercolor paper, 12.24.20.
12.23.20 The Blue Boy, work in progress notes
Working with Reciprocal Energies
The practice of meditation is to know the Presence of God within oneself. One may also spend time creating alongside the energy realized to be the Master Spirit. Observation of forms that arise is an irresistable part of the path within my own practice. This does not happen all of the time, but when it does, the seeming 'digression' instructs, and is led through energies beyond perception of the five senses.
The evidence in artifact form that evolved today can best be appreciated in the Lower Left Corner detail. This female seems to be 'submerged' within an ether that localizes especially at her lower neck. Indicative of this is the shape of the heart underneath her chin (it has been established in this notebook that the heart symbolically represents one's perspective). The idea is that the perspective in one's 'voice' reflects one's distance from God to others. Further, there are manifestations throughout, when the gaze is relaxed, of spiritual eyes, as well as a delicate spiritual string that is held in the female's right hand. Lastly, her corresponding elbow is pulled back, as though she pulls the string (which feels somewhat like a fabric to my mind, and this is noteworthy because my grandmother was a seamstress [see notes from 12.22.20 for insight]).
The Monocle is Symbolic of One's Focus (one-pointed)
One also notes the monocle she holds up to her left eye, and that there seems a spiritual energy - an 'ether' - projecting out from it. What is presented is the idea of one's vision within himself. How we see the spiritual world and our perceptions of it, are only reflections of what we have delivered to our own minds. Lastly, this female is a different form of character, who seems to exist in a dimension imbued with transparent energies, and she uses her sight and right hand to perceive and wield them. Sounds like me. Ha Ha.
A Partner Who Is Everything
Overall, this detail image is a pleasant reprieve to the mind and eyes, from what can manifest on the paper as multidimensional overlaps in this unconscious, meditative work. What this character sees is beyond herself, and it has provided a paradoxically invisible/yet manifest partner who can take the form of Everything.
Working with Reciprocal Energies
The practice of meditation is to know the Presence of God within oneself. One may also spend time creating alongside the energy realized to be the Master Spirit. Observation of forms that arise is an irresistable part of the path within my own practice. This does not happen all of the time, but when it does, the seeming 'digression' instructs, and is led through energies beyond perception of the five senses.
The evidence in artifact form that evolved today can best be appreciated in the Lower Left Corner detail. This female seems to be 'submerged' within an ether that localizes especially at her lower neck. Indicative of this is the shape of the heart underneath her chin (it has been established in this notebook that the heart symbolically represents one's perspective). The idea is that the perspective in one's 'voice' reflects one's distance from God to others. Further, there are manifestations throughout, when the gaze is relaxed, of spiritual eyes, as well as a delicate spiritual string that is held in the female's right hand. Lastly, her corresponding elbow is pulled back, as though she pulls the string (which feels somewhat like a fabric to my mind, and this is noteworthy because my grandmother was a seamstress [see notes from 12.22.20 for insight]).
The Monocle is Symbolic of One's Focus (one-pointed)
One also notes the monocle she holds up to her left eye, and that there seems a spiritual energy - an 'ether' - projecting out from it. What is presented is the idea of one's vision within himself. How we see the spiritual world and our perceptions of it, are only reflections of what we have delivered to our own minds. Lastly, this female is a different form of character, who seems to exist in a dimension imbued with transparent energies, and she uses her sight and right hand to perceive and wield them. Sounds like me. Ha Ha.
A Partner Who Is Everything
Overall, this detail image is a pleasant reprieve to the mind and eyes, from what can manifest on the paper as multidimensional overlaps in this unconscious, meditative work. What this character sees is beyond herself, and it has provided a paradoxically invisible/yet manifest partner who can take the form of Everything.
Working with Reciprocal Energies , Lower Left Corner detal, 12.23.20/
The Blue Boy, whole image, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite on watercolor paper, 12.23.20.
12.22.20 - The Blue Boy, work in progress notes
The Love of the Echoing Pipe
There were many epiphanies realized as I observed the movement of my pencil across this new drawing today. Three characters bubbled up from the paper's surface. First, the girl behind the blue boy, and then the clarinet-playing fellow (whose name is Kevin), arrived in the very upper right corner. As I drew and continued to watch, a second clarinet appeared, extending from what seems to be the two hands of the girl-figure.
I used to play the clarinet, between the 6th to 8th grades. Within that three years, I managed to hold first seat in the clarinet section a majority of the time. There was also time spent working with the city's youth symphony, as well as the city's professional symphony. Interestingly enough, it was not a love of music that took me so far in such a short time, it was the love of the sound of the wind instrument that I played. Further, it was the pursuit of excellence in performance and execution that attracted me, and although I do not enjoy math, I did enjoy the geometry that filled my mind when I created the lilting quality so deeply imbedded in the echoing pipe. I also remember a peaceful centeredness in the pursuit of that love.
The Excellent Child
There seems to be a flood of references from my own memories of the past in this work, that are being delivered to my mind as memories of love I have created for myself within this life. The clarinet, the shadow figure [represents the imagination], and the blue boy [the creative mind] all speak to the state-of-mind that is the experience of the creative child within oneself. It has not disappeared, this Higher spirit so easily discounted as 'not essential' within the days of most. Nevertheless, in a pandemic world, there seems no more an appropriate time than now, to seek out one's own inherent excellence again. We all contain this aspect of focus and perspective, and may redesign the inner conceptual structures to expound our loves that are our strengths. To be creative is to be set free within the mind, and if this is the state of the 'excellent child,' then I embrace it wholeheartedly.
Automatic Presence of Structure
With the addition and application of ultramarine blue powdered pigment, there feels to me an automatic presence of structure. What I mean is that the holographic mist of color applied without conscious thought across the surface, assists the perceived proximity between older and newly formed characters. Although the 'piling-effect' that this multidimensional work lends itself to is present, the geometrical structures that are the characters are more easily discernible to the mind.
Flip-the-Switch: An Altered State-of-Mind
To illustrate, sit back and relax, close your eyes for a minute, and sense your whole body with your mind. Spend a duration that is natural doing this, until you can honestly say you are 'noticing within your mind' your entire body all at once. Then, open your eyes and look at the whole image (below) of The Blue Boy drawing. Relax, and then look.
What might be discerned within this altered state-of-mind, is that the female head that is to the left of the blue boy, does actually have a corresponding 'body' forming, but it angles in from the right. If you then tilt your head to the left, the mind now understands visually that the blue boy's right arm, also read's as the large-headed female's. I believe more detail will evolve to bring the latter forward, but for now, as I understand it, the entire drawing is still in a very early developmental stage.
Why does the unconscious mind present slanted, holographic figures within the work, who enter from the right side?
All of the following is realized this moment, as I write. These are characterizations that are indicative of another soul, and the energies that pull these characterizations side-ways and through the spaces visually, reflect to the mind their origination is 'physically outside of self-consciousness and self-structures.' These slanted figures, overall, may be a part of a memory, but when they present in this general geography of the paper (lower-right), they are also meant to announce the energy of another soul as being present. This particular large-headed female, for example, is the representative energetic/ethereal image of another soul that lived at one time, my grandmother. She is a part of the story and love found in the clarinet, but is here also to help me do my spiritual mapping. Overall, my grandmother is present for this work, and in this case, she is connected to the memory.
Do It Because You Love It!
Overall, it is good to be open to experiencing your 'self' lovingly and with excellence, in all that you do. Do it because you love it, whatever 'it' is!
The Love of the Echoing Pipe
There were many epiphanies realized as I observed the movement of my pencil across this new drawing today. Three characters bubbled up from the paper's surface. First, the girl behind the blue boy, and then the clarinet-playing fellow (whose name is Kevin), arrived in the very upper right corner. As I drew and continued to watch, a second clarinet appeared, extending from what seems to be the two hands of the girl-figure.
I used to play the clarinet, between the 6th to 8th grades. Within that three years, I managed to hold first seat in the clarinet section a majority of the time. There was also time spent working with the city's youth symphony, as well as the city's professional symphony. Interestingly enough, it was not a love of music that took me so far in such a short time, it was the love of the sound of the wind instrument that I played. Further, it was the pursuit of excellence in performance and execution that attracted me, and although I do not enjoy math, I did enjoy the geometry that filled my mind when I created the lilting quality so deeply imbedded in the echoing pipe. I also remember a peaceful centeredness in the pursuit of that love.
The Excellent Child
There seems to be a flood of references from my own memories of the past in this work, that are being delivered to my mind as memories of love I have created for myself within this life. The clarinet, the shadow figure [represents the imagination], and the blue boy [the creative mind] all speak to the state-of-mind that is the experience of the creative child within oneself. It has not disappeared, this Higher spirit so easily discounted as 'not essential' within the days of most. Nevertheless, in a pandemic world, there seems no more an appropriate time than now, to seek out one's own inherent excellence again. We all contain this aspect of focus and perspective, and may redesign the inner conceptual structures to expound our loves that are our strengths. To be creative is to be set free within the mind, and if this is the state of the 'excellent child,' then I embrace it wholeheartedly.
Automatic Presence of Structure
With the addition and application of ultramarine blue powdered pigment, there feels to me an automatic presence of structure. What I mean is that the holographic mist of color applied without conscious thought across the surface, assists the perceived proximity between older and newly formed characters. Although the 'piling-effect' that this multidimensional work lends itself to is present, the geometrical structures that are the characters are more easily discernible to the mind.
Flip-the-Switch: An Altered State-of-Mind
To illustrate, sit back and relax, close your eyes for a minute, and sense your whole body with your mind. Spend a duration that is natural doing this, until you can honestly say you are 'noticing within your mind' your entire body all at once. Then, open your eyes and look at the whole image (below) of The Blue Boy drawing. Relax, and then look.
What might be discerned within this altered state-of-mind, is that the female head that is to the left of the blue boy, does actually have a corresponding 'body' forming, but it angles in from the right. If you then tilt your head to the left, the mind now understands visually that the blue boy's right arm, also read's as the large-headed female's. I believe more detail will evolve to bring the latter forward, but for now, as I understand it, the entire drawing is still in a very early developmental stage.
Why does the unconscious mind present slanted, holographic figures within the work, who enter from the right side?
All of the following is realized this moment, as I write. These are characterizations that are indicative of another soul, and the energies that pull these characterizations side-ways and through the spaces visually, reflect to the mind their origination is 'physically outside of self-consciousness and self-structures.' These slanted figures, overall, may be a part of a memory, but when they present in this general geography of the paper (lower-right), they are also meant to announce the energy of another soul as being present. This particular large-headed female, for example, is the representative energetic/ethereal image of another soul that lived at one time, my grandmother. She is a part of the story and love found in the clarinet, but is here also to help me do my spiritual mapping. Overall, my grandmother is present for this work, and in this case, she is connected to the memory.
Do It Because You Love It!
Overall, it is good to be open to experiencing your 'self' lovingly and with excellence, in all that you do. Do it because you love it, whatever 'it' is!
The Blue Boy, detail on 12.22.20.
The Blue Boy, whole image, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite on watercolor paper, 12.22.20.
12.21.20 The Blue Boy, detail, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite, on watercolor paper, 12.21.20.
Flip-the-Switch
Apparently, I am now venturing, willingly, into experimentation with the color blue. It is unusual, if you are new to this notebook, for the artist to implement color, as it is unnecessary to see what is spiritually present. I note now that I had already 'flipped-the-switch' before sitting, and watched as my hand reached into a box containing twenty-five-year-old oil painting pigment. I then sat, shifted my mind to a deeper state, and observed the little boy evolve before me.
The Shadow Fairy/Sprite
Attached in my understanding to this Blue Boy, is an amorous shadow female. She can be best appreciated by pulling the image closer (expand your screen), and gazing in the meditative state just to the right of his face. Her placement naturally entwines with what has evolved of him so far. Further, his left hand also reads as hers as well. The 'sharing of body parts' is common in this unconscious, meditative work, and it has been mentioned that this is a mechanism of the whole mind, to reflect to itself. The mind is then able to see deeper symbolic ideas of existence, informed through positive, unconscious constructs, and manifests as these personalized shadow figures.
This particular shadow is female, and not completely human. What I mean is that I intuitively sense a spiritual presence that manifests as the personified idea of female-fairy-sprite. Illumination as to how the mind pairs-up these visual personifications (Blue Boy/female-fairy-sprite), has to do with Higher energies working here.
The Mind Reflects to Itself
The idea expressed in a shadow manifestation upon the paper, is a reflective mechanism of the mind (through reflection upon physical reality, the mind is able to know itself). So, as a character and a partially-seen shadow-figure present together, the idea of One Mind, paradoxically, presents as well. Their presentation in a drawing (I intuitively understand within this moment) is of a Higher idea - one that is intended for the outermost conscious mind to notice. Overall, this character-pairing is meant for the conscious mind's illumination to the multifaceted One Mind we are all a part of, but is an unconscious manifestation (as it all is).
The Blue Boy
This child figure presents as an image of myself at about age five. I was mistaken for a boy quite often as a child, and the androgenous features of this child remind me of the feeling of being mis-identified. Who we think we are at age five can be quite expansive. For example, I remember long walks home from Kindergarten (this was 1975), imagining in detail the magic carpet I would create with my mind in another world, so that I didn't have to walk so far. For years after this, I wondered quite often why people did not believe these things were possible.
I believe the Blue Boy is the personification of this memory - of dreaming with all my heart that my imagined, colorful, magic carpet would suddenly materialize before me. It never did; instead, it is now a memory I share with you, of a five-year-old's desire to live in another world - one where the mind's thoughts manifest instantaneously our deepest visions in physical reality. I am glad there is a lag in this making of one's own existence with his mind, because if this was not the case, the point of physical existence would be missed - and that is to learn for oneself who he is in relation to God.
Flip-the-Switch
Apparently, I am now venturing, willingly, into experimentation with the color blue. It is unusual, if you are new to this notebook, for the artist to implement color, as it is unnecessary to see what is spiritually present. I note now that I had already 'flipped-the-switch' before sitting, and watched as my hand reached into a box containing twenty-five-year-old oil painting pigment. I then sat, shifted my mind to a deeper state, and observed the little boy evolve before me.
The Shadow Fairy/Sprite
Attached in my understanding to this Blue Boy, is an amorous shadow female. She can be best appreciated by pulling the image closer (expand your screen), and gazing in the meditative state just to the right of his face. Her placement naturally entwines with what has evolved of him so far. Further, his left hand also reads as hers as well. The 'sharing of body parts' is common in this unconscious, meditative work, and it has been mentioned that this is a mechanism of the whole mind, to reflect to itself. The mind is then able to see deeper symbolic ideas of existence, informed through positive, unconscious constructs, and manifests as these personalized shadow figures.
This particular shadow is female, and not completely human. What I mean is that I intuitively sense a spiritual presence that manifests as the personified idea of female-fairy-sprite. Illumination as to how the mind pairs-up these visual personifications (Blue Boy/female-fairy-sprite), has to do with Higher energies working here.
The Mind Reflects to Itself
The idea expressed in a shadow manifestation upon the paper, is a reflective mechanism of the mind (through reflection upon physical reality, the mind is able to know itself). So, as a character and a partially-seen shadow-figure present together, the idea of One Mind, paradoxically, presents as well. Their presentation in a drawing (I intuitively understand within this moment) is of a Higher idea - one that is intended for the outermost conscious mind to notice. Overall, this character-pairing is meant for the conscious mind's illumination to the multifaceted One Mind we are all a part of, but is an unconscious manifestation (as it all is).
The Blue Boy
This child figure presents as an image of myself at about age five. I was mistaken for a boy quite often as a child, and the androgenous features of this child remind me of the feeling of being mis-identified. Who we think we are at age five can be quite expansive. For example, I remember long walks home from Kindergarten (this was 1975), imagining in detail the magic carpet I would create with my mind in another world, so that I didn't have to walk so far. For years after this, I wondered quite often why people did not believe these things were possible.
I believe the Blue Boy is the personification of this memory - of dreaming with all my heart that my imagined, colorful, magic carpet would suddenly materialize before me. It never did; instead, it is now a memory I share with you, of a five-year-old's desire to live in another world - one where the mind's thoughts manifest instantaneously our deepest visions in physical reality. I am glad there is a lag in this making of one's own existence with his mind, because if this was not the case, the point of physical existence would be missed - and that is to learn for oneself who he is in relation to God.
The Blue Boy, detail, 12 1/2" x 8 1/2", work in progress, ultramarine blue powerdered pigment, with graphite on watercolor paper, 12.21.20.
12.17.20 Alice, work in progress notes (Final Image can be appreciated on the Drawings Page):
Over the last few days, I have continued working on the drawing Alice. First, I found a small female underneath the open, outstreched palm of the central female (see Lower Left detail). This beautiful spirit seems to be demonstrating a spiritual event, and as I understand it, as one gazes at the area between her two hands, projecting outward from the astral table of her chest is "spiritual growth." This idea of spiritual growth is personified in the birth of a new character energy, which manifests as the subtle face that floats upward and to the right, and is described to me as a 'diaphanous film of energy.'
Creation
This little female is a personification of the spiritual energy representative of the creation process, and she sits/leans gently upon the back of a physical reality character. Moving to the left from the little female, we see him taking her weight upon his back, and in concerted prayer, he tightly holds his hands in front of him. His focus is intense. In front of him (to the left), there is a small female wearing a tutu (We saw another tutu on a ballerina in the upper right corner. The latter is a 'shadow' manifestation for the handsome fellow in front of her - see furthest upper right section of Whole Image below). Ultimately, this small ballerina female who holds a large heart out to the focused, prayerful fellow, rests her left hand upon his head. Behind the little ballerina there is one remaining character to fulfill, and I will bring him out when I sit to draw today.
Observations
The creative process is just that - a process. According to Dictionary.com, a process is a "continuous action, operation, or series of changes taking place in a definite manner."
What we see in the closer examination of the characters in the Lower Left Corner detail of Alice, is that, overall, what is being described is a relationship between the spiritual creative process, and its outward, corresponding manifestation in physical-matter-reality. The small spiritual female who is literally creating another spiritual manifestation out of her own chest, is a drawing representative of genesis, or 'the original creation.' Further, these three characters also represent together the idea of 'The Manger,' or the idea of the birth of a spiritual creation within phyiscal-matter-reality.
I often wonder how these meanings correspond to the location upon the paper - as a reflection of a location within myself. When it is deeply meditated upon, it seems a magical process to create like this, and know these spiritual connections consciously within my own life. My ego sits in awe, and is literally dumbstruck to silence. I give thanks for these blessings, and through the Presence known within, feel it has all been created upon the only template worthy to begin upon, and that is Love.
Over the last few days, I have continued working on the drawing Alice. First, I found a small female underneath the open, outstreched palm of the central female (see Lower Left detail). This beautiful spirit seems to be demonstrating a spiritual event, and as I understand it, as one gazes at the area between her two hands, projecting outward from the astral table of her chest is "spiritual growth." This idea of spiritual growth is personified in the birth of a new character energy, which manifests as the subtle face that floats upward and to the right, and is described to me as a 'diaphanous film of energy.'
Creation
This little female is a personification of the spiritual energy representative of the creation process, and she sits/leans gently upon the back of a physical reality character. Moving to the left from the little female, we see him taking her weight upon his back, and in concerted prayer, he tightly holds his hands in front of him. His focus is intense. In front of him (to the left), there is a small female wearing a tutu (We saw another tutu on a ballerina in the upper right corner. The latter is a 'shadow' manifestation for the handsome fellow in front of her - see furthest upper right section of Whole Image below). Ultimately, this small ballerina female who holds a large heart out to the focused, prayerful fellow, rests her left hand upon his head. Behind the little ballerina there is one remaining character to fulfill, and I will bring him out when I sit to draw today.
Observations
The creative process is just that - a process. According to Dictionary.com, a process is a "continuous action, operation, or series of changes taking place in a definite manner."
What we see in the closer examination of the characters in the Lower Left Corner detail of Alice, is that, overall, what is being described is a relationship between the spiritual creative process, and its outward, corresponding manifestation in physical-matter-reality. The small spiritual female who is literally creating another spiritual manifestation out of her own chest, is a drawing representative of genesis, or 'the original creation.' Further, these three characters also represent together the idea of 'The Manger,' or the idea of the birth of a spiritual creation within phyiscal-matter-reality.
I often wonder how these meanings correspond to the location upon the paper - as a reflection of a location within myself. When it is deeply meditated upon, it seems a magical process to create like this, and know these spiritual connections consciously within my own life. My ego sits in awe, and is literally dumbstruck to silence. I give thanks for these blessings, and through the Presence known within, feel it has all been created upon the only template worthy to begin upon, and that is Love.
Lower Left Detail on 12.17.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.17.20.
12.15.20 Alice, work in progress notes
Universal Treasures
I believe the production of the new book, Meditation and "Me": A Metaphysical Exploration Through Art and Mind to Absolute Reality, is intimately tied to this drawing. Alice, the beautiful female in the upper right corner (see whole image below), was the first to show up, and did not hesitate to point to what I later understood to be "the Sun and the Moon." The symbols representative of the idea of 'the Sun and the Moon,' can best be appreciated in the center of the detail image below called, The Middle Man. These symbols are expressive of the idea of 'universal treasures' that are gifts from God's Spirit (we do gain the whole universe when the mind is turned inward through meditation).
The Middle Man, The Child, and The Angel
The Middle Man himself seems to be involved in distributing energy, and I can't help but think about Amazon.com. How these conceptual frameworks somehow end up as characters on the paper amazes me. I sit and watch and see answers to my questions in these drawings; it is a wonderful experience.
The Middle Man's left arm and hand extend to what I understand is an infant child, and he holds the child's left hand within his own. Further, the child is 'delivered' via an 'energetic arm of energy' that is 'directed' by the angel in the upper left corner (see detail below). The overall relationship between the Middle Man, the child, and the angel, revolves around the presence of this child, with the latter representing the book.
Caring for the Small Dragon
What also developed as I sat drawing today, was a small scene on the left-middle (see detail below). It is unfinished and very small, but the energy pulled at me for expression, and what I found were three new characters. The outermost leans over the other two, and reaches downward to show them something. This outermost character is unusual, in that he seems made up completely of the "energetic lines," or what I have also called "Dragon Lines" in other work. I am now consciously aware that these are lines upon the earth, and somehow, the energy they radiate, I am picking-up on. What we see in this energy character is a fully sumbolic representation of Spiritual energies; even his feet end in pronged energies that wrap aound the mermaid's right fingers.
The second character in, feels representative of a physical reality character, and the last scribbled bit moving to the edge of the paper, is a small dragon. The dragon isn't very easy to see yet, but I will work on him more tomorrow. Overall, the two human and humanoid figures are attempting to care for this dragon, whose energy seems lowered.
Clairaudience
I don't usually 'hear' consciously about the relationships of the characters as they manifest on the paper, but as I followed the energies apparent to my mind with the end of my pencil, I intuitively understood most of what was taking place. You see, this is all a learning platform, and I quite often feel "I" am literally a blank canvas within myself. I create an altered state of consciousness initially, and maintain this for the drawing's duration. What results is the disappearance of "I," and a new placement of the "self" that remains upon a Higher platform within my own mind. Here, I watch and copy the lines I see upon the paper. Overall, what I am reminded of through the characters that arrived today, is the need to have no insistence as to the outcome of anything, and release "it all" to the Presence of God within meditation.
Is it art, or is it a description of superreality? What is followed by the pencil is a reflective guiding-light for the soul.
Universal Treasures
I believe the production of the new book, Meditation and "Me": A Metaphysical Exploration Through Art and Mind to Absolute Reality, is intimately tied to this drawing. Alice, the beautiful female in the upper right corner (see whole image below), was the first to show up, and did not hesitate to point to what I later understood to be "the Sun and the Moon." The symbols representative of the idea of 'the Sun and the Moon,' can best be appreciated in the center of the detail image below called, The Middle Man. These symbols are expressive of the idea of 'universal treasures' that are gifts from God's Spirit (we do gain the whole universe when the mind is turned inward through meditation).
The Middle Man, The Child, and The Angel
The Middle Man himself seems to be involved in distributing energy, and I can't help but think about Amazon.com. How these conceptual frameworks somehow end up as characters on the paper amazes me. I sit and watch and see answers to my questions in these drawings; it is a wonderful experience.
The Middle Man's left arm and hand extend to what I understand is an infant child, and he holds the child's left hand within his own. Further, the child is 'delivered' via an 'energetic arm of energy' that is 'directed' by the angel in the upper left corner (see detail below). The overall relationship between the Middle Man, the child, and the angel, revolves around the presence of this child, with the latter representing the book.
Caring for the Small Dragon
What also developed as I sat drawing today, was a small scene on the left-middle (see detail below). It is unfinished and very small, but the energy pulled at me for expression, and what I found were three new characters. The outermost leans over the other two, and reaches downward to show them something. This outermost character is unusual, in that he seems made up completely of the "energetic lines," or what I have also called "Dragon Lines" in other work. I am now consciously aware that these are lines upon the earth, and somehow, the energy they radiate, I am picking-up on. What we see in this energy character is a fully sumbolic representation of Spiritual energies; even his feet end in pronged energies that wrap aound the mermaid's right fingers.
The second character in, feels representative of a physical reality character, and the last scribbled bit moving to the edge of the paper, is a small dragon. The dragon isn't very easy to see yet, but I will work on him more tomorrow. Overall, the two human and humanoid figures are attempting to care for this dragon, whose energy seems lowered.
Clairaudience
I don't usually 'hear' consciously about the relationships of the characters as they manifest on the paper, but as I followed the energies apparent to my mind with the end of my pencil, I intuitively understood most of what was taking place. You see, this is all a learning platform, and I quite often feel "I" am literally a blank canvas within myself. I create an altered state of consciousness initially, and maintain this for the drawing's duration. What results is the disappearance of "I," and a new placement of the "self" that remains upon a Higher platform within my own mind. Here, I watch and copy the lines I see upon the paper. Overall, what I am reminded of through the characters that arrived today, is the need to have no insistence as to the outcome of anything, and release "it all" to the Presence of God within meditation.
Is it art, or is it a description of superreality? What is followed by the pencil is a reflective guiding-light for the soul.
Left Side Middle detail from Alice, on 12.15.20
Upper Left Corner detail from Alice, on 12.15.20.
The Middle Man, detail from Alice, on 12.15.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.15.20.
12.14.20 I am happy to report the publication of a new book: Meditation and "Me": A Metaphysical Exploration Through Art and Mind to Absolute Reality. The cover thumbnail is below, and it is available now to puchase on Amazon. If you would like to support the artist in continuing her artistic and written endeavors, please consider puchasing this text. Thank you for your support!
With Love and Warm Regard,
Kora Bales
With Love and Warm Regard,
Kora Bales
12.13.20 Alice, work in progress notes:
The Giant
Only one character appeared today while drawing, but he has a very important purpose - to hold back the tide of characters on the right! There seems to be a need for support of the doubly-stacked characters here, and the unconscious mind provided a "stopper," in the form of this giant individual.
First, we note that he stares at the mermaid in front of him. Also, we appreciate his left hand pushing upon the head of the smaller fellow in the right lower corner, and there seems to be "something" like water (which we see through), underneath his left hand as well. His right hand is very large, and hangs suspended in the air in front of him. Further, the wings of the small male angel (who is now standing on the Giant's shoulders holding the Kachina doll), now reads as a headdress of some kind that the larger character wears. Overall, this seems a temporary and unexpected position he is in, as his legs are bent in such a way to suggest he may collapse under the weight of all of those behind him. Honestly, I have never seen a character manifest on the paper to function as 'holding back' the other ones.
Symbolism: Intuitively read, this particular Giant is a symbol of spiritual strength. As each individual character behind the Giant is representative of an individual story that speaks to the overall story (which we are not yet consciously aware), we can surmise that an aspect of the spiritual (symbolized as the Giant), is holding back other spiritual manifestations. Based on visual information and relationships implied thus far, I feel there is something spiritual that is going to occur, and the 'Giant' character is watching to see what the Mermaid decides.
This drawing is very interesting!
The Giant
Only one character appeared today while drawing, but he has a very important purpose - to hold back the tide of characters on the right! There seems to be a need for support of the doubly-stacked characters here, and the unconscious mind provided a "stopper," in the form of this giant individual.
First, we note that he stares at the mermaid in front of him. Also, we appreciate his left hand pushing upon the head of the smaller fellow in the right lower corner, and there seems to be "something" like water (which we see through), underneath his left hand as well. His right hand is very large, and hangs suspended in the air in front of him. Further, the wings of the small male angel (who is now standing on the Giant's shoulders holding the Kachina doll), now reads as a headdress of some kind that the larger character wears. Overall, this seems a temporary and unexpected position he is in, as his legs are bent in such a way to suggest he may collapse under the weight of all of those behind him. Honestly, I have never seen a character manifest on the paper to function as 'holding back' the other ones.
Symbolism: Intuitively read, this particular Giant is a symbol of spiritual strength. As each individual character behind the Giant is representative of an individual story that speaks to the overall story (which we are not yet consciously aware), we can surmise that an aspect of the spiritual (symbolized as the Giant), is holding back other spiritual manifestations. Based on visual information and relationships implied thus far, I feel there is something spiritual that is going to occur, and the 'Giant' character is watching to see what the Mermaid decides.
This drawing is very interesting!
Right Side detail on 12.13.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.13.20.
12.12.20 The Inner Room, 9 1/2" x 10", graphite on watercolor paper, finished.
Duration: two evenings. I enjoy the variety of shapes, and appreciate a visual balance throughout. There is a new idea imbedded in this drawing. It feels simple, but baffling.
Looking Through the Peephole
Alice went through a rabbit's hole, but I just look at paper.
While looking in the meditative state-of-mind, it strikes me now that the scene of this image is indoors. Also, the viewer's vantage-point is as if he looks through a door's peephole at the room. Noteworthy, is that there is an odd elongation of the two figures' bodies that stand in the very center, and that this simultaneous lengthening and dimensional-flattening has been seen before in other drawings (for example, the "King," in I'm Essa). Overall, the elongated-body-character-type seems to fit visually within this space in a complementary way. This is noteworthy because this seems a type of unconscious-visual growth. What I mean is that the drawing is not filled with the faces and bodies that it usually is, but appears to be a consideration of space as well.
The exterior, circular-shape welcomes restfully, all of the internal, almost design-like shapes: It is comprehensible and friendly to the outermost-mind - the exterior-to-interior relationships of shapes in this drawing, at least for myself. Further, this image is not jam-packed with faces - sometimes, when I look at any blank surface, there is a face looking back at me, if I relax. The imagination... what can I say? Overall, this work feels relaxing to me - and then one relaxes a bit more - and notes the tall figure to the far right, who is subtely blending-in.
The Fool/Jester
He stands to the side and behind this round room, and he looks out-and-over the two occupants. One notes his left arm is held out with the forefinger and thumb pinched together, and that on his head are two bent arms - like the cap of a jester. Looking down his back to his "hoof," we see he is not a completely human description. His left leg visually reads as a centaur's leg would, and this blending of 'ordinary' character-type of only "man or woman," advances to the mythical idea of a half-man, half-beast persona.
Overall, I enjoy all of the images, but this particular work feels visually-evocative to my eye in a new way. I love how the heart-shapes in the center have blended-in, and how the room can be searched with the eye to see what the shapes might suggest it is filled with. :)
Duration: two evenings. I enjoy the variety of shapes, and appreciate a visual balance throughout. There is a new idea imbedded in this drawing. It feels simple, but baffling.
Looking Through the Peephole
Alice went through a rabbit's hole, but I just look at paper.
While looking in the meditative state-of-mind, it strikes me now that the scene of this image is indoors. Also, the viewer's vantage-point is as if he looks through a door's peephole at the room. Noteworthy, is that there is an odd elongation of the two figures' bodies that stand in the very center, and that this simultaneous lengthening and dimensional-flattening has been seen before in other drawings (for example, the "King," in I'm Essa). Overall, the elongated-body-character-type seems to fit visually within this space in a complementary way. This is noteworthy because this seems a type of unconscious-visual growth. What I mean is that the drawing is not filled with the faces and bodies that it usually is, but appears to be a consideration of space as well.
The exterior, circular-shape welcomes restfully, all of the internal, almost design-like shapes: It is comprehensible and friendly to the outermost-mind - the exterior-to-interior relationships of shapes in this drawing, at least for myself. Further, this image is not jam-packed with faces - sometimes, when I look at any blank surface, there is a face looking back at me, if I relax. The imagination... what can I say? Overall, this work feels relaxing to me - and then one relaxes a bit more - and notes the tall figure to the far right, who is subtely blending-in.
The Fool/Jester
He stands to the side and behind this round room, and he looks out-and-over the two occupants. One notes his left arm is held out with the forefinger and thumb pinched together, and that on his head are two bent arms - like the cap of a jester. Looking down his back to his "hoof," we see he is not a completely human description. His left leg visually reads as a centaur's leg would, and this blending of 'ordinary' character-type of only "man or woman," advances to the mythical idea of a half-man, half-beast persona.
Overall, I enjoy all of the images, but this particular work feels visually-evocative to my eye in a new way. I love how the heart-shapes in the center have blended-in, and how the room can be searched with the eye to see what the shapes might suggest it is filled with. :)
12.12.20 The Inner Room, 9 1/2" x 10", graphite on watercolor paper
12.11.20, Alice, work in progress notes:
The Mermaid and The Fool
It's a curious scene that evolved today within this work. In the lower center portion of the drawing, there evolved a mermaid and a man (see Detail below). The mermaid, by the expression that I was led to finanlize, reveals she is attempting to figure something out. We then note the male form has his right hand around her lower left arm. The expression on his face seems like he has something important to say, but as he is dressed as a court jester, this most likely would be a comment meant to fool. He is The Fool, and although he isn't smiling, as a court jester most likely would, I know this is his function in this scene. Lastly, the shape around his neck can be appreciated as the ruffles of his costume, and he also holds in his left hand what seems to be an "emanating tablet."
The Fool
Research on "The Fool," as it relates to Tarot, indicates his manifestation represents the most mysterious card in the deck. The Fool has no number, and his presence "... denotes the boundaries of speech and what lies beyond computation" (Dictionary of Symbols, Penguin Reference, 397). Also, he seems to represent pure power of potential, and limitless opportunity (Exploring the Tarot, by Avia Venefica). This latter source states, "The Fool comes frolicking into your readings as a sign of birthing new ideas to pounce upon from a place of excitement and innocent expectation," and "...he beckons you to become like a child. Be a clean slate. Seek out new vistas without preconceived notions or habitual predetermined thinking." In other words, drawing The Fool literally means the ego has vanished, and one has positioned himself for limitless opportunity.
The Mermaid
Appreciating the mermaid beyond her one-pointed stare, we see the astral table overlaying the area of her chest. Upon it from left to right, it is noted there is a small cresent (half)-moon (that has a face - it is personalized), an eletric astral-eye, and a drawing of the earth. If these symbols are read as "on the table" functioning, then this might be referencing the cresent moon's lunar cycle, indicative of the feminine, Winter, birth/death, or knowledge acquired through reflection. Next, the astral eye is meant as symbolic of one's conscious connection to the astral or spiritual realm: when these spiritual eyes show up, they indicate a Higher consciousness is present. Lastly, the earth represents the idea of "original matter," as separated from water in the original creation story, and invokes the idea of creativity. Overall, the mermaid seems contemplative of cycles of life, as influenced by spiritual, and "original matter." Deep.
Conclusions
The relationship between the two is simply identity, as these are unconscious characters that evolved through a meditative state, and materialized without my conscious mind's participation. As the mermaid manifestation symbolizes intution and the feminine, and The Fool's persona symbolizes the state-of-being absent of outermost conscious thought, or absense of the ego, what we ultimately see in reading both manifestations together is a symbolic relationship between the intuitive mind and the outermost physical mind. Ultimately, both The Mermaid and The Fool are symbols of Spirit, manifesting openly through the whole mind and upon the paper, and overall speaks to encouraging spiritual pursuits that exicte, without expectation as to the outcome (absense of ego).
Side note: I would really like to know what the title is, of the book that the Mermaid is holding!
The Mermaid and The Fool
It's a curious scene that evolved today within this work. In the lower center portion of the drawing, there evolved a mermaid and a man (see Detail below). The mermaid, by the expression that I was led to finanlize, reveals she is attempting to figure something out. We then note the male form has his right hand around her lower left arm. The expression on his face seems like he has something important to say, but as he is dressed as a court jester, this most likely would be a comment meant to fool. He is The Fool, and although he isn't smiling, as a court jester most likely would, I know this is his function in this scene. Lastly, the shape around his neck can be appreciated as the ruffles of his costume, and he also holds in his left hand what seems to be an "emanating tablet."
The Fool
Research on "The Fool," as it relates to Tarot, indicates his manifestation represents the most mysterious card in the deck. The Fool has no number, and his presence "... denotes the boundaries of speech and what lies beyond computation" (Dictionary of Symbols, Penguin Reference, 397). Also, he seems to represent pure power of potential, and limitless opportunity (Exploring the Tarot, by Avia Venefica). This latter source states, "The Fool comes frolicking into your readings as a sign of birthing new ideas to pounce upon from a place of excitement and innocent expectation," and "...he beckons you to become like a child. Be a clean slate. Seek out new vistas without preconceived notions or habitual predetermined thinking." In other words, drawing The Fool literally means the ego has vanished, and one has positioned himself for limitless opportunity.
The Mermaid
Appreciating the mermaid beyond her one-pointed stare, we see the astral table overlaying the area of her chest. Upon it from left to right, it is noted there is a small cresent (half)-moon (that has a face - it is personalized), an eletric astral-eye, and a drawing of the earth. If these symbols are read as "on the table" functioning, then this might be referencing the cresent moon's lunar cycle, indicative of the feminine, Winter, birth/death, or knowledge acquired through reflection. Next, the astral eye is meant as symbolic of one's conscious connection to the astral or spiritual realm: when these spiritual eyes show up, they indicate a Higher consciousness is present. Lastly, the earth represents the idea of "original matter," as separated from water in the original creation story, and invokes the idea of creativity. Overall, the mermaid seems contemplative of cycles of life, as influenced by spiritual, and "original matter." Deep.
Conclusions
The relationship between the two is simply identity, as these are unconscious characters that evolved through a meditative state, and materialized without my conscious mind's participation. As the mermaid manifestation symbolizes intution and the feminine, and The Fool's persona symbolizes the state-of-being absent of outermost conscious thought, or absense of the ego, what we ultimately see in reading both manifestations together is a symbolic relationship between the intuitive mind and the outermost physical mind. Ultimately, both The Mermaid and The Fool are symbols of Spirit, manifesting openly through the whole mind and upon the paper, and overall speaks to encouraging spiritual pursuits that exicte, without expectation as to the outcome (absense of ego).
Side note: I would really like to know what the title is, of the book that the Mermaid is holding!
The Mermaid and The Court Jester, 12.11.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.11.20.
12.10.20 Alice, work in progress notes:
Observations
I closed my eyes, and after gratitude was expressed to the outermost-self, for perceived efforts with language-within-self, the ego-form was personalized into a shadow-form within the meditative state, and I watched as it floated out and to the left. What consciousness remains once the ego-mind is out of the visual circle within, sits suspended in time, and sees the Higher energies of the whole self instantly. When I look while in this shifted state-of-consciousness before I draw, I know I am not alone when I see the shape of a heart. It pulses once or twice in my mind's eye, and an "empty-yet-full" state-of-mind is established.
The Angel with Gifts
When I opened my eyes, I found myself working to the left of Alice. I watched as the strange doll bubbled-up from within the graphite, and to the left of this, a small male angel appeared. Within the wings of the angel, when one looks while in the meditative state-of-mind, you may see the cross (see The Giving Angel detail below) . This is a very subtle presentation. Further, the angel is holding a heart in his right hand that is foreshortened (comes directly at the viewer), and in his left hand he holds the strange doll. When I look at the doll, I hear a wonderous, metallic-soft tune in my mind, like the sound one might imagine butterfly's wings to make, or like an "electric silver vibration," comparable to soft cymbals.
A Spiritual Gift from the Heart: A Kachina Doll
The angel appears to be offering love to the viewer, represented by a heart, as well as a gift, which is the strange doll. This doll, as I intuitively understand it, is a Kachina doll. Quick research revealed the following: "Native Americans in the Southwest have prayed to the great spirits for more than 2,000 years, asking to be blessed with the sunshine and rain to grow abundant crops. They believe that when winter arrives, spirit beings known as Kachinas (also called Katsinas) come to Earth bearing messages from the great spirits.
After the spring planting season ends, the Kachinas return to the spirit world. Each tribe has its own unique Kachinas. In total, there are thought to be over 400 distinct Kachinas."
As I continued to read about what a Kachina is, I also learned that the Hopi people were the first to make Kachina dolls, and that the dolls, "...were originally made to teach children about the Kachinas and their connection to the spiritual world" (Wonderpolis.org). What a wonderful epiphany!
So, our little angel holds these two symbols out, and I understand that the doll is a "totem" of sorts - a Great Spirit manifesting in this symbolic shape. Further, it's left arm reaches over Alice, and touches her heart. Overall, I see that the unusual Kachina doll represents the idea of gift-giving from the heart, and also invokes within my mind the idea of "vibrating metal."
Value and the Heart
I have been talking about perceptual constructs lately, and I believe the Kachina is representative of the perceptual construct of the innocent, spiritual love of a gift unexpected. Sometimes, a gift is from God, and you don't even know it. He gives us everything we have, and then, the outer mind labels it all for us, possibly causing devaluation based on ego-perceptions. The egoic, outermost part of the mind, if not attuned to the Higher energies within oneself through meditation, has the ability to sabotage the innocent love af a gift unexpected. Whether "you" are the receiver or the giver, the innocent love of a gift unexpected seems to be the Higher perceptual construct to consider for today.
I suppose the overall lesson of import, when considering love and giving, is not in the reception of others (or absense of it), but in where "you" were giving from within yourself. Further, I gauge the intuitive auditory evidence of metallic sounds - like tiny metal bells or cymbals humming all-at-once - is a reference to Aum, the Cosmic Sound of the Universe: I intuitively know I am not alone in these observations. Overall, everything in life is a gift, but how it is received is completely up to "you." What does "your" heart value?
Again, meditation is the key to understanding synchronistic manifestations of communications from one's Highest Mind.
Observations
I closed my eyes, and after gratitude was expressed to the outermost-self, for perceived efforts with language-within-self, the ego-form was personalized into a shadow-form within the meditative state, and I watched as it floated out and to the left. What consciousness remains once the ego-mind is out of the visual circle within, sits suspended in time, and sees the Higher energies of the whole self instantly. When I look while in this shifted state-of-consciousness before I draw, I know I am not alone when I see the shape of a heart. It pulses once or twice in my mind's eye, and an "empty-yet-full" state-of-mind is established.
The Angel with Gifts
When I opened my eyes, I found myself working to the left of Alice. I watched as the strange doll bubbled-up from within the graphite, and to the left of this, a small male angel appeared. Within the wings of the angel, when one looks while in the meditative state-of-mind, you may see the cross (see The Giving Angel detail below) . This is a very subtle presentation. Further, the angel is holding a heart in his right hand that is foreshortened (comes directly at the viewer), and in his left hand he holds the strange doll. When I look at the doll, I hear a wonderous, metallic-soft tune in my mind, like the sound one might imagine butterfly's wings to make, or like an "electric silver vibration," comparable to soft cymbals.
A Spiritual Gift from the Heart: A Kachina Doll
The angel appears to be offering love to the viewer, represented by a heart, as well as a gift, which is the strange doll. This doll, as I intuitively understand it, is a Kachina doll. Quick research revealed the following: "Native Americans in the Southwest have prayed to the great spirits for more than 2,000 years, asking to be blessed with the sunshine and rain to grow abundant crops. They believe that when winter arrives, spirit beings known as Kachinas (also called Katsinas) come to Earth bearing messages from the great spirits.
After the spring planting season ends, the Kachinas return to the spirit world. Each tribe has its own unique Kachinas. In total, there are thought to be over 400 distinct Kachinas."
As I continued to read about what a Kachina is, I also learned that the Hopi people were the first to make Kachina dolls, and that the dolls, "...were originally made to teach children about the Kachinas and their connection to the spiritual world" (Wonderpolis.org). What a wonderful epiphany!
So, our little angel holds these two symbols out, and I understand that the doll is a "totem" of sorts - a Great Spirit manifesting in this symbolic shape. Further, it's left arm reaches over Alice, and touches her heart. Overall, I see that the unusual Kachina doll represents the idea of gift-giving from the heart, and also invokes within my mind the idea of "vibrating metal."
Value and the Heart
I have been talking about perceptual constructs lately, and I believe the Kachina is representative of the perceptual construct of the innocent, spiritual love of a gift unexpected. Sometimes, a gift is from God, and you don't even know it. He gives us everything we have, and then, the outer mind labels it all for us, possibly causing devaluation based on ego-perceptions. The egoic, outermost part of the mind, if not attuned to the Higher energies within oneself through meditation, has the ability to sabotage the innocent love af a gift unexpected. Whether "you" are the receiver or the giver, the innocent love of a gift unexpected seems to be the Higher perceptual construct to consider for today.
I suppose the overall lesson of import, when considering love and giving, is not in the reception of others (or absense of it), but in where "you" were giving from within yourself. Further, I gauge the intuitive auditory evidence of metallic sounds - like tiny metal bells or cymbals humming all-at-once - is a reference to Aum, the Cosmic Sound of the Universe: I intuitively know I am not alone in these observations. Overall, everything in life is a gift, but how it is received is completely up to "you." What does "your" heart value?
Again, meditation is the key to understanding synchronistic manifestations of communications from one's Highest Mind.
The Giving Angel and The Kachina Doll, 12.10.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.10.20.
10.09.20 Alice, work in progress notes:
Today I easily and quickly struck the meditative state, and found myself in the Upper Right Corner of this work (see detail below). The two new characters almost vibrated as one energy underneath my pencil, but delineations between them were quickly comprehended.
The Ballerina Shadow Form
What I found was a new male figure (furthest to the right), and just behind him is his shadow counterpart. Her manifestation presents in a ballerina costume, and one notes the curvy waves of the tutu that she wears. Although we only see half of her face, this positioning assures the conscious mind that this particular character is a shadow manifestation of the male form. Upon her head there seems a likeness to an Indian headdress, but this could also be construed as light emanations. Overall, the ballerina shadow figure of the male, is the female manifestation of his soul's energies.
Shadow Forms Speak to Knowledge of Other Incarnations of the Soul
From what I comprehend within my doctoral studies and through meditation, is that each soul manifests a physical form for each life lived, but there still exists a corresponding spiritual nature of the opposite vibration within the whole soul (male/female duality). The physical manifestation of a man/shadow in the drawing (illustrated by what is understood as a singular aspect manifesting - male/female simultaneously - as parts of one whole soul), explains that he has a corresponding female soul that has lived a life on earth within another time, and possibly even another dimension, within him. Here, in the case of the manifesting male upon the paper, his female spiritual counterpart announced herself, and presents as a ballerina on her tip-toes. She does seem to adore him.
The Alien Scientist Shadow Form
Also, looking now at Alice, one easily appreciates her spiritual counterpart, or shadow. He presents as a very serious, focused fellow, quite the opposite of the energy of the ballerina shadow figure. I perceive the energy of the scientist within his presentation, and an alien absense of emotions; he feels they are superfluous. We already know Alice is a fun-loving, beautiful energy.
The Dual-Nature of Physical Existence
I feel the upper right corner figures, as a group, successfully present the overacrching perceptual construct of the dual nature of physical existence. We are well aware that we are multidimensional beings. Also, we know human beings are capable of sensing these other realms within meditation and without. That the unconscious mind characterizes the character, at a dual-level upon the paper, is insight beyond the outermost mind, and we see a truth is evident: what we believe we perceive is an illusion, through which, when we look, is only a reflection of our own minds. That the multidimensional characters are so easily presenting through the unconscious meditative process, in visually dual-states, speaks to how the mind works. Overall, to truly understand, meditation is the key: it is the recourse, and the action that fuels the life experience with information beyond the outer egoic-mind.
Today I easily and quickly struck the meditative state, and found myself in the Upper Right Corner of this work (see detail below). The two new characters almost vibrated as one energy underneath my pencil, but delineations between them were quickly comprehended.
The Ballerina Shadow Form
What I found was a new male figure (furthest to the right), and just behind him is his shadow counterpart. Her manifestation presents in a ballerina costume, and one notes the curvy waves of the tutu that she wears. Although we only see half of her face, this positioning assures the conscious mind that this particular character is a shadow manifestation of the male form. Upon her head there seems a likeness to an Indian headdress, but this could also be construed as light emanations. Overall, the ballerina shadow figure of the male, is the female manifestation of his soul's energies.
Shadow Forms Speak to Knowledge of Other Incarnations of the Soul
From what I comprehend within my doctoral studies and through meditation, is that each soul manifests a physical form for each life lived, but there still exists a corresponding spiritual nature of the opposite vibration within the whole soul (male/female duality). The physical manifestation of a man/shadow in the drawing (illustrated by what is understood as a singular aspect manifesting - male/female simultaneously - as parts of one whole soul), explains that he has a corresponding female soul that has lived a life on earth within another time, and possibly even another dimension, within him. Here, in the case of the manifesting male upon the paper, his female spiritual counterpart announced herself, and presents as a ballerina on her tip-toes. She does seem to adore him.
The Alien Scientist Shadow Form
Also, looking now at Alice, one easily appreciates her spiritual counterpart, or shadow. He presents as a very serious, focused fellow, quite the opposite of the energy of the ballerina shadow figure. I perceive the energy of the scientist within his presentation, and an alien absense of emotions; he feels they are superfluous. We already know Alice is a fun-loving, beautiful energy.
The Dual-Nature of Physical Existence
I feel the upper right corner figures, as a group, successfully present the overacrching perceptual construct of the dual nature of physical existence. We are well aware that we are multidimensional beings. Also, we know human beings are capable of sensing these other realms within meditation and without. That the unconscious mind characterizes the character, at a dual-level upon the paper, is insight beyond the outermost mind, and we see a truth is evident: what we believe we perceive is an illusion, through which, when we look, is only a reflection of our own minds. That the multidimensional characters are so easily presenting through the unconscious meditative process, in visually dual-states, speaks to how the mind works. Overall, to truly understand, meditation is the key: it is the recourse, and the action that fuels the life experience with information beyond the outer egoic-mind.
The Characters and their Shadow Figures, upper right corner detail of Alice, 12.09.20.
Right side, work in progress, 12.09.20.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.09.20.
12.08.20 Alice, Work in progress notes:
Seatbelt Psychic
I watched a show called "Seatbelt Psychic" yesterday, and it was worth every moment. The medium in the show appears to be very gifted, and the evidence he provides people who step into his vehicle is quite moving. This is so because each person feels an attachment to the energy or memory of their passed loved one. Further, many are observed to find spiritual and emotional release through evidence provided by the medium. I just thought I'd mention it, for some reason. If you want to experience tears of joy, this is the show to watch.
Observations
Three new characters arrived in the lower right corner today, after I sat down to draw. In the Right Lower Corner detail (below), one can appreciate a man who has a large head, and a really small body. His body is in the stride of a run, with his right leg meeting the hand, and holographic qualities assisting the viewer in seeing through the hand to the foot flung out behind him. Further, in looking at his right hand that reaches toward the viewer, one notes it holds a single eye. Overall, he feels very focused, as though he is about to grab something while leaping/running toward it, and the look on his face is a knowingness that he is going to attain his goal.
His left hand (which is an energetic description of lines) reaches behind him, and we see it is upon the abdomen of a female next to him. She is an abbreviated figure, and I read her as standing in water. She seems pleased, and holds onto the running male's shoulder, as though she does not know he is sprinting forward. Behind all of this on the very right, a male figure observes, and we see his hand is touching the female's shoulder.
Conclusions
Overall, there seems a very solid "division" between these new characters and Alice, who now appears to stand atop them. This can be seen as a horizontal line that turns into stairs at the far right, between Alice and the newer characters below her. If this work is the manifestation of multidimensions, then what may be happening is a clearer deliniation of these dimensions - at least in this case it might be. Or, this may be the premise to a joke of some kind, at least that is what it feels like to me, as Alice is present in this work, and she likes to kid-around. Overall, this is a very unusual drawing for me; I can't consciously express beyond saying that there seems to be present the "intricasies of others" perceived within this work.
Seatbelt Psychic
I watched a show called "Seatbelt Psychic" yesterday, and it was worth every moment. The medium in the show appears to be very gifted, and the evidence he provides people who step into his vehicle is quite moving. This is so because each person feels an attachment to the energy or memory of their passed loved one. Further, many are observed to find spiritual and emotional release through evidence provided by the medium. I just thought I'd mention it, for some reason. If you want to experience tears of joy, this is the show to watch.
Observations
Three new characters arrived in the lower right corner today, after I sat down to draw. In the Right Lower Corner detail (below), one can appreciate a man who has a large head, and a really small body. His body is in the stride of a run, with his right leg meeting the hand, and holographic qualities assisting the viewer in seeing through the hand to the foot flung out behind him. Further, in looking at his right hand that reaches toward the viewer, one notes it holds a single eye. Overall, he feels very focused, as though he is about to grab something while leaping/running toward it, and the look on his face is a knowingness that he is going to attain his goal.
His left hand (which is an energetic description of lines) reaches behind him, and we see it is upon the abdomen of a female next to him. She is an abbreviated figure, and I read her as standing in water. She seems pleased, and holds onto the running male's shoulder, as though she does not know he is sprinting forward. Behind all of this on the very right, a male figure observes, and we see his hand is touching the female's shoulder.
Conclusions
Overall, there seems a very solid "division" between these new characters and Alice, who now appears to stand atop them. This can be seen as a horizontal line that turns into stairs at the far right, between Alice and the newer characters below her. If this work is the manifestation of multidimensions, then what may be happening is a clearer deliniation of these dimensions - at least in this case it might be. Or, this may be the premise to a joke of some kind, at least that is what it feels like to me, as Alice is present in this work, and she likes to kid-around. Overall, this is a very unusual drawing for me; I can't consciously express beyond saying that there seems to be present the "intricasies of others" perceived within this work.
12.08.20 Right lower corner detail, work in progress.
12.08.20 Right Side, work in progress.
Alice, 11" x 15", whole image, work in progress, graphite on watercolor paper, 12.08.20.
12.07.20 Alice, work in progress, 11" x 15", graphite on watercolor paper.
The first thing I did, upon awakening this morning, was meditate. Some sources say this is not the best time, but when it comes to now, I prefer following synchronicity. Within the first meditation, I say my first prayer, positively affirming God's Will to move through me in this day.
Later, as I finished the last question of the fifth booklet for the Theocentric Psychology Doctorate I am working on, the laptop showed the twirly circle in the middle of the screen. By the time all was said and done, I had lost the last eleven pages of saved answers, which equates to about eleven hours of work. Once the gravity of the situation was fully comprehended, many thoughts went through my mind to choose from. I'm sure you can imagine what these might have been. Nevertheless, within less than 30 seconds, I resolved to return to the desktop in my office, and began again. No tears, no emotional outpouring. Honestly, I was happy to answer questions about God, even in a repeat situation. Now, I am almost done again.
Sometimes, when events such as the above occur, there seems no reason. Nevertheless, there is, I just may not consciously 'get it yet'. What did happen though, because I meditate, was real evidence of the power of the meditative mind. Emotions did not dominate; resolve was almost instantaneous; and every other emotion that did not inform positively the seeming "loss," was thrown out the metaphorical window. Happiness ensued as I continued, and it is just another review of content that I love. The laptop on the other hand, lost all my respect, and I will never touch it again! ha ha
Alice
After meditation I sat down in front of a blank sheet of watercolor paper. I experimented with some graphite and workable fixative initially. This explains the surface quality in the image. Nevertheless, I did find rather quickly the image of Alice (see below). It is unusual to bring a singular form so completely forward this early, as this one has done, but the energy led me this direction, and to this develpmental stage. It wasn't until I felt done for the day on this drawing, that I realized the female is Alice. This is a quirky, fun-loving character that shows up in some of my meditations. I believe I have mentioned her in this notebook before.
Shadow Characters
When observing her form in the whole image, one notes her placement in the upper right corner. She stands on what seems a hill, and points down to what I intuitively feel is a village or architectural space of some kind. The expression on her face seems amused. Further, if you look just to the right of her face, in the detail image (below), you may notice another face peeking out from behind her. These "shadow" characters are available for transcription within seeing any character. I mean that the "shadow" characters are always present, but do not always manifest with their more obvious counterpart, and here, it is Alice. Eventually, this seeming shadow face may become a whole new character, or well, anything, which is often the case.
Positive Humor as a Recourse
So, we see her on a hill, pointing downward, and she seems amused. Maybe it's all downhill from here?
Given the rough but tolerable "loss" sustained this morning, if that is the case, it is only a matter of my own perspective within my own mind, which through meditation is a peaceful resolve and willingness to be informed from beyond myself.
The first thing I did, upon awakening this morning, was meditate. Some sources say this is not the best time, but when it comes to now, I prefer following synchronicity. Within the first meditation, I say my first prayer, positively affirming God's Will to move through me in this day.
Later, as I finished the last question of the fifth booklet for the Theocentric Psychology Doctorate I am working on, the laptop showed the twirly circle in the middle of the screen. By the time all was said and done, I had lost the last eleven pages of saved answers, which equates to about eleven hours of work. Once the gravity of the situation was fully comprehended, many thoughts went through my mind to choose from. I'm sure you can imagine what these might have been. Nevertheless, within less than 30 seconds, I resolved to return to the desktop in my office, and began again. No tears, no emotional outpouring. Honestly, I was happy to answer questions about God, even in a repeat situation. Now, I am almost done again.
Sometimes, when events such as the above occur, there seems no reason. Nevertheless, there is, I just may not consciously 'get it yet'. What did happen though, because I meditate, was real evidence of the power of the meditative mind. Emotions did not dominate; resolve was almost instantaneous; and every other emotion that did not inform positively the seeming "loss," was thrown out the metaphorical window. Happiness ensued as I continued, and it is just another review of content that I love. The laptop on the other hand, lost all my respect, and I will never touch it again! ha ha
Alice
After meditation I sat down in front of a blank sheet of watercolor paper. I experimented with some graphite and workable fixative initially. This explains the surface quality in the image. Nevertheless, I did find rather quickly the image of Alice (see below). It is unusual to bring a singular form so completely forward this early, as this one has done, but the energy led me this direction, and to this develpmental stage. It wasn't until I felt done for the day on this drawing, that I realized the female is Alice. This is a quirky, fun-loving character that shows up in some of my meditations. I believe I have mentioned her in this notebook before.
Shadow Characters
When observing her form in the whole image, one notes her placement in the upper right corner. She stands on what seems a hill, and points down to what I intuitively feel is a village or architectural space of some kind. The expression on her face seems amused. Further, if you look just to the right of her face, in the detail image (below), you may notice another face peeking out from behind her. These "shadow" characters are available for transcription within seeing any character. I mean that the "shadow" characters are always present, but do not always manifest with their more obvious counterpart, and here, it is Alice. Eventually, this seeming shadow face may become a whole new character, or well, anything, which is often the case.
Positive Humor as a Recourse
So, we see her on a hill, pointing downward, and she seems amused. Maybe it's all downhill from here?
Given the rough but tolerable "loss" sustained this morning, if that is the case, it is only a matter of my own perspective within my own mind, which through meditation is a peaceful resolve and willingness to be informed from beyond myself.
Detail of Alice, 12.07.20, unfinished, work in progress.
12.07.20 Alice, work in progress, 11" x 15", graphite on watercolor paper.
12.05.20 I'm Essa, Finished Image Notes:
Overlap of Multiple Visual Dimensional Constructs
As I neared the end of working on this drawing today, I became aware of the space behind the characters within the Upper Left Corner (see detail below). Eventually, after the female who holds the teddy bear showed up, I could see the table's leg becoming more prominent. it was a curious sensation to work in this upper left corner because there were multiple visual lenses in play, and it seemed they each wanted singular focus. This tends to push my conscious mind further from the work, and it feels deeply sublimated as I observe what evolves. All the while, I could see all of the varied dimensions simultaneously. What occurred ultimately, was the overlap of these multidimensions.
For example, one sees the table behind and within the Upper Left Corner, and as it was located within the mind when I sat back, it was identified as the kitchen table that I grew up with. This is a memory from over 40 years ago, and I know this because of the shape of the leftmost leg. It appeared and then it was identified within my memory. Upon the table and within it are two female forms. (I do not include the teddy-bear holding female in this observation, as I do not read her as "in the table.") The other two females seem to have eyes and symbols overlaying their bodies. If one looks only at the center female, who tilts her head to the left, and stare at her chest area, one may note the smaller table upon the chest. This designation of a small table with shapes and symbols upon it, at the chest's level, has been seen in the drawing This is Paranormal (see 10.30.20 Work in Progress notes below). I believe this could be construed as a metaphor for the "table" that overlays the heart area in the body, and whatever it is covered with symbolically within the drawing, may be indicative of spiritually symbolic mechanisms at play within the individual. I always recall runes as I look at a table that manifests upon a figure's chest. Maybe I will do some research regarding the symbols that I see located here.
Personification and Unconscious Spiritual Constructs
The teddy bear image has not been seen since the original visual explosion of Integration: It's not what you think. There, the teddy bear was extremely large, and located on the right side of the drawing. Here, the teddy bear is small in relation to the humanoid and canine figures, and feels much happier, even more self-aware - as evidenced by personality features on its face - than the one seen in Integration. Personification is always a reflection of Higher, inner unconscious constructs.
The Headdress Symbol and Little Figures
The complexity of the "headdress" of the third female from the left baffles me. Within its rounded shape, I see a large keyhole, which is symbolic of, and a reminder to, acknowledge the power that drives this work, which is the Higher Spirit realized within the meditative state. Further, there is a geometrical use of line throughout the rounded "headdress," and if one brings the image closer through expanding it upon his cell phone or computer screen, he may see the little figure sitting with legs crossed, with the shape of a large spade (like the shape on a playing card) at her back, and her right arm reaches over to touch the eye of the woman with the "headdress."
These little figures wiggle their way into the imagery, and exist beyond my conscious mind, acting to connect relationships between characters. I see them after the fact - I mean, I clock their existence on the paper after they are already fully drawn in. To my observing consciousness, it seems I am attending to some other visual layer within the same space, but these little figures often show up, and end up filling the space with an equal amount of significance, as to what I was intuitively led to bring out. Overall, it seems through observation, that I can conclude that my mind is drawing in multiple dimensions simultaneously.
Drawing as Spiritual Story-Telling Mechanism
The work as a whole is a spiritual story-telling mechanism. Spiritual indices are noted within myself, and I see answers to questions unshared with a reading audience; questions I did not consciously pose are being answered through engagement with the images. For example, it is rare to see an architechtural form in this work, such as the table. Occassionally, I will note it "feels like" the images are in a boat, or there is seen a far-off house with trees, but overall, what I draw tends to be a reflection of what is perceived as "alive" in physical reality, at least to my unconscious self-construct. I feel that it is deeply noteworthy that there is the visual reflection of a solid object from my own past that is "inanimate," especially a kitchen table. The meaning of the kitchen table could be read as the centerpiece in a home, where familial activity meets, and engages positively - it is a beautiful thought.
The Importance of Meditation
When we attempt to create something "new" within ourselves, we either remanufacture beliefs, remove them, or create new ones. When this is done, one is changed, and is now oriented to reality in a new way. Without meditation, this is much more difficult than it needs to be, and months and years, even decades of "struggle" could be avoided. Through meditation, one may create in physical reality a reflection of his inner meditative conceptualization, realized within the presence of one's Highest self.
Positive Extemporaneous Affirmations are Extemely Helpful to the Outermost Consciousness
Whatever method employed, be it running, drawing, cooking, or meditatiation itself, by using a positive affirmation before, during, and after the belief-reconstruction-of-perspective, eases the transition. For example, just say to yourself within your mind an encouraging, positive sentence like, "I affirm within my Highest Mind that peace and love imbue this day." Intent for the whole day is established. If something sways you from this mindset, then re-affirm, extemporaneously, a positive, uplifting thought within oneself. Positive, uplifting affirmations written on sticky notes can be strategically located within your living space, and are read as one goes about his day. My favorite sticky note of all is the one that says, "Are you being positive?", and is located on the refridgerator. Overall, no one will do this for you, and ultimately it is your decision to engage with your own mind this way. I have found affirmations helpful, plus I like making these short, positive, declarative statements - I feel like I finished something good, and was kind to myself, all in one fell swoop!
Intent is Key within Meditation, and Fuels the Sitting's Reward
Note: The intent of meditation is key regarding the evolution and manifestation of images within the meditative mind. If one desires to sit in the Presence of the Spirit of God, which is a daily activity for myself, one may still see visual manifestations within the mind. For example, I often see a circle of bright light, that turns into a field of light. After sitting in this loving Presence for an a duration, I will often be directed to explore my own mind. This is when circles appear within the thrid-eye circle, and I move into and through a long tunnel. The tunnel weaves to the right and left, and I often perceive immense speeds of forward motion. When this slows down, there are moments of deep blackness perceived, as though my mind has opened into a vast dark space, and then suddenly, images, people, places, things, or locations - anything and everything - is seen. There is a whole other world that is available to help you within the meditative state. What one sees is meant for him, and by remaining positive, more is learned about oneself.
Upper Left Corner detail of I'm Essa, finished image, 12.05.20.
I'm Essa, 11" x 15", graphite on watercolor paper, Finished Image, 12.05.20.
12.04.20 I'm Essa work in progress notes:
I am very pleased with the images that developed today in this ongoing work. There is the success of a subtle and delicate line that seems to inform the mind from behind the larger images. This aspect of the work has always been apparent to my mind, and essentially fuels the multidimensional feel of the images that evolve.
Line as Method to Storytelling
A 'story behind-and-within the story' feel is achieved by this subtle line. For example, in the Upper Center Detail (below), there are many forms to set one's mind upon; nevertheless, when one strikes the fire-gazing, or meditative state, and relaxes his mind's desire to insist he must visually 'make sense' of the work, the seeing through the most obvious images occurs. In these moments, one might appreciate the dog that has evolved centermost. I read this form as a description of Mr. Butters, my dog, but within his face there are creative descriptions of moments, perceived as multiple eyes. To myself, these oddly-placed eyes are reflective of 'spiritual energy', and a 'stopping of time in the now', repeatedly.
The Higher Mind Communicates Naturally - AND - is Made of Light (God is Light ~ 1John 1:5)
I believe the mind takes whole pictures as it travels throughout the day, and remembers them. Also, I believe these are 'fed back to us' when we sleep. The evidence in support of this is because when I meditate just before sleep, I achieve a highly alert visual orientation within myself - a center of watching - and before I lose consciousness, I often see photographic pictures of events, people, places, documents, etcetera, in photographic quality. These are visuals that are often preluded with what seem to be an exterior flashing of lights, just outside my eyelids. I have opened my eyes before when this has occurred, thinking I might catch my partner (for some reason) flipping the switch on a flashlight just in front of my face, just before I allow myself to fall asleep. :) There is never anyone there doing this, when I look...
Spiritual Relevance of Images Observed - We May Learn From Ourselves
I believe (through intuitive thought) that these images that occur after the flashing light, are meant to inform me of an overarching spiritual relevance, as related to my own current spiritual pursuits. This Center Upper Section especially reminds me of this photographic, reproductive-deliverance-of-images that occurs just before sleep, because I can 'see in entirety' the 'essence' of Mr. Butters, who is a highly alert canine. For myself, photographic does not exclude spiritual content, as evident through and beyond one's five physical sense perceptions after he is enlightened to his own spiritual nature. So, when reading this art, one is forced to realize that what he is looking at are spiritual descriptions, as seen through the meditative state, and funneled through a consciousness whose highest purpose is to know God within herself. Higher meaning fuels my vision, which is definitely unique. Overall, these drawings are direct communications that move through the subconscious mind, from the superconscious and Higher Mind, in a multidimensional visual package appropriate for me.
The pleasure of it all is experienced in the lovely place I rest my mind and watch, as my hand moves beyond conscious control, and these images appear and are copied down with graphite.
I am very pleased with the images that developed today in this ongoing work. There is the success of a subtle and delicate line that seems to inform the mind from behind the larger images. This aspect of the work has always been apparent to my mind, and essentially fuels the multidimensional feel of the images that evolve.
Line as Method to Storytelling
A 'story behind-and-within the story' feel is achieved by this subtle line. For example, in the Upper Center Detail (below), there are many forms to set one's mind upon; nevertheless, when one strikes the fire-gazing, or meditative state, and relaxes his mind's desire to insist he must visually 'make sense' of the work, the seeing through the most obvious images occurs. In these moments, one might appreciate the dog that has evolved centermost. I read this form as a description of Mr. Butters, my dog, but within his face there are creative descriptions of moments, perceived as multiple eyes. To myself, these oddly-placed eyes are reflective of 'spiritual energy', and a 'stopping of time in the now', repeatedly.
The Higher Mind Communicates Naturally - AND - is Made of Light (God is Light ~ 1John 1:5)
I believe the mind takes whole pictures as it travels throughout the day, and remembers them. Also, I believe these are 'fed back to us' when we sleep. The evidence in support of this is because when I meditate just before sleep, I achieve a highly alert visual orientation within myself - a center of watching - and before I lose consciousness, I often see photographic pictures of events, people, places, documents, etcetera, in photographic quality. These are visuals that are often preluded with what seem to be an exterior flashing of lights, just outside my eyelids. I have opened my eyes before when this has occurred, thinking I might catch my partner (for some reason) flipping the switch on a flashlight just in front of my face, just before I allow myself to fall asleep. :) There is never anyone there doing this, when I look...
Spiritual Relevance of Images Observed - We May Learn From Ourselves
I believe (through intuitive thought) that these images that occur after the flashing light, are meant to inform me of an overarching spiritual relevance, as related to my own current spiritual pursuits. This Center Upper Section especially reminds me of this photographic, reproductive-deliverance-of-images that occurs just before sleep, because I can 'see in entirety' the 'essence' of Mr. Butters, who is a highly alert canine. For myself, photographic does not exclude spiritual content, as evident through and beyond one's five physical sense perceptions after he is enlightened to his own spiritual nature. So, when reading this art, one is forced to realize that what he is looking at are spiritual descriptions, as seen through the meditative state, and funneled through a consciousness whose highest purpose is to know God within herself. Higher meaning fuels my vision, which is definitely unique. Overall, these drawings are direct communications that move through the subconscious mind, from the superconscious and Higher Mind, in a multidimensional visual package appropriate for me.
The pleasure of it all is experienced in the lovely place I rest my mind and watch, as my hand moves beyond conscious control, and these images appear and are copied down with graphite.
Upper Center Detail of I'm Essa, 12.04.20.
I'm Essa, whole image, 11" x 15", graphite on watercolor paper, 12.04.20.
12.01.20 I'm Essa, work in progress notes
Multidimensional Perspectives
The work for today was in the uppermost-center section of I'm Essa. I was pleasantly surprised to find a varied-type of character, whose body is a darkened outline, and presents as a body-symbol-shape in my mind. In the Small Detail below, this leaping male form is seen above the new small female. The latter stands with her right hand resting on her hip, and her left hand in the hand of the "Ta-Da" fellow that evolved yesterday. Behind both, there is a tall fellow, whose right leg and body are twisting in such a way, that it seems he is holding his right foot behind his back, in a stretching-pose. There is also a bent leg that vaguely translates as this stretching-male's leg - in another dimension. Behind all of this, there is a small house in the distance, with the round shape of trees behind it.
In the Large Detail, the keyhole is now in the center of a male form, who presents as not fully facing this dimension; his form is turned slightly away from the viewer and is flattened throughout. Further, there seems to be new "repeating" fingers that belong to the pointing hand of the Thinker. And, on the furthest left of the Large Detail, there is a new, somewhat bigger figure. I believe this is a female form, but I only found her shape, and have not looked deeper into her yet.
Overall, today was the development of a different type of form. These smaller characters always seem to relate the feel of a small story, within the whole drawing's story, and today's figures seem to relay a story of movement/athletics. Further, the smaller story is related to their location (formed just above the Thinker's head), and may be representative of ideas about movement in life.
Multidimensional Perspectives
The work for today was in the uppermost-center section of I'm Essa. I was pleasantly surprised to find a varied-type of character, whose body is a darkened outline, and presents as a body-symbol-shape in my mind. In the Small Detail below, this leaping male form is seen above the new small female. The latter stands with her right hand resting on her hip, and her left hand in the hand of the "Ta-Da" fellow that evolved yesterday. Behind both, there is a tall fellow, whose right leg and body are twisting in such a way, that it seems he is holding his right foot behind his back, in a stretching-pose. There is also a bent leg that vaguely translates as this stretching-male's leg - in another dimension. Behind all of this, there is a small house in the distance, with the round shape of trees behind it.
In the Large Detail, the keyhole is now in the center of a male form, who presents as not fully facing this dimension; his form is turned slightly away from the viewer and is flattened throughout. Further, there seems to be new "repeating" fingers that belong to the pointing hand of the Thinker. And, on the furthest left of the Large Detail, there is a new, somewhat bigger figure. I believe this is a female form, but I only found her shape, and have not looked deeper into her yet.
Overall, today was the development of a different type of form. These smaller characters always seem to relate the feel of a small story, within the whole drawing's story, and today's figures seem to relay a story of movement/athletics. Further, the smaller story is related to their location (formed just above the Thinker's head), and may be representative of ideas about movement in life.
Small detail, center-top of I'm Essa, on 12.01.20.
Large detail, center-top of I'm Essa, on 12.01.20.
I'm Essa, whole image, work in progress, 12.01.20.
11.30.20 I'm Essa work in progress notes:
The "Parts" of How "I" see
I worked in the Upper Right Corner of this drawing today. I felt there was more here, even though it is such a small space. There seems to be a thematic importance of smaller groups of characters showing up in the upper-right-hand corner of many of the recent drawings. I would like to correlate this to neurological mechanisms, but intuitively sense that this 'location' type of grouping has a meaning only in relation to my own visual-geometrical-unconscious processes. These are the "parts" of how "I" see that I am referencing, and they are 'unconscious,' or 'not fully seen by the conscious mind.'
The Dimensional Traveler
(Upper Right Corner) This fellow decided to become more embedded into this drawing, and fluidly incorporated himself into the body of the beautiful woman behind him. His left arm reaches up and back behind him to the angel's face, at the very edge of the paper. He is bending forward, and we see his right arm reaching off to his right. It feels to me he is about to snap the fingers of his right hand. Overall, his whole presentation feels like 'Ta-Da!', with arms outstretched, and a corresponding bow - it feels sincere.
The Fellow in the Background
This fellow is best seen if one relaxes his mind by closing his eyes, and pausing for a moment to breathe and become meditative within himself.
The fellow sits between the beautiful female and the angel, with his head slightly tilted toward the left. The angel's arm overlaps him visually, and I can only see that he is sitting/leaning back. There is an abstract female face that is his body, but she is sitting in another "dimension," appearing to float into the drawing.
Unconscious Emotional Expression
To myself, this latter face seems more an expression of an emotion, than a full personification of a character type. If this is true, then this face is a truly unconscious, emotional expression, as it is one of the "unseen" images that was only seen after it developed completely - because my pencil and eraser were working on another part above it. What I mean is that I was working in the spot upon his face, but was looking at a dimensional level one and two stages of visual lenses above him; this is when he appeared. I never saw his face - it seemed to me I was working on the shoulder that belongs to the figure behind him. It is a matter of conceptual visual layering in the explanation to a reader, or the idea of monocles in a line, each representative of a dimension. This is one important conceptual-visual-construct within myself, that functions mechanistically to bring out the images I see beyond the surface of the paper.
The Presence of Another Within
There seems to be a more subtle and abstracted mechanism at play while drawing that I have been noticing lately. What I mean is that I sit in observation of what is seen, and intuitively am directed by tone, light, shadow, and another unnamed, communicating presence within myself. Overall, there is the perception of "many" while I watch the confluence of these visual indicators, but it is only a spiritual-energetic-intuitive sensation that is a part of my Imagination (Holy mechanism). It is a wonderful, expansive feeling to sense other energies within the drawing process. It is comparable to the great pleasure found in the moment one drinks an ice-cold liquid on a hot and humid day. If one can pause and recall that experience of now, the absolute refreshment of oneself, that is a good description of how it feels to sense the Presence of Another within oneself.
The "Parts" of How "I" see
I worked in the Upper Right Corner of this drawing today. I felt there was more here, even though it is such a small space. There seems to be a thematic importance of smaller groups of characters showing up in the upper-right-hand corner of many of the recent drawings. I would like to correlate this to neurological mechanisms, but intuitively sense that this 'location' type of grouping has a meaning only in relation to my own visual-geometrical-unconscious processes. These are the "parts" of how "I" see that I am referencing, and they are 'unconscious,' or 'not fully seen by the conscious mind.'
The Dimensional Traveler
(Upper Right Corner) This fellow decided to become more embedded into this drawing, and fluidly incorporated himself into the body of the beautiful woman behind him. His left arm reaches up and back behind him to the angel's face, at the very edge of the paper. He is bending forward, and we see his right arm reaching off to his right. It feels to me he is about to snap the fingers of his right hand. Overall, his whole presentation feels like 'Ta-Da!', with arms outstretched, and a corresponding bow - it feels sincere.
The Fellow in the Background
This fellow is best seen if one relaxes his mind by closing his eyes, and pausing for a moment to breathe and become meditative within himself.
The fellow sits between the beautiful female and the angel, with his head slightly tilted toward the left. The angel's arm overlaps him visually, and I can only see that he is sitting/leaning back. There is an abstract female face that is his body, but she is sitting in another "dimension," appearing to float into the drawing.
Unconscious Emotional Expression
To myself, this latter face seems more an expression of an emotion, than a full personification of a character type. If this is true, then this face is a truly unconscious, emotional expression, as it is one of the "unseen" images that was only seen after it developed completely - because my pencil and eraser were working on another part above it. What I mean is that I was working in the spot upon his face, but was looking at a dimensional level one and two stages of visual lenses above him; this is when he appeared. I never saw his face - it seemed to me I was working on the shoulder that belongs to the figure behind him. It is a matter of conceptual visual layering in the explanation to a reader, or the idea of monocles in a line, each representative of a dimension. This is one important conceptual-visual-construct within myself, that functions mechanistically to bring out the images I see beyond the surface of the paper.
The Presence of Another Within
There seems to be a more subtle and abstracted mechanism at play while drawing that I have been noticing lately. What I mean is that I sit in observation of what is seen, and intuitively am directed by tone, light, shadow, and another unnamed, communicating presence within myself. Overall, there is the perception of "many" while I watch the confluence of these visual indicators, but it is only a spiritual-energetic-intuitive sensation that is a part of my Imagination (Holy mechanism). It is a wonderful, expansive feeling to sense other energies within the drawing process. It is comparable to the great pleasure found in the moment one drinks an ice-cold liquid on a hot and humid day. If one can pause and recall that experience of now, the absolute refreshment of oneself, that is a good description of how it feels to sense the Presence of Another within oneself.
11.30.20, Upper Right Corner detail of I'm Essa
I'm Essa, whole image on 11.30.20, work in progress
11.29.20 I'm Essa work in progress notes:
The Location
In the upper right corner of this drawing, a beautiful female presented to the left of the Angel. The latter's stride has increased in confidence with the "tightening" of line quality. This is because of the fabulous mechanism of the drawing process called removal. When I use the eraser, it feels more a magical tool, and when I touch it to something that I am spontaneously and intuitively directed to attend to, I see more. I not only attend to the tightening or lightening of the line or space, but also seem to feel a symbolic conversation within my mind, an expansion beyond language-within-self; it is an intuitive, accepting, and transparent state-of-being that is experienced. .
I want to find out more about what I don't know, and there is always more when I look. The more I look, the more I see. The less "I" am present, the more I see. Further, I believe the individuals are increasing in identity and individuality. This aspect of the whole endeavor is very exciting to me, as this seems to indicate true character development - a personification to the viewer - but internally quite another adventure.
Mapping Spaces
The right side as a whole (see right side image below), indicates that the mind has separated the shape of the paper into thirds. There is a top, where the females are standing and walking. In the middle, there is an arm reaching into the right side image, and the hand covers a dolphin in a grip. On the bottom there is the couple on the right, the child sitting at the large foot of The Thinker (face at top center, who has a finger pointing to her head), and the tall figure of what I identify as The King.
The Dimensional Traveler
There is one other aspect to note, and that is the entrance of a male figure from the right, who is very subtley developing. He seems to come into the picture from the right, and if one tilts his head to the left while looking at the entire image, but focusing on the upper right corner, this male character is more easily seen. He is only a head and shoulder image at this point, but I have no idea (of course) where he came from, and I am interested in how he arrived without my observation of his arrival. All I do is watch the drawing develop! Funny stuff.
It is similar to when I have found shoes and feet for whole bodies that rapidly appear after the foot was drawn - but I was never consciously aware the foot was drawn. Overall, this fellow feels of a different dimension, and seems a newer type of character that has also evolved in the last four drawings - a Dimensional Traveler of sorts.
The Location
In the upper right corner of this drawing, a beautiful female presented to the left of the Angel. The latter's stride has increased in confidence with the "tightening" of line quality. This is because of the fabulous mechanism of the drawing process called removal. When I use the eraser, it feels more a magical tool, and when I touch it to something that I am spontaneously and intuitively directed to attend to, I see more. I not only attend to the tightening or lightening of the line or space, but also seem to feel a symbolic conversation within my mind, an expansion beyond language-within-self; it is an intuitive, accepting, and transparent state-of-being that is experienced. .
I want to find out more about what I don't know, and there is always more when I look. The more I look, the more I see. The less "I" am present, the more I see. Further, I believe the individuals are increasing in identity and individuality. This aspect of the whole endeavor is very exciting to me, as this seems to indicate true character development - a personification to the viewer - but internally quite another adventure.
Mapping Spaces
The right side as a whole (see right side image below), indicates that the mind has separated the shape of the paper into thirds. There is a top, where the females are standing and walking. In the middle, there is an arm reaching into the right side image, and the hand covers a dolphin in a grip. On the bottom there is the couple on the right, the child sitting at the large foot of The Thinker (face at top center, who has a finger pointing to her head), and the tall figure of what I identify as The King.
The Dimensional Traveler
There is one other aspect to note, and that is the entrance of a male figure from the right, who is very subtley developing. He seems to come into the picture from the right, and if one tilts his head to the left while looking at the entire image, but focusing on the upper right corner, this male character is more easily seen. He is only a head and shoulder image at this point, but I have no idea (of course) where he came from, and I am interested in how he arrived without my observation of his arrival. All I do is watch the drawing develop! Funny stuff.
It is similar to when I have found shoes and feet for whole bodies that rapidly appear after the foot was drawn - but I was never consciously aware the foot was drawn. Overall, this fellow feels of a different dimension, and seems a newer type of character that has also evolved in the last four drawings - a Dimensional Traveler of sorts.
The Location Within, upper right corner detail of I'm Essa, on 11.29.20
Right side of I'm Essa, 11.29.20
I'm Essa, whole image, work in progress, 11.29.20
11.26.20 The Key, work in progress notes
The Key
Early in this drawing's progress, the largest female head, in the upper center of the image, developed the shape of a lock's keyhole (see The Lock's Location, detail below). The idea represented by the symbol, unravels within the mind as "What is the key to everything?" For example, in the evidence presented within meditation, the key is the presence of the highest imagined form, and this is the experience of the Presence of God in one's contemplative mind. To contemplate, is to freely associate within one's mind - a boundariless state of egolessness - wherein positive energies permeate all "random" movements of ideas. In this positive state, the examination of idea-forms exapands exponentially, and one sees past the self to the source, or God's Presence. Ideas that are not made of the positive energy state reflective of Him, melt away. Clear, one-pointed vision within-the-self, of-the-self and its relationship to all things, is realized and seen. The Presence of God is the Key to Everything.
The Whole Image
There is within the work, the development of ideas that are reflective of the forms that have developed. For example, in The Character Lineup (detail below), the lineup begins on the left with a guitar-playing fellow that is dressed as a King. Moving the eye to the right, one sees an elongated male face, whose body is stick-thin, and is also made up of what seems an exoskeleton suit of armor. There is still something to see just in front and above his face, but the lines have not shown themselves here yet. Next and to the right, there seems a new female "lady", that stands next to the female that presented as a female/mermaid initially. Now the latter's "mermaid" identity is only a symbolic resonance of shape within dark and light, and appreciated only if the mind is in a meditative state while it is looking.
The Mischievious Little Girl
From the child within the 'mermaid/female's' arm, to the man dressed in a clown jump-suit to the right, the characters have "tightened" slightly in visual acuity. Nevertheless, a tricky-looking character, a small girl, has appeared just above this group. Her large eyes, and braided hair that is shaped into buns on the sides of her head, speak of cuteness, but her facial expression says "mischevious."
Just above this mischievious little girl, and when meditatively looking it is more easily noted, the "type" of character changes, and we see a small figure, outlined in black line, climbing up the "neck" of the original face of 'Essa." In the detail titled The Lock's Location, the little form is seen climbing upward toward the scene of larger faces above, and into "their story."
The Small Angel Enters
And from the location of the dark-lined, small man, one can look across the meditative face of Essa, and the larger form of The Thinker who has The Lock's Location, to the very right, where a new, small female angel, with wings-and-all, quietly and beautifully is presented. She seems caught in a moment of contemplative, but purposeful stepping forward. The face of a larger individual who previously sat where she is now originating, is beginning to fade.
The Hand with the Dophin
We see just below her feet and back toward center, a not fully-formed hand that now grasps the body of the dolphin (this is best appreciated in the whole image of The Key below, right side, center). Following the arm of this hand back up, another new face is noted, and whose body and face is still a work in progress.
Overall, I am very pleased with the development of this work as a whole. There is real joy and love experienced in the looking, copying, and creating. In gratitude, I accept these manifestations as gifts, and it is in His Presence, within the meditative mind, that the unconscious meaning behind the symbols that the images represent, are realized.
The Key
Early in this drawing's progress, the largest female head, in the upper center of the image, developed the shape of a lock's keyhole (see The Lock's Location, detail below). The idea represented by the symbol, unravels within the mind as "What is the key to everything?" For example, in the evidence presented within meditation, the key is the presence of the highest imagined form, and this is the experience of the Presence of God in one's contemplative mind. To contemplate, is to freely associate within one's mind - a boundariless state of egolessness - wherein positive energies permeate all "random" movements of ideas. In this positive state, the examination of idea-forms exapands exponentially, and one sees past the self to the source, or God's Presence. Ideas that are not made of the positive energy state reflective of Him, melt away. Clear, one-pointed vision within-the-self, of-the-self and its relationship to all things, is realized and seen. The Presence of God is the Key to Everything.
The Whole Image
There is within the work, the development of ideas that are reflective of the forms that have developed. For example, in The Character Lineup (detail below), the lineup begins on the left with a guitar-playing fellow that is dressed as a King. Moving the eye to the right, one sees an elongated male face, whose body is stick-thin, and is also made up of what seems an exoskeleton suit of armor. There is still something to see just in front and above his face, but the lines have not shown themselves here yet. Next and to the right, there seems a new female "lady", that stands next to the female that presented as a female/mermaid initially. Now the latter's "mermaid" identity is only a symbolic resonance of shape within dark and light, and appreciated only if the mind is in a meditative state while it is looking.
The Mischievious Little Girl
From the child within the 'mermaid/female's' arm, to the man dressed in a clown jump-suit to the right, the characters have "tightened" slightly in visual acuity. Nevertheless, a tricky-looking character, a small girl, has appeared just above this group. Her large eyes, and braided hair that is shaped into buns on the sides of her head, speak of cuteness, but her facial expression says "mischevious."
Just above this mischievious little girl, and when meditatively looking it is more easily noted, the "type" of character changes, and we see a small figure, outlined in black line, climbing up the "neck" of the original face of 'Essa." In the detail titled The Lock's Location, the little form is seen climbing upward toward the scene of larger faces above, and into "their story."
The Small Angel Enters
And from the location of the dark-lined, small man, one can look across the meditative face of Essa, and the larger form of The Thinker who has The Lock's Location, to the very right, where a new, small female angel, with wings-and-all, quietly and beautifully is presented. She seems caught in a moment of contemplative, but purposeful stepping forward. The face of a larger individual who previously sat where she is now originating, is beginning to fade.
The Hand with the Dophin
We see just below her feet and back toward center, a not fully-formed hand that now grasps the body of the dolphin (this is best appreciated in the whole image of The Key below, right side, center). Following the arm of this hand back up, another new face is noted, and whose body and face is still a work in progress.
Overall, I am very pleased with the development of this work as a whole. There is real joy and love experienced in the looking, copying, and creating. In gratitude, I accept these manifestations as gifts, and it is in His Presence, within the meditative mind, that the unconscious meaning behind the symbols that the images represent, are realized.
The Angel Enters, right upper corner detail of The Key, on 11.26.20
The Character Lineup, detail left bottom to center from The Key on 11.26.20
The Lock's Location, detail of The Key, 11.26.20
The Key, Whole Image, work in progress, 11" x 15", 11.26.20
11.24.20 Work in progress notes: Girl and Others, 11" x 15", graphite on watercolor paper.
I have been watching this drawing grow over the last two evenings. The characters feel as though I know them, but I simultaneously do not "recognize" them consciously. The largest girl's expression seems like it is saying, "Seriously?", and she wears one shoe that is a dragon's head. The boy "behind" and just to the left of her, seems frustrated with the lines he is made "out of." The last female to the left (best seen in detail, has confidently inserted herself into the picture from a new direction. This is an entrance similar to a character within This is Paranormal.
I appreciate the contrasts of the darkest lines on the right that seem to outline the whole form of the largest female. Further, that the space remains quiet around such detail development leaves room for the imagination, and seems to add a quiet strength to the detail development already established. Overall, there is something very finished about this work, even though it is not finished.
I have been watching this drawing grow over the last two evenings. The characters feel as though I know them, but I simultaneously do not "recognize" them consciously. The largest girl's expression seems like it is saying, "Seriously?", and she wears one shoe that is a dragon's head. The boy "behind" and just to the left of her, seems frustrated with the lines he is made "out of." The last female to the left (best seen in detail, has confidently inserted herself into the picture from a new direction. This is an entrance similar to a character within This is Paranormal.
I appreciate the contrasts of the darkest lines on the right that seem to outline the whole form of the largest female. Further, that the space remains quiet around such detail development leaves room for the imagination, and seems to add a quiet strength to the detail development already established. Overall, there is something very finished about this work, even though it is not finished.
Girl and others, detail, 11.24.20
Girl and others, whole image, 11" x 15", graphite on watercolor paper
11.21.20 I'm Essa, work in progress notes
Visual Balance
Characters have evolved in the front center of I'm Essa, whose manufacture was astonishing to observe. I struck the meditative state and sat in Center, I thought, "This is beyond a 'meditative state,' and is best described as 'Mystical Meditation.' The latter is the formal way to identify the process of training the mind to put aside his personal ego-level of self, so that one may make contact with the God level, or Higher consciousness level of one's mind. The clarifying aspect here, is the intent to sit in the presence of one's Highest realized self.
The complexity of the whole conceptual form one lives and calls 'me,' is fueled by the passion pursued, and that state of being is reflected in the presentation of the characters upon the paper. Counted consciously, there are nineteen characters in play across the surface today. They are all interrelated, interdependent, and function as one description ultimately. That said, a greater amount of time was spent today on the left-central-front characters (see detail below), and one can appreciate the greater emotional presence in these when he looks through the meditative state.
The comparison, in my mind, is of the simplicity of line expression in the furthest three characters located front and furthest right (see detail image), compared to all of the characters to the left of this, within the detail below. I find this occurs, and is reflective of the depth to which the egoic form is making itself known. Overall, the mind is still and watches the formation of the images, but on occasion, the ego is implemented in a way reflective of a larger lesson within myself that is underway. This presents as language that is useful to employ counterpoint, within one's higher recognition of a concept presented within the art. The language is used, ultimately, within these notes.
Observations:
The forms today present holographically interrelated, with each form reliant upon the other for its manifestation. The experience is similar to watching a really smart person present a new mathematical concept, and one watches and realizes he does not understand what he is hearing or seeing (this is my experience quite often. One is instantly put in the role of 'observer' when this occurs - and this is my natural state). This is the place from which I draw, the furthest back from the creation - located as you are. The observer "I" is not where these images originate, and this is meant as the "I" that is the ego. That part of self sits and watches as my hand and pencil move around the paper. "I" am in a state of bliss, a free-flowing, peaceful state of excited observation - who wouldn't want to sit in a state of bliss and see wonderful holographic images surface in a seemingly magical way? It's like watching the parade at Disneyland when you were a kid, all of the wonderful lights and costumed figures singing and dance in celebration of wonderful realizations. That said, the observations within drawing are within a quiet state - a lovely place within. It can be compared to a state of "child-like awe" for the Higher Presence realized within oneself, who is working through one's efforts, and you are watching from afar.
The Characters:
The left most female that had been identified as a mermaid, still happily leans against a new child's image, and the former has her arm wrapped around the child. A wavy shape is still evident underneath this mermaid's hand, so in my mind she has retained this original idea of femininity, and of the initiate balancing within himself to unify the polarized nature of his own mind. The child was almost an instantaneous development, and the synchronicity of the lines impressing themselves upon the paper by my looking to see, was like a spray of spiritual energy upon my mind. She is curious, and reaches with her left arm toward the small, cartoonish form of a man. The child's right arm gently pushes against the mermaid's arm, with her little fingers curving toward herself. We note her energy is in the presentation of a looking and touching toddler.
The man presented quickly as well, and he wanted to be dressed in a circus costume at first. He still has the fluffy neck sash, and wears a clown's jumpsuit. I intuitively know there are colors on this form, but I do not see them yet.
To the right of this clown-suit wearning man, and holding his hand in both of hers, is a female whose face and body are truly unique. The feminine body is represented by lines and abstract shapes, that seem to hover between dimensions, so the noted parts that make her up, are reflective of "blips" of information identified by my eye. This is then copied by the pencil in my hand.
Two other male faces and bodies, both stand between the child and the circus-costume-wearing man. The foremost character's body seems formed in a moment of dance, and the latter, whose face is partially covered by the mermaid's hand, stands watching a spot up and to the right of him, which is an area unformed yet in full on the surface.
Note: "I'm Essa," the letters that surfaced earlier in the work, are still present to some degree, but the sense overall, is that they are dissipating, and other forms will arise. Lots of wonderful work left to do.
Visual Balance
Characters have evolved in the front center of I'm Essa, whose manufacture was astonishing to observe. I struck the meditative state and sat in Center, I thought, "This is beyond a 'meditative state,' and is best described as 'Mystical Meditation.' The latter is the formal way to identify the process of training the mind to put aside his personal ego-level of self, so that one may make contact with the God level, or Higher consciousness level of one's mind. The clarifying aspect here, is the intent to sit in the presence of one's Highest realized self.
The complexity of the whole conceptual form one lives and calls 'me,' is fueled by the passion pursued, and that state of being is reflected in the presentation of the characters upon the paper. Counted consciously, there are nineteen characters in play across the surface today. They are all interrelated, interdependent, and function as one description ultimately. That said, a greater amount of time was spent today on the left-central-front characters (see detail below), and one can appreciate the greater emotional presence in these when he looks through the meditative state.
The comparison, in my mind, is of the simplicity of line expression in the furthest three characters located front and furthest right (see detail image), compared to all of the characters to the left of this, within the detail below. I find this occurs, and is reflective of the depth to which the egoic form is making itself known. Overall, the mind is still and watches the formation of the images, but on occasion, the ego is implemented in a way reflective of a larger lesson within myself that is underway. This presents as language that is useful to employ counterpoint, within one's higher recognition of a concept presented within the art. The language is used, ultimately, within these notes.
Observations:
The forms today present holographically interrelated, with each form reliant upon the other for its manifestation. The experience is similar to watching a really smart person present a new mathematical concept, and one watches and realizes he does not understand what he is hearing or seeing (this is my experience quite often. One is instantly put in the role of 'observer' when this occurs - and this is my natural state). This is the place from which I draw, the furthest back from the creation - located as you are. The observer "I" is not where these images originate, and this is meant as the "I" that is the ego. That part of self sits and watches as my hand and pencil move around the paper. "I" am in a state of bliss, a free-flowing, peaceful state of excited observation - who wouldn't want to sit in a state of bliss and see wonderful holographic images surface in a seemingly magical way? It's like watching the parade at Disneyland when you were a kid, all of the wonderful lights and costumed figures singing and dance in celebration of wonderful realizations. That said, the observations within drawing are within a quiet state - a lovely place within. It can be compared to a state of "child-like awe" for the Higher Presence realized within oneself, who is working through one's efforts, and you are watching from afar.
The Characters:
The left most female that had been identified as a mermaid, still happily leans against a new child's image, and the former has her arm wrapped around the child. A wavy shape is still evident underneath this mermaid's hand, so in my mind she has retained this original idea of femininity, and of the initiate balancing within himself to unify the polarized nature of his own mind. The child was almost an instantaneous development, and the synchronicity of the lines impressing themselves upon the paper by my looking to see, was like a spray of spiritual energy upon my mind. She is curious, and reaches with her left arm toward the small, cartoonish form of a man. The child's right arm gently pushes against the mermaid's arm, with her little fingers curving toward herself. We note her energy is in the presentation of a looking and touching toddler.
The man presented quickly as well, and he wanted to be dressed in a circus costume at first. He still has the fluffy neck sash, and wears a clown's jumpsuit. I intuitively know there are colors on this form, but I do not see them yet.
To the right of this clown-suit wearning man, and holding his hand in both of hers, is a female whose face and body are truly unique. The feminine body is represented by lines and abstract shapes, that seem to hover between dimensions, so the noted parts that make her up, are reflective of "blips" of information identified by my eye. This is then copied by the pencil in my hand.
Two other male faces and bodies, both stand between the child and the circus-costume-wearing man. The foremost character's body seems formed in a moment of dance, and the latter, whose face is partially covered by the mermaid's hand, stands watching a spot up and to the right of him, which is an area unformed yet in full on the surface.
Note: "I'm Essa," the letters that surfaced earlier in the work, are still present to some degree, but the sense overall, is that they are dissipating, and other forms will arise. Lots of wonderful work left to do.
Bottom center Detail of I'm Essa, on 11.21.20.
I'm Essa, whole image, on 11.21.20
11.19.20 - I'm Essa, work in progress
Aquatic Characters
Images below include the whole image thus far of I'm Essa, as well as a detail image of the right side.
In observing the images, one notes the predominance of aquatic characters, specifically the ideas of mermaids and dolphins. The mermaid on the very left arrived yesterday, and three others have surfaced today. There is one in the upper right corner, and moving down that right side, there is a a man and a woman, but the woman is a mermaid. Her tail is still surfacing, but I see it. Further, the female fist-bumping character, who is overlapped by the "A" in ESSA, is now, apparently, a mermaid as well.
I do not have a particular affinity for mermaids - no stickers on my bumper, high-fiving fiction (even though I adore fiction). Nevertheless, symbolically, they are manifesting enough in this work, to justify more research. According to SymbolDictionary.net, a mermaid represents "vanity [not an acceptable synonym, as it is an ego-characteristic], femininity, and dual nature." Further, it states, "Mermaid/ centaur is seen in almost identical fashion around the world including the Americas, especially Mexico and Peru. Always a humanoid with outstretched arms holding two of something, axes, corn stalks, snakes. I was told and I agree that this is the goal of the initiate to unify man’s polar nature/ polarity consciousness [my italics]. I believe ultimately, that for myself, gauging all inner and outer spiritual indices, that the mermaid in these drawings, is symbolic of an unconscious awareness of my own dual-nature.
I have mentioned in this notebook on 10.31.20, just after I had seen the manifestation of a spirit in my home, the idea of "Yin & Yang," saying, "To eliminate one's doubt, as to the reality of perceived events within physical reality, the concept of fear must be overcome. As it has been established within this notebook, the orientation of this portion of the Universe, is of a coherent design that is symbolized in the idea of Yin & Yang. That is, a balance between two opposites with a portion of the opposite element in each section (Dictionary.com). This twin nature of the Universe, is echoed in our experience, and when the unexpected arises, such as the event above, one's Whole Reality is seemingly challenged.
There is challenge in existence, and this is the point. Higher Understanding revolves at this level of intuition within oneself, and in physical-matter-reality, with positive and negative energies that are a part of the fabric of existence. When the ego-self is challenged, it must learn to adapt. To do this, one makes the search for Greater Understanding of the Whole Self the most worthy of pursuits: meditation. What is discovered within this state, is central to understanding the Center Within. This is seen through kindness to self.
One begins in service to the Highest Self, not on his knees (although this is an option), but in this moment - now. Within now, one is able to stop time and be one-pointed in his focus, and through this, he sees beyond himself to the bliss that is the Sky-of-his-Whole-Mind. This too, is a place within oneself, an energy platform that one can visualize through the imagination (Blog post: The Meaning of 'Deserve' in relation to the ego)."
The idea of a dual-nature, as described above, was interwoven with the idea of "fear and ego," alongside the solution, "meditation and kindness to self." Further, the conceptualization of Yin and Yang, is that they are complimentary, rather than opposing forces that interact to form a dynamic system in which the whole is greater than the assembled parts. Yesterday, with the first mermaid's arrival, it brought the idea, or reminder, to "be myself." Today, this idea is further extended to the idea of "balance," which means "equilibrium or poise."
I have been feeling "pandemic pressures" lately, maybe this is a reference to that?
The Child at the Foot of the "Thinker"
In the bottom right corner, at the foot of the largest female character, there sits a small female child figure. She is happy, and she is holding the foot of this larger form. The hand of the earlier identified "King," can also be seen covering her throat with the fingers of his left hand, and his right arm reaches up to hold the hand of the third mermaid that arrived today.
The child is definitely a very good image of me as a child, and I remember feeling the energy of childhood adoration for the older individual in the room who knew more than me. I feel it is beautiful that the King (who in my mind is symbolic of the Higher Self/God), covers the child's throat with his left hand. A lot could be read into that! That He is also holding the hand of the fist-bumping mermaid, further makes positive the symbol of the mermaid.
This is an amazing journey.
Aquatic Characters
Images below include the whole image thus far of I'm Essa, as well as a detail image of the right side.
In observing the images, one notes the predominance of aquatic characters, specifically the ideas of mermaids and dolphins. The mermaid on the very left arrived yesterday, and three others have surfaced today. There is one in the upper right corner, and moving down that right side, there is a a man and a woman, but the woman is a mermaid. Her tail is still surfacing, but I see it. Further, the female fist-bumping character, who is overlapped by the "A" in ESSA, is now, apparently, a mermaid as well.
I do not have a particular affinity for mermaids - no stickers on my bumper, high-fiving fiction (even though I adore fiction). Nevertheless, symbolically, they are manifesting enough in this work, to justify more research. According to SymbolDictionary.net, a mermaid represents "vanity [not an acceptable synonym, as it is an ego-characteristic], femininity, and dual nature." Further, it states, "Mermaid/ centaur is seen in almost identical fashion around the world including the Americas, especially Mexico and Peru. Always a humanoid with outstretched arms holding two of something, axes, corn stalks, snakes. I was told and I agree that this is the goal of the initiate to unify man’s polar nature/ polarity consciousness [my italics]. I believe ultimately, that for myself, gauging all inner and outer spiritual indices, that the mermaid in these drawings, is symbolic of an unconscious awareness of my own dual-nature.
I have mentioned in this notebook on 10.31.20, just after I had seen the manifestation of a spirit in my home, the idea of "Yin & Yang," saying, "To eliminate one's doubt, as to the reality of perceived events within physical reality, the concept of fear must be overcome. As it has been established within this notebook, the orientation of this portion of the Universe, is of a coherent design that is symbolized in the idea of Yin & Yang. That is, a balance between two opposites with a portion of the opposite element in each section (Dictionary.com). This twin nature of the Universe, is echoed in our experience, and when the unexpected arises, such as the event above, one's Whole Reality is seemingly challenged.
There is challenge in existence, and this is the point. Higher Understanding revolves at this level of intuition within oneself, and in physical-matter-reality, with positive and negative energies that are a part of the fabric of existence. When the ego-self is challenged, it must learn to adapt. To do this, one makes the search for Greater Understanding of the Whole Self the most worthy of pursuits: meditation. What is discovered within this state, is central to understanding the Center Within. This is seen through kindness to self.
One begins in service to the Highest Self, not on his knees (although this is an option), but in this moment - now. Within now, one is able to stop time and be one-pointed in his focus, and through this, he sees beyond himself to the bliss that is the Sky-of-his-Whole-Mind. This too, is a place within oneself, an energy platform that one can visualize through the imagination (Blog post: The Meaning of 'Deserve' in relation to the ego)."
The idea of a dual-nature, as described above, was interwoven with the idea of "fear and ego," alongside the solution, "meditation and kindness to self." Further, the conceptualization of Yin and Yang, is that they are complimentary, rather than opposing forces that interact to form a dynamic system in which the whole is greater than the assembled parts. Yesterday, with the first mermaid's arrival, it brought the idea, or reminder, to "be myself." Today, this idea is further extended to the idea of "balance," which means "equilibrium or poise."
I have been feeling "pandemic pressures" lately, maybe this is a reference to that?
The Child at the Foot of the "Thinker"
In the bottom right corner, at the foot of the largest female character, there sits a small female child figure. She is happy, and she is holding the foot of this larger form. The hand of the earlier identified "King," can also be seen covering her throat with the fingers of his left hand, and his right arm reaches up to hold the hand of the third mermaid that arrived today.
The child is definitely a very good image of me as a child, and I remember feeling the energy of childhood adoration for the older individual in the room who knew more than me. I feel it is beautiful that the King (who in my mind is symbolic of the Higher Self/God), covers the child's throat with his left hand. A lot could be read into that! That He is also holding the hand of the fist-bumping mermaid, further makes positive the symbol of the mermaid.
This is an amazing journey.
Right side detail of I'm Essa, 11.19.20.
I'm Essa. Whole image, work in progress, 11.19.20, graphite on watercolor paper, 11" x 15"
11.17.20 I'm Essa, work in progress notes:
Meditation and the Creative Mind
The daily practice of meditation results in heightened creativity. Pointedly, this is because neuronal pathways in the physical brain are layered with corresponding spiritual pathways, that when accessed through the meditative state, transforms the consciousness. What specifically occurs through the one-pointed, meditative practice, is heightened awareness as to one's true nature, and in this way, one understands who he truly is.
What do "I" Know?
Sometimes when I finish a drawing session, and lean back to look at the whole of the work, I am floored. "I" do not draw these images, "I" only copy them as "seen." It is like a spiritual dictation, this experience of drawing for myself. Overall, what I know is what appears before me when I look.
Big-Picture Thinking: The Thinker and the Keyhole
Last night, the large female (Thinker) appeared behind the adolescent image of "Essa." I was very surprised at her appearance, mostly due to the way she is sitting, with the whole of the drawing so far set upon her body. Her knees and feet can be located to the right, with both feet oddly crisscrossed at the bottom, right front. She seems to be holding "Essa," and she whispers something in his ear.
She literally just appeared, and I couldn't draw fast enough to map her in. What can be observed alongside that mentioned already, is that her left hand, with index finger pointing to her head, is specifically pointing to what appears to be a keyhole. This idea of a place to put a key, arrived in the last drawing, This is Paranormal, and feels representative of half of an idea - with the actual "key" unidentified thus far in the drawing specifically. And, this is all incredibly humorous to me, as this could be symbolic that I do not have the key within my own mind? Ah! The epiphany: This makes sense, as the "key" to understanding self, is upon the higher platform within meditation, experiencing the Presence of the Spirit of God. That is the Key to not lose in the "shuffle of life," one's orientation of self within, to Higher Spiritual reality.
The Creative Self, The Mermaid Spirit, and the Idea of the Totem
I have mentioned elsewhere in this notebook, that early creative influences for myself, included Science Fiction, Fantasy, and Star Trek. I had a few years (3 or 4), during adolescence, that all I really remember are the books I was consuming. I remember feeling that yearning to know more about these fantastic places; it fueled my imagination, and I often wondered how those authors created such fantastic, wonderful worlds. Now, I wonder how others identify with their own creative mind, as it seems to be something I am predisposed to examine. So, so, funny!
For myself, I am happily and deeply amazed at the creative image of an entire female figure that is simultaneously a mermaid. I remember feeling while I was working in the area that is her tail, that it seems decorative, and the recollection of a memory of Eskimo Totem Poles came to mind. I like this idea of the "totem," and it feels natural to want to put spiritual symbols upon something that you can look at. That is really all I am doing here. That said, solidifying something spiritual into what now seems physical-matter reality (such as this drawing), speaks to the beautiful act of creating something, and how wonderful it feels to watch its arrival.
The Mermaid Spirit's image is a reminder to be yourself, even if 'the nonphysical-spiritual-half' seems peculiar to the outer-egoic-mind. What works, works well with a meditative life.
Interesting notes about the Mermaid Spirit image: she has multiple faces, one of which is much more subtle. The latter can be appreciated as a "separate" visual lens employed, which conveys "more" information regarding the most prominent face. I believe these dual-faces that echo throughout the drawings-as-a-collection, are reflective of the multi-layered consciousness that is realized after a meditation practice is employed.
Further, the lower right side of her body is facing the viewer, and legs and feet are noted, but then the eye is swept down, back, and up, along what is a mermaid's tail: this ends at the fanning fin, which is simultaneously "read" as an arm for multiple other figures.
Don't forget to relax for a minute, and gaze at the work in the "fire-gazing" state. I am really happy with this work...
Meditation and the Creative Mind
The daily practice of meditation results in heightened creativity. Pointedly, this is because neuronal pathways in the physical brain are layered with corresponding spiritual pathways, that when accessed through the meditative state, transforms the consciousness. What specifically occurs through the one-pointed, meditative practice, is heightened awareness as to one's true nature, and in this way, one understands who he truly is.
What do "I" Know?
Sometimes when I finish a drawing session, and lean back to look at the whole of the work, I am floored. "I" do not draw these images, "I" only copy them as "seen." It is like a spiritual dictation, this experience of drawing for myself. Overall, what I know is what appears before me when I look.
Big-Picture Thinking: The Thinker and the Keyhole
Last night, the large female (Thinker) appeared behind the adolescent image of "Essa." I was very surprised at her appearance, mostly due to the way she is sitting, with the whole of the drawing so far set upon her body. Her knees and feet can be located to the right, with both feet oddly crisscrossed at the bottom, right front. She seems to be holding "Essa," and she whispers something in his ear.
She literally just appeared, and I couldn't draw fast enough to map her in. What can be observed alongside that mentioned already, is that her left hand, with index finger pointing to her head, is specifically pointing to what appears to be a keyhole. This idea of a place to put a key, arrived in the last drawing, This is Paranormal, and feels representative of half of an idea - with the actual "key" unidentified thus far in the drawing specifically. And, this is all incredibly humorous to me, as this could be symbolic that I do not have the key within my own mind? Ah! The epiphany: This makes sense, as the "key" to understanding self, is upon the higher platform within meditation, experiencing the Presence of the Spirit of God. That is the Key to not lose in the "shuffle of life," one's orientation of self within, to Higher Spiritual reality.
The Creative Self, The Mermaid Spirit, and the Idea of the Totem
I have mentioned elsewhere in this notebook, that early creative influences for myself, included Science Fiction, Fantasy, and Star Trek. I had a few years (3 or 4), during adolescence, that all I really remember are the books I was consuming. I remember feeling that yearning to know more about these fantastic places; it fueled my imagination, and I often wondered how those authors created such fantastic, wonderful worlds. Now, I wonder how others identify with their own creative mind, as it seems to be something I am predisposed to examine. So, so, funny!
For myself, I am happily and deeply amazed at the creative image of an entire female figure that is simultaneously a mermaid. I remember feeling while I was working in the area that is her tail, that it seems decorative, and the recollection of a memory of Eskimo Totem Poles came to mind. I like this idea of the "totem," and it feels natural to want to put spiritual symbols upon something that you can look at. That is really all I am doing here. That said, solidifying something spiritual into what now seems physical-matter reality (such as this drawing), speaks to the beautiful act of creating something, and how wonderful it feels to watch its arrival.
The Mermaid Spirit's image is a reminder to be yourself, even if 'the nonphysical-spiritual-half' seems peculiar to the outer-egoic-mind. What works, works well with a meditative life.
Interesting notes about the Mermaid Spirit image: she has multiple faces, one of which is much more subtle. The latter can be appreciated as a "separate" visual lens employed, which conveys "more" information regarding the most prominent face. I believe these dual-faces that echo throughout the drawings-as-a-collection, are reflective of the multi-layered consciousness that is realized after a meditation practice is employed.
Further, the lower right side of her body is facing the viewer, and legs and feet are noted, but then the eye is swept down, back, and up, along what is a mermaid's tail: this ends at the fanning fin, which is simultaneously "read" as an arm for multiple other figures.
Don't forget to relax for a minute, and gaze at the work in the "fire-gazing" state. I am really happy with this work...
The Mermaid Spirit, detail from I'm Essa, on 11.17.20.
I'm Essa, whole image on 11.17.20, graphite on watercolor paper.
11.16.20 I'm Essa, work in progress notes:
Character Repeats: The Suit and The King
In watching the new characters evolve from within the greyed surface of the paper, I have noted a familiarity with them. They seem repeats of characters that have surfaced in other work. For example, the foremost female character in the bottom half of the image I'm Essa, below, has two new "male" images behind her, and off to the right. The first fellow has a charming, but uneven smile, and seems focused upon her. He seems to be wearing a "suit" of some kind, and this relationship of a female with a male who wears a suit and also stands behind her, was seen in the work now titled, Instruction from Within, on 08.24.20. There, I mentioned: "Also, there is a secondary character to the right, who seems of knightly proportions, even though he wears a suit. This image within Instruction from Within can be appreciated and compared with the male mentioned above in I'm Essa. Again, these male characters located in two separate drawings can be appreciated for repeat appearances.
Further, the second repeat character who seems walking behind this first male in I'm Essa, looks glaringly similar (in my mind) to the King that was surveying his Kingdom in the drawing, The Kingdom Within. To briefly recap, the King sits upon his unicorn (see The Kingdom Within below). His face is located topmost, just to the right of an imagined center line from top to bottom of the paper, and is somewhat a profile and outline. The contrasting blocky shape of his face and hair, are repeated in the similar form of the third male in I'm Essa.
What is truly noteworthy are the visual mechanisms that come together to form the varying character types. What I mean is that I appreciate the different visual vocabularies in how these repeat characters are built, especially in their relationships within positive and negative perceived spaces. This seems to give them a vibratory ratio in my mind. Essentially, these two male forms, have earned repeat-worthy presentations: The Suit, and the King. The Suit is representative of a Higher support system behind the foremost "lead" female, as well as the idea of "King" or God, present and surveying the inner Kingdom that is represented by the visual-symbolic-landscape of the drawing.
I'm Essa
Although I read all of the characters as "Essa," a larger child-form has materialized, and this is fully a representation of the idea of 'Essa.' We see his right arm and hand connect with the back of the head of the female who observes the viewer. Also, Essa is a "he," but also feels a "she," and upon his head is a crown. Lastly, he presents as a pre-pubescent aged child, but feels fully informed within his own inner Kingdom. These are intuitive perceptions that have synchronistically surfaced.
Overall, there is more to learn.
Character Repeats: The Suit and The King
In watching the new characters evolve from within the greyed surface of the paper, I have noted a familiarity with them. They seem repeats of characters that have surfaced in other work. For example, the foremost female character in the bottom half of the image I'm Essa, below, has two new "male" images behind her, and off to the right. The first fellow has a charming, but uneven smile, and seems focused upon her. He seems to be wearing a "suit" of some kind, and this relationship of a female with a male who wears a suit and also stands behind her, was seen in the work now titled, Instruction from Within, on 08.24.20. There, I mentioned: "Also, there is a secondary character to the right, who seems of knightly proportions, even though he wears a suit. This image within Instruction from Within can be appreciated and compared with the male mentioned above in I'm Essa. Again, these male characters located in two separate drawings can be appreciated for repeat appearances.
Further, the second repeat character who seems walking behind this first male in I'm Essa, looks glaringly similar (in my mind) to the King that was surveying his Kingdom in the drawing, The Kingdom Within. To briefly recap, the King sits upon his unicorn (see The Kingdom Within below). His face is located topmost, just to the right of an imagined center line from top to bottom of the paper, and is somewhat a profile and outline. The contrasting blocky shape of his face and hair, are repeated in the similar form of the third male in I'm Essa.
What is truly noteworthy are the visual mechanisms that come together to form the varying character types. What I mean is that I appreciate the different visual vocabularies in how these repeat characters are built, especially in their relationships within positive and negative perceived spaces. This seems to give them a vibratory ratio in my mind. Essentially, these two male forms, have earned repeat-worthy presentations: The Suit, and the King. The Suit is representative of a Higher support system behind the foremost "lead" female, as well as the idea of "King" or God, present and surveying the inner Kingdom that is represented by the visual-symbolic-landscape of the drawing.
I'm Essa
Although I read all of the characters as "Essa," a larger child-form has materialized, and this is fully a representation of the idea of 'Essa.' We see his right arm and hand connect with the back of the head of the female who observes the viewer. Also, Essa is a "he," but also feels a "she," and upon his head is a crown. Lastly, he presents as a pre-pubescent aged child, but feels fully informed within his own inner Kingdom. These are intuitive perceptions that have synchronistically surfaced.
Overall, there is more to learn.
The Kingdom Within, 9.30.20.
Instruction from Within, August 2020. Note the male figure who wears a suit, and stands behind the central female, to the right.
I'm Essa, detail of Whole Image, graphite on watercolor paper, 11.16.20. Repeat, suit-wearing male character is located to the right of the small, foremost female character at the bottom.
11.15.20 Work in Progress Notes
Begin with a Willingness to be Informed from Beyond Physical Matter Reality
He who loses himself, finds himself.
The intent to begin a new drawing can be seen as a willingness-of-self to be informed from inner, Higher structures that are realized within the meditative state. My intent is transparency with self - to experience the mind as the empty-sky-that-is-full. I taped the paper to the drawing board, and this solidified my commitment. Then, I breathe and focus within, pause here, and open my eyes to now see "within and beyond" the paper. Now, the "I" of the egoic form is absent, and the lines I see upon the surface of the paper are followed.
Seeing the Whole Form
A broad structure was found when I first approached the paper. As I struck the meditative state, the projections were like an electric web that I could not copy down fast enough. This initial "overflow feeling" begins to level out, and singular focus is attained. This is when the characters begin to appear - I initially see "through" them, and do not know that they are a "character" yet, per se. This is an intuitive awareness that looks beyond the paper, and guides the Higher singular-focus within an area, for a duration that allows the building of forms necessary to "unlock" the visual confluence that is the creation of an illusion. When the illusion is realized, this is the moment of paradox, and the whole form of the character is seen.
Relax the Mind and Breathe
First, one must gaze like he is looking at a fire. Relax. Breathe easily. Do not try to "figure out" what you are looking at, and allow the mind to "see" what is actually there. One does this by relaxing the mind, and when relaxed, one initially notes the differences between dark and light upon the surface. Then, the mind fans out, appreciating every line, and notes the development of the three most obvious characters. The first is to the left of center, and looks directly at the viewer. Between she and the other "bald" character to the right, there is the appearance of letters. As soon as these were noted, I found myself watching as the area was worked by my hand. I consciously stopped, and "read" what I could perceive, and realized it as a declarative statement of introduction, "I'm Essa."
I'm Essa
Baffled, I looked up this word, with the preface that my understanding is that Essa is a name - a noun that signifies a person, place, thing or idea. What I found was intriguing. According to Behindthename.com, Essa variants for the name include: Isa, Yeshua, Josu, and Jesus. These are all names that identify the Spirit of God.
The third (and maybe fourth) female in the front has a significant presence so far, in my mind. The energy presents as a childlike girl that knows more than her form portrays, and gazes knowingly at the viewer. A partial face looks from behind her to the right, with linear indications on the left of a corresponding body that is leaning forward (which may evolve). Overall and so far, she is watching, and this "disposition of being the observer" is noted. I realize she is the reflection of my own nature, now symbolized in this foremost figure.
Maybe they will all remain...
Begin with a Willingness to be Informed from Beyond Physical Matter Reality
He who loses himself, finds himself.
The intent to begin a new drawing can be seen as a willingness-of-self to be informed from inner, Higher structures that are realized within the meditative state. My intent is transparency with self - to experience the mind as the empty-sky-that-is-full. I taped the paper to the drawing board, and this solidified my commitment. Then, I breathe and focus within, pause here, and open my eyes to now see "within and beyond" the paper. Now, the "I" of the egoic form is absent, and the lines I see upon the surface of the paper are followed.
Seeing the Whole Form
A broad structure was found when I first approached the paper. As I struck the meditative state, the projections were like an electric web that I could not copy down fast enough. This initial "overflow feeling" begins to level out, and singular focus is attained. This is when the characters begin to appear - I initially see "through" them, and do not know that they are a "character" yet, per se. This is an intuitive awareness that looks beyond the paper, and guides the Higher singular-focus within an area, for a duration that allows the building of forms necessary to "unlock" the visual confluence that is the creation of an illusion. When the illusion is realized, this is the moment of paradox, and the whole form of the character is seen.
Relax the Mind and Breathe
First, one must gaze like he is looking at a fire. Relax. Breathe easily. Do not try to "figure out" what you are looking at, and allow the mind to "see" what is actually there. One does this by relaxing the mind, and when relaxed, one initially notes the differences between dark and light upon the surface. Then, the mind fans out, appreciating every line, and notes the development of the three most obvious characters. The first is to the left of center, and looks directly at the viewer. Between she and the other "bald" character to the right, there is the appearance of letters. As soon as these were noted, I found myself watching as the area was worked by my hand. I consciously stopped, and "read" what I could perceive, and realized it as a declarative statement of introduction, "I'm Essa."
I'm Essa
Baffled, I looked up this word, with the preface that my understanding is that Essa is a name - a noun that signifies a person, place, thing or idea. What I found was intriguing. According to Behindthename.com, Essa variants for the name include: Isa, Yeshua, Josu, and Jesus. These are all names that identify the Spirit of God.
The third (and maybe fourth) female in the front has a significant presence so far, in my mind. The energy presents as a childlike girl that knows more than her form portrays, and gazes knowingly at the viewer. A partial face looks from behind her to the right, with linear indications on the left of a corresponding body that is leaning forward (which may evolve). Overall and so far, she is watching, and this "disposition of being the observer" is noted. I realize she is the reflection of my own nature, now symbolized in this foremost figure.
Maybe they will all remain...
Work in Progress, Detail: I'm Essa, graphite on watercolor paper, 11" x 15"
11/14/20: Work in Progress Notes
Beginning with a Doodle
For some reason unknown to me, I have noted the repetition of locating characters on what I perceive to be boats. I began this drawing a few nights ago, just as a "doodle," but it has pulled at me, so I keep going back and more is seen.
Three Female Characters
The drawing began with the cartoon-female on the left. Her head is tilted to the largest female, who seems to gaze off into space - the latter appears to be "absent" of mind, or contemplating something. This larger character holds her foot, as though she has just sat down. She was the second character to arrive. The third character is seen in the detail to the right, and I see her as an "Artist" character, as she is holding a pencil in the closed fist of her right hand. I find this humorous because it would be very difficult to draw holding a pencil like that! Also, there is a tiny heart at the end of the pencil, hovering in the air. Lastly, in the combination of the position of her drawing arm, along with the "look" upon her face, it seems this smallest of female characters is "fist-bumping" whomever is looking at her. Furthermore, from just under her chin, begins a path-like shape that recedes into the paper, and ends in the wavy tail of a mermaid. This Artist character, we see, has now gained a second identity - she is simultaneously a human being and mermaid.
Where does non-fiction end, and fiction begin? Gray areas are spiritual areas, this notebook has concluded. Because this work is the transcription of Spiritual-visual-mechanisms, their meanings are what I give them. I only know what I observe, and when drawing, this is one-pointed in focus, watching the line appear before I copy it with my pencil. Because it is only copying that I do, when I look at the work while not drawing, I gaze and see that more is there - more than what I had copied in the moment of its initial manifestation from the end of the pencil. This is when larger connections are made, and the work is read similarly to how one would read a map. Every person reading this drawing may have a different interpretation, but ultimately, the visual metaphor of the image, that I am noticing, is regarding the trinity nature of a human being, insofar as we are Spirit (symbolized by the mermaid manifestation), as well as mind (represented by the pencil), and the body (the Artist on the boat - who has a silly sense of humor).
Dropping the Thought - ooops!
In meditation, there is an individual that I have met, and her name is Alice. She is hilarious! Recently, she walked right into the center of my visual field, after I had been practicing one-pointed focus of the breath at the nostril. A thought floated into my mind, and then suddenly I saw Alice in my visual field. Then, I watched as the thought turned into a symbolic idea-shape, representative of all of the ideas held within that thought. I was excited, because it is when I watch and these things happen within, that I am taught through the observation. So, I was really focused... and in that moment, I watched Alice saunter happily forward; she caught the thought-form, looked directly at me, and then dropped it!
I just kept watching.
She then proceeded to double over in laughter. This is what it is like in some of my meditations, wherein my one-pointed focus time is respected, but when the 20 or so minutes is up (as I usually begin meditations with this exercise), I am playfully "interrupted" by her. She lovingly and playfully takes the things I perceive as defining who I am, and tosses them aside. These parts that define us are wonderful, and they have their place in living life, but the best part of it all, is that when all of those parts and definitions-of-self are set aside (literally put in an imagined box, and the lid closed upon it), we are freer to ascend in one-pointed focus to higher places within meditation. This Higher location within is the True self.
Beginning with a Doodle
For some reason unknown to me, I have noted the repetition of locating characters on what I perceive to be boats. I began this drawing a few nights ago, just as a "doodle," but it has pulled at me, so I keep going back and more is seen.
Three Female Characters
The drawing began with the cartoon-female on the left. Her head is tilted to the largest female, who seems to gaze off into space - the latter appears to be "absent" of mind, or contemplating something. This larger character holds her foot, as though she has just sat down. She was the second character to arrive. The third character is seen in the detail to the right, and I see her as an "Artist" character, as she is holding a pencil in the closed fist of her right hand. I find this humorous because it would be very difficult to draw holding a pencil like that! Also, there is a tiny heart at the end of the pencil, hovering in the air. Lastly, in the combination of the position of her drawing arm, along with the "look" upon her face, it seems this smallest of female characters is "fist-bumping" whomever is looking at her. Furthermore, from just under her chin, begins a path-like shape that recedes into the paper, and ends in the wavy tail of a mermaid. This Artist character, we see, has now gained a second identity - she is simultaneously a human being and mermaid.
Where does non-fiction end, and fiction begin? Gray areas are spiritual areas, this notebook has concluded. Because this work is the transcription of Spiritual-visual-mechanisms, their meanings are what I give them. I only know what I observe, and when drawing, this is one-pointed in focus, watching the line appear before I copy it with my pencil. Because it is only copying that I do, when I look at the work while not drawing, I gaze and see that more is there - more than what I had copied in the moment of its initial manifestation from the end of the pencil. This is when larger connections are made, and the work is read similarly to how one would read a map. Every person reading this drawing may have a different interpretation, but ultimately, the visual metaphor of the image, that I am noticing, is regarding the trinity nature of a human being, insofar as we are Spirit (symbolized by the mermaid manifestation), as well as mind (represented by the pencil), and the body (the Artist on the boat - who has a silly sense of humor).
Dropping the Thought - ooops!
In meditation, there is an individual that I have met, and her name is Alice. She is hilarious! Recently, she walked right into the center of my visual field, after I had been practicing one-pointed focus of the breath at the nostril. A thought floated into my mind, and then suddenly I saw Alice in my visual field. Then, I watched as the thought turned into a symbolic idea-shape, representative of all of the ideas held within that thought. I was excited, because it is when I watch and these things happen within, that I am taught through the observation. So, I was really focused... and in that moment, I watched Alice saunter happily forward; she caught the thought-form, looked directly at me, and then dropped it!
I just kept watching.
She then proceeded to double over in laughter. This is what it is like in some of my meditations, wherein my one-pointed focus time is respected, but when the 20 or so minutes is up (as I usually begin meditations with this exercise), I am playfully "interrupted" by her. She lovingly and playfully takes the things I perceive as defining who I am, and tosses them aside. These parts that define us are wonderful, and they have their place in living life, but the best part of it all, is that when all of those parts and definitions-of-self are set aside (literally put in an imagined box, and the lid closed upon it), we are freer to ascend in one-pointed focus to higher places within meditation. This Higher location within is the True self.
Detail of The Artist Character, 11.14.20
Whole image of work in progress, graphite on watercolor paper, 8 1/2" x 12"
11.12.20 Final Deconstruction of This is Paranormal, 11" x 15", graphite on watercolor paper.
The Dragon Lines are symbolic of the Bridge to Higher States of Awareness
The structure of the World is "beyond" only physical matter-reality manifestations, and one is able to understand this expanded vision through the Practice of the Presence of God within meditation. This notebook examines all perceived manifestations of Spiritual reality, reflective of experiences of both inner (meditation), and outer (physical reality) platforms of perception. We look through eyes at these considerations that are expanded in sight, through the practice of the meditative experience, and we see the Forms of Higher Vision.
Divine Love
In the pursuit of comprehension in total of the Form of Highest Love, and knowledge of the relationship of self-structures corresponding to the location of this most Holy Form, these drawings are a gift. "I" do not own them, and they are not "mine" - there is no possession. That the Highest Love could be present within me, and in that Great Love inform me through the "blind-building" of this art, catapults self-conceptualization forward and upward, not for ego-worth, but as an expression of His Form realized. The creation of this work, ultimately, is the manifestation of Love for God, His Form and the expression of It.
The Two Bridges: A Beacon
After finishing This is Paranormal, and considering all of the experiences I acquired in the days from its beginning to its end, this work is the definition in play of What is Paranormal. It is an expression of what is Spiritual, and beyond the outer egoic-mind.
It is realized that this work is meant to act as a Higher Beacon to the unenlightened mind. It is for our Spiritual brothers and sisters, so that they too see that to seek God within oneself, a collaborative, prosperous, peaceful, loving life is possible. Whatever one calls the meditative realized Spirit, whether it is Higher Insight, Christ-Consciousness, Love, or Holy Ghost - they are all the same One. The moniker you claim for Its Presence, is for the understanding of the Whole Form, and only representative of the experience of the Higher Love. Through the art is a manifestation seen of the Bridge Realized within. It is the physical evidence of the reflective Holy Light from within ourselves, and our spiritual relatives may see that this is how it is done, and that they can easily do it as well.
That I see two bridges in This is Paranormal is a favored sign to my mind. One is symbolic of Higher Spiritual Energy and Knowledge, and is seen represented as the Dragon Energy Lines. The second is an actual location on the Earth, and has always symbolized in my mind, the true beginning of the industrialized World (a New Age) - The Golden Gate Bridge. Further, the Dragon Lines relay a connection of the Spiritual Lines of Energy that travel upon the Earth. Further, there is a dragon at the topmost section, and feels "enormously of Love", as it lays its head upon the left shoulder of a small female, with its facial parts forming a crown upon her head. The connection between all of the individuals in this work is of a Spiritual Design, a powerful "playbook" of sorts, and the geometry of it realized within meditation.
The Keyhole and SIX SIX
I had not resolved my own perception of inner “guides,” as well as perceptions since childhood of anomalous reports to my mind from visual-perceptual abilities. I approached a medium with this unresolved, or “gray-area” (spiritual) in my thinking. This was because I did not understand then, that the "others" perceived within meditation, as well as the manifestations perceived within physical reality since childhood, were more than my imagination.
The medium's presence in a single Zoom meeting, as well as continued research, provided the exact amount of Spiritual Information "I" needed to know, in order to see how to claim the reality of my own experiences of vision and perception. I now realize these "others" are Spiritual Individuals that are varied manifestations of the One, or God realized within meditation. There is nothing to fear in this understanding, as the Higher Platform has already been established within oneself through Building Meditations. It may not have been understood at the time by the outer energies of the mind, but when one "ascends" within meditation - this is an elevation beyond the egoic form - he is in the Presence of God. God is Spiritual Matter, and this is within and without the human body. I see now that my life expressions are reflective of the meditative relationship with Higher Insight.
Symbols
I have not been given the Overall information explicative of the symbols "keyhole," or "SIX-SIX. The keyhole can be seen in the upper left corner. The same experience with the word SIX occurred today, wherein I clocked the new word-manifestation in surprise, and there are now two; I was completely blind in its creation, and only then consciously realized it as evidence from beyond outer self. In other words, I saw the new SIX when I stopped drawing to look at the whole image, and this is when the visual lens is changed to observe physical reality.
The Moon-Shaped Piece of Paper x 2
Further, I noted also that this second male image is again holding a half-moon shaped piece of paper in his left hand. The first image of him had one of these in what I perceived as his right hand (see Whole Image below). This may be referencing again, the synchronicity of its first manifestation, wherein I saw the moon-shaped paper in the figure's hand, and proceeded to go read, wherein on the first page at the bottom, was the mention of a moon-shaped building.
Spiritual Connection to the Highest Spiritual Reality
What I can see in the relationship of all of these forms, is that they are symbolic in some way: the SIX SIX, Golden Gate Bridge, San Francisco, and Energy Lines. There is also the idea of family, especially in relation to San Francisco.
Ultimately, there is only One Point in this multifaceted work, and that is the various Forms of the Higher Self expressed in graphite.
The Golden Gate Bridge, San Francisco, detail of This is Paranormal, 11.12.20.
The Dragon Bridge, upper left section detail of This is Paranormal, 11.12.20.
Final Whole Image of This is Paranormal, graphite on watercolor paper, 11" x 15", 11.12.20.
11.10.20 Deconstruction of This is Paranormal
How am I informed?
This drawing has special meaning to me, in that it has produced information reflective of my meditative experience. Further, examining what is discovered in this meditative work, is done in the light of Higher Insight.
Experience and Higher Insight
I have established in this notebook, the levels of the mind: conscious, sub/unconscious, superconscious, and Higher Mind/God.
From experience, and for myself, I have realized these as Spiritual levels within, which are seemingly parallel to one another, and are fluidly "traveled" through, within one-pointed, loving meditation. However, once Christ-Consciousness is realized (the Highest state within meditation), one understands the Spiritual "levels" as learning platforms, and that Christ is Present within them all, always. Ultimately, these "levels become One," when the meditator expands beyond his outer egoic mind, and realizes Christ-Consciousness.
Within the meditative state, as one ascends to Higher states if awareness, visions and encounters with "others" occur, all of a positive, transforming nature. Because the drawings produced are created while in a meditative state, wherein the artist experiences one-pointed focus, and transcribes only what is energetically dictated to her, these drawings could be synonymous with "visions" experienced within meditation. My experience informs me they are the same flowering of the Higher mind.
With that preface, and in that light, I observed the following in the work done today within This is Paranormal.
Dragon Lines and Connections
I saw the dragon "energy" attempt to surface a few days ago, but the face dissolved under my eraser. Today, it has begun to surface again. The face has not been fully "brought out" yet, but I see it. It is on the very left, and its left eye is in the right hand of a male figure. These drawings are representative of positive Spiritual evidence, and are examined from a Spiritual perspective. (Please see earlier Deconstruction notes from 10.28.20 and 10.30.20 below, for more information).
The "Dragon" is symbolic of immense energy, in my mind, and intuitively, I understand that the energy the Dragon is referencing are the "darker lines," that have developed in this work, as well as recently in the large work Imagination as well.
In the Detail image below, these lines are moving from the Dragon's head on the left, through and around the male figure, and then extend behind him, into what feels like a circular place. In the middle of this circle, an image of a female is standing, and we see her foot and the lines overlap. Her foot and the lines are in the same space. It feels as if she is placing her foot on the lines, but that she is also "encircled by them." Again, all females in this drawing are myself.
San Francisco and the number SIX
At times while drawing, I pull back to appreciate what is happening on the paper, as I really am "blind" to what the lines and energies are building until I do this. Before the appearance of the Dragon and the male fiture, I watched my eraser work the area just to the left of the Astronauts face, and it seemed to me I was copying the Golden Gate Bridge. I noted this because I love San Francisco, and have many fond memories of visiting this city while in college studying art. As I watched the tiny replica of the bridge start to flesh out, I was pulled upward, and then found everything that has been described so far.
I mention this because as I sat there pondering San Francisco, letting my mind wander freely through memories and information, I looked at the drawing and saw the word "SIX" in large letters, for the first time. This was one of those "paradox" moments, like yesterday, wherein the "shoe was already there" for the body of the holographic female. I believe San Francisco and the number SIX have something to do with each other, and with the male figure and the Dragon Lines. Also, the "S" in Six, contains the male figure's left hand.
The connection I have for myself, as indicated by the drawing, are the literal transcription of what I understand as an image representative of me, upon the path of these Dragon Lines, and encircled by them, of which, the male figure is aligned with at its "head."
The Beautiful Face
A new beautiful male face developed as well (seen on the right of the Detail Image). This looks like the lovely face of my partner, and is simultaneously representative of a second image of my own Higher Self. I see this wonderful face within meditation, and understand it as an "ancient" love.
This beautiful face has a corresponding "arm" slanting diagonally, with its hand underneath the female that is encircled by the lines. I read these lines flowing between his hand and her feet in positive, circular waves of energy.
I still see more that is asking to be realized, so will continue again tomorrow.
How am I informed?
This drawing has special meaning to me, in that it has produced information reflective of my meditative experience. Further, examining what is discovered in this meditative work, is done in the light of Higher Insight.
Experience and Higher Insight
I have established in this notebook, the levels of the mind: conscious, sub/unconscious, superconscious, and Higher Mind/God.
From experience, and for myself, I have realized these as Spiritual levels within, which are seemingly parallel to one another, and are fluidly "traveled" through, within one-pointed, loving meditation. However, once Christ-Consciousness is realized (the Highest state within meditation), one understands the Spiritual "levels" as learning platforms, and that Christ is Present within them all, always. Ultimately, these "levels become One," when the meditator expands beyond his outer egoic mind, and realizes Christ-Consciousness.
Within the meditative state, as one ascends to Higher states if awareness, visions and encounters with "others" occur, all of a positive, transforming nature. Because the drawings produced are created while in a meditative state, wherein the artist experiences one-pointed focus, and transcribes only what is energetically dictated to her, these drawings could be synonymous with "visions" experienced within meditation. My experience informs me they are the same flowering of the Higher mind.
With that preface, and in that light, I observed the following in the work done today within This is Paranormal.
Dragon Lines and Connections
I saw the dragon "energy" attempt to surface a few days ago, but the face dissolved under my eraser. Today, it has begun to surface again. The face has not been fully "brought out" yet, but I see it. It is on the very left, and its left eye is in the right hand of a male figure. These drawings are representative of positive Spiritual evidence, and are examined from a Spiritual perspective. (Please see earlier Deconstruction notes from 10.28.20 and 10.30.20 below, for more information).
The "Dragon" is symbolic of immense energy, in my mind, and intuitively, I understand that the energy the Dragon is referencing are the "darker lines," that have developed in this work, as well as recently in the large work Imagination as well.
In the Detail image below, these lines are moving from the Dragon's head on the left, through and around the male figure, and then extend behind him, into what feels like a circular place. In the middle of this circle, an image of a female is standing, and we see her foot and the lines overlap. Her foot and the lines are in the same space. It feels as if she is placing her foot on the lines, but that she is also "encircled by them." Again, all females in this drawing are myself.
San Francisco and the number SIX
At times while drawing, I pull back to appreciate what is happening on the paper, as I really am "blind" to what the lines and energies are building until I do this. Before the appearance of the Dragon and the male fiture, I watched my eraser work the area just to the left of the Astronauts face, and it seemed to me I was copying the Golden Gate Bridge. I noted this because I love San Francisco, and have many fond memories of visiting this city while in college studying art. As I watched the tiny replica of the bridge start to flesh out, I was pulled upward, and then found everything that has been described so far.
I mention this because as I sat there pondering San Francisco, letting my mind wander freely through memories and information, I looked at the drawing and saw the word "SIX" in large letters, for the first time. This was one of those "paradox" moments, like yesterday, wherein the "shoe was already there" for the body of the holographic female. I believe San Francisco and the number SIX have something to do with each other, and with the male figure and the Dragon Lines. Also, the "S" in Six, contains the male figure's left hand.
The connection I have for myself, as indicated by the drawing, are the literal transcription of what I understand as an image representative of me, upon the path of these Dragon Lines, and encircled by them, of which, the male figure is aligned with at its "head."
The Beautiful Face
A new beautiful male face developed as well (seen on the right of the Detail Image). This looks like the lovely face of my partner, and is simultaneously representative of a second image of my own Higher Self. I see this wonderful face within meditation, and understand it as an "ancient" love.
This beautiful face has a corresponding "arm" slanting diagonally, with its hand underneath the female that is encircled by the lines. I read these lines flowing between his hand and her feet in positive, circular waves of energy.
I still see more that is asking to be realized, so will continue again tomorrow.
Detail of This is Paranormal, upper left and center section, 11.10.20.
This is Paranormal, Whole Image, unfinished, 11.10.20.
11.09.20 Deconstruction of This is Paranormal
For myself, when I look at something, I see through it. What I mean, is that by looking in a meditative way at some "thing," I see more. The way the mind informs itself is "beyond" conscious thought, not just through the five physical senses. The power behind the images below, is from the most beautiful space within myself. I believe everyone can create art in this way, if one's mind is focused upon it.
The Astronaut
When this wonderful fellow arrived today on the paper, I felt as though he was reassuring me it was alright that I see him. You see, I am the observer of the process, and quite literally do not "consciously" decide where and what my body is doing when I draw. Further, my conscious understanding of what is happening when I draw, has advanced to the point that I am now able to make connections with my conscious mind to "deeper" and Higher places within myself.
When the Astronaut arrived on the scene, I realized he is a reference to my beliefs about life beyond planet Earth, as well as the dimensional "levels" I access within meditation. He feels real to me, and I know who he is. This is an individual that is a part of my Higher Team. Although I have been given hints in many ways in waking reality, it is in this moment that the epiphany informs me that Higher Self is "multifaceted." This definitely makes sense, as it is a given, in my own mind, that all individual expressions of God are a part of Him, and we are One.
The quality of his image, how it displays as though it is "inserted" amongst the smaller characters, feels freeing, for some reason. There are no boundaries within self, and anything really is possible. Honestly, he feels like a miracle in my mind, and I am defining "miracle" as, "an effect or extraordinary event in the physical world that surpasses all known human or natural powers and is ascribed to a supernatural cause" (Dictionary.com). Also, maybe this is why I am so comfortable using the pronoun "he," but prefer "one," and do not prefer "she," in my writing. Quirks...
Higher Kindness
The order of the arrival of these images is unpredictable. For example, in the "section" I am naming Higher Kindness, there is a little girl holding on to what at first seemed to me another small individual. I could feel the expansive love and adoration of the image - a private and complete, all-encompassing love. Love and Adoration, that is what she is feeling.
Then, as my vision was moved across the paper, I saw The Astronaut, and realized she was holding on to his finger. In that moment, the epiphany informed me he is a part of the Creator, the Center - he is a Watcher, or an Angel. Semantically, the identifiers blend in my mind, because I understand that He has many functions in relation to "me." (This is just further evidence in my own mind, that we are all channeled beings). And, she adores Him. She is a child of Higher Love - she and He are One.
The Body is Holographic
I mentioned in my 11.05.20 Deconstruction of This is Paranormal , that "When gazing at the [twirling] child, I get the sense of a large, outline "shadow" that is cast upon a flatter region of "land," projecting out from the child's front." I mention this because the "shadow," turned into what I read as a full-body image of a holographic female body. Interestingly, her face was realized first, and then the lines lit up, moving to the right, so I followed them with my pencil. Where they concluded (and this always thrills me), there was already a foot drawn into place! How these finalized aspects surface completed, but are not consciously seen - they are essentially "unseen" - is a real paradox for myself. They show up in the work and "plug right in" to work that is developing now. It is astonishing to me.
The whole tennis shoe - looking foot, that was already there, is located on the right side of the image titled The Body is Holographic. Look at the female being held by the male, and then look at her elbow in the relaxed, fire-gazing/meditative state. From here, the eye is able to move from toe to head, and see that the whole of the Holographic Body, is behind the smaller images, as though she is submerged in water.
The Holographic Landscape
I wanted to add this as a whole image because I feel it is significant. I often mention "landscapes," which usually means I sense the whole picture is an actual place. It is difficult to describe all the multifaceted factors that lead me to say this, but it feels to me that this little image is a reference to a literal place on the world. This is a reference, I believe, to lines upon the earth, and my experience of, and orientation to them. I will do some research on this.
Again, the work is never confusing to me, but my comprehension of it takes some time, at times.
This was a wonderous day!
For myself, when I look at something, I see through it. What I mean, is that by looking in a meditative way at some "thing," I see more. The way the mind informs itself is "beyond" conscious thought, not just through the five physical senses. The power behind the images below, is from the most beautiful space within myself. I believe everyone can create art in this way, if one's mind is focused upon it.
The Astronaut
When this wonderful fellow arrived today on the paper, I felt as though he was reassuring me it was alright that I see him. You see, I am the observer of the process, and quite literally do not "consciously" decide where and what my body is doing when I draw. Further, my conscious understanding of what is happening when I draw, has advanced to the point that I am now able to make connections with my conscious mind to "deeper" and Higher places within myself.
When the Astronaut arrived on the scene, I realized he is a reference to my beliefs about life beyond planet Earth, as well as the dimensional "levels" I access within meditation. He feels real to me, and I know who he is. This is an individual that is a part of my Higher Team. Although I have been given hints in many ways in waking reality, it is in this moment that the epiphany informs me that Higher Self is "multifaceted." This definitely makes sense, as it is a given, in my own mind, that all individual expressions of God are a part of Him, and we are One.
The quality of his image, how it displays as though it is "inserted" amongst the smaller characters, feels freeing, for some reason. There are no boundaries within self, and anything really is possible. Honestly, he feels like a miracle in my mind, and I am defining "miracle" as, "an effect or extraordinary event in the physical world that surpasses all known human or natural powers and is ascribed to a supernatural cause" (Dictionary.com). Also, maybe this is why I am so comfortable using the pronoun "he," but prefer "one," and do not prefer "she," in my writing. Quirks...
Higher Kindness
The order of the arrival of these images is unpredictable. For example, in the "section" I am naming Higher Kindness, there is a little girl holding on to what at first seemed to me another small individual. I could feel the expansive love and adoration of the image - a private and complete, all-encompassing love. Love and Adoration, that is what she is feeling.
Then, as my vision was moved across the paper, I saw The Astronaut, and realized she was holding on to his finger. In that moment, the epiphany informed me he is a part of the Creator, the Center - he is a Watcher, or an Angel. Semantically, the identifiers blend in my mind, because I understand that He has many functions in relation to "me." (This is just further evidence in my own mind, that we are all channeled beings). And, she adores Him. She is a child of Higher Love - she and He are One.
The Body is Holographic
I mentioned in my 11.05.20 Deconstruction of This is Paranormal , that "When gazing at the [twirling] child, I get the sense of a large, outline "shadow" that is cast upon a flatter region of "land," projecting out from the child's front." I mention this because the "shadow," turned into what I read as a full-body image of a holographic female body. Interestingly, her face was realized first, and then the lines lit up, moving to the right, so I followed them with my pencil. Where they concluded (and this always thrills me), there was already a foot drawn into place! How these finalized aspects surface completed, but are not consciously seen - they are essentially "unseen" - is a real paradox for myself. They show up in the work and "plug right in" to work that is developing now. It is astonishing to me.
The whole tennis shoe - looking foot, that was already there, is located on the right side of the image titled The Body is Holographic. Look at the female being held by the male, and then look at her elbow in the relaxed, fire-gazing/meditative state. From here, the eye is able to move from toe to head, and see that the whole of the Holographic Body, is behind the smaller images, as though she is submerged in water.
The Holographic Landscape
I wanted to add this as a whole image because I feel it is significant. I often mention "landscapes," which usually means I sense the whole picture is an actual place. It is difficult to describe all the multifaceted factors that lead me to say this, but it feels to me that this little image is a reference to a literal place on the world. This is a reference, I believe, to lines upon the earth, and my experience of, and orientation to them. I will do some research on this.
Again, the work is never confusing to me, but my comprehension of it takes some time, at times.
This was a wonderous day!
Higher Kindness, detail from This is Paranormal, graphite on watercolor paper, 11.09.20.
The Holographic Landscape, detail from This is Paranormal, graphite on watercolor paper, 11.09.20.
The Body is Holographic, detail from This is Paranormal, graphite on watercolor paper, 11.09.20.
The Astronaut, detail from This is Paranormal, graphite on watercolor paper, 11.09.20.
11.05.20 Deconstruction of This is Paranormal
Twirling Child
The images found today readily appeared; nevertheless, there seems a predominance of a thin, dark, line quality. In the lower left detail, overall, it feels like a landscape. On the right, there is a small child twirling, with arms outstretched. It is a happy moment in time.
Multitude of Characters
When gazing at the child, I get the sense of a large, outline "shadow" that is cast upon a flatter region of "land," projecting out from the child's front. There is also behind this child, a man and a woman, with the female sitting lower than the man, and she is looking up at him. There seems fondness and safety in this tiny scene.
To the left lower corner of the detail image, there is the obvious standing female figure, and some curious "outline figures” to the left of this. I enjoy the simplicity of form in the latter.
There is also another "abominable-looking" fellow, whom I see a lot in meditation. He seems to "shadow" the female happily, and is flattened onto what might be considered "ground," to her right. The female that is almost center in the detail, and foremost to the viewer, is unresolved at this juncture.
On the very left side, up against the edge of the paper, there is a very tall figure, with striped clothes (best seen in the whole image). He is facing the whole scene, so we see his right profile. He is holding something that seems aflame, and to me it feels like it is a guitar, or musical instrument of some stringed type.
Conclusions
Overall, there are a lot of characters and information in this lower left section. There also seems a prominence of detailed work. I am happy with the images that have developed, and feel it is currently representative of contemplation occurring that is reflective of knowing that the connections between the images is still underway.
Twirling Child
The images found today readily appeared; nevertheless, there seems a predominance of a thin, dark, line quality. In the lower left detail, overall, it feels like a landscape. On the right, there is a small child twirling, with arms outstretched. It is a happy moment in time.
Multitude of Characters
When gazing at the child, I get the sense of a large, outline "shadow" that is cast upon a flatter region of "land," projecting out from the child's front. There is also behind this child, a man and a woman, with the female sitting lower than the man, and she is looking up at him. There seems fondness and safety in this tiny scene.
To the left lower corner of the detail image, there is the obvious standing female figure, and some curious "outline figures” to the left of this. I enjoy the simplicity of form in the latter.
There is also another "abominable-looking" fellow, whom I see a lot in meditation. He seems to "shadow" the female happily, and is flattened onto what might be considered "ground," to her right. The female that is almost center in the detail, and foremost to the viewer, is unresolved at this juncture.
On the very left side, up against the edge of the paper, there is a very tall figure, with striped clothes (best seen in the whole image). He is facing the whole scene, so we see his right profile. He is holding something that seems aflame, and to me it feels like it is a guitar, or musical instrument of some stringed type.
Conclusions
Overall, there are a lot of characters and information in this lower left section. There also seems a prominence of detailed work. I am happy with the images that have developed, and feel it is currently representative of contemplation occurring that is reflective of knowing that the connections between the images is still underway.
This is Paranormal, detail, left lower corner, untitled, 11.05.20.
This is Paranormal, Whole Image, unfinished, graphite on watercolor paper, 11.05.20
11.04.20 Deconstruction of This is Paranormal
I had the opportunity to draw for a few hours yesterday and today. The result was fantastic, from my perspective. I quickly struck the state, and then began.
The Man in the Booth
This very happy fellow bubbled up from the surface, and I was surprised at the ease of his appearance. What I am finding happens with increasing predictability, is that when I sit to draw, I immediately see through the vague greying that the graphite causes.. I do not "need" to sit for any duration in meditation, in order to see through whatever surface I am looking at. I am only seeing-through to Higher Places my conscious mind is unaware, and this is what is copied onto the paper. Also, this man, I believe, is pouring himself a beverage, and I read what seems a space, just for him, as a booth.
The Mermaid Angel
There is a couple in the lower left of the center detail below, and the darkened lines that might read as "his" shoulders, are really the outlines of the Mermaids tail. She hovers within, from, and beyond the central cartoon female, who is surrounded by all of these characters. All of these females, the Mermaid Angel included, I read as myself (at least personifications of the multileveled self I understand my Whole Self to be). At first, because of the strange overlap between the two female faces, I did not know what I was looking at, but I kept watching the space, in between working other areas, and then I looked once more, and there she was in total. All I had to do was copy her lines. Her face is subtle and beautiful. What a blessing it is to be able to see these images.
I had the opportunity to draw for a few hours yesterday and today. The result was fantastic, from my perspective. I quickly struck the state, and then began.
The Man in the Booth
This very happy fellow bubbled up from the surface, and I was surprised at the ease of his appearance. What I am finding happens with increasing predictability, is that when I sit to draw, I immediately see through the vague greying that the graphite causes.. I do not "need" to sit for any duration in meditation, in order to see through whatever surface I am looking at. I am only seeing-through to Higher Places my conscious mind is unaware, and this is what is copied onto the paper. Also, this man, I believe, is pouring himself a beverage, and I read what seems a space, just for him, as a booth.
The Mermaid Angel
There is a couple in the lower left of the center detail below, and the darkened lines that might read as "his" shoulders, are really the outlines of the Mermaids tail. She hovers within, from, and beyond the central cartoon female, who is surrounded by all of these characters. All of these females, the Mermaid Angel included, I read as myself (at least personifications of the multileveled self I understand my Whole Self to be). At first, because of the strange overlap between the two female faces, I did not know what I was looking at, but I kept watching the space, in between working other areas, and then I looked once more, and there she was in total. All I had to do was copy her lines. Her face is subtle and beautiful. What a blessing it is to be able to see these images.
This is Paranormal - The Mermaid Angel, center detail, 11.04.20
This is Paranormal - The Man in the Booth, detail image, 11.04.20
11.01.20 Deconstruction Notes for This is Paranormal
Observations:
I am able, with the way I see, to be receptive to information beyond my "self". Within the meditative state and one-pointed focus, these lines and whole pictures formed in front of me on the paper.
Acceptance of Higher Truth is a Key
I focused on the development of the upper right-hand side of the image, and the imagery was provided as I observed. I copied always with the loving goal of precision and complete acceptance of the Truth of what I am seeing. This is the most natural of state to achieve, because it is through one's observation of all information present, from without and from within, that Higher Mind guides us toward our Highest Insight. Acceptance is a Higher Key.
The Scene and the Path of the Far-Off Place
In the Right Corner Detail below, one can see the development of many subtle forms. As mentioned previously, this feels as though it is a scene of a far-off place, and there are people working alongside each other. This has translated into a scene of characters that seem to be on the same path, and this path begins beyond the topmost, right corner of the paper, extending down and through the rainbow section at the mid-right side of the paper. All of this is located at the same perceived level of "sight," that the male figure's image is also located.
I See Through Self, as Though the Parts Perceived are a Multiplicity of Monocles
What I mean by "perceived level of sight," is a reference to earlier examinations of my own perceptions as to how "I" see, which are perceptions integral to the process of knowing my own experience. In this notebook, under the Drawings page, on 8/24/20, I discussed the artifact titled, "What Now Feels Like." There, I described the visual lenses that have become somewhat "solidified" in my seeing, which also are projections of force within self that are so moving, that they became personified through the identification of the "visual lens." A new conceptualization of "seeing through self, as though one is looking through a series of monocles, which rotate left or right upon a singluar rod," was formed in my mind.
Perceptual Construct of Consciousness as an Invisible, Multidimensional Rotating Door that Revolves Through Copies of Itself
In this event of realization, this epiphany, I experienced time and space as though my mind was projecting subtle windows of magnification within the space between my mind and the pencil line." Further, I stated, "I believe there is a construct of consciousness that is built something akin to an old-fashioned rotating door one might find in the lobby of a hotel. This invisible construct, depending on the inner movements of focus and perception, rotates not only in one direction, but through multi-dimensional copies of itself. It is in the focus upon, and perspective within this construct that provides clarity within the images I see."
The Eye with Wings, that is an Arrow
There is also, as one observes the drawing below, the new development of a holographic female, who has a male behind her, pointing his finger to a heart, which is over the area of her abdomen. The bottom of this heart has an eye with wings extending from both its left and right sides, but form the shape of an arrow into her abdomen. In total, this smaller section seems to be descriptive of reflective mechanisms of self within Self, that are transcribed here. There are messages in this work, and the corollary structures that may impede understanding, are nullified, once meditation is employed.
Observations:
I am able, with the way I see, to be receptive to information beyond my "self". Within the meditative state and one-pointed focus, these lines and whole pictures formed in front of me on the paper.
Acceptance of Higher Truth is a Key
I focused on the development of the upper right-hand side of the image, and the imagery was provided as I observed. I copied always with the loving goal of precision and complete acceptance of the Truth of what I am seeing. This is the most natural of state to achieve, because it is through one's observation of all information present, from without and from within, that Higher Mind guides us toward our Highest Insight. Acceptance is a Higher Key.
The Scene and the Path of the Far-Off Place
In the Right Corner Detail below, one can see the development of many subtle forms. As mentioned previously, this feels as though it is a scene of a far-off place, and there are people working alongside each other. This has translated into a scene of characters that seem to be on the same path, and this path begins beyond the topmost, right corner of the paper, extending down and through the rainbow section at the mid-right side of the paper. All of this is located at the same perceived level of "sight," that the male figure's image is also located.
I See Through Self, as Though the Parts Perceived are a Multiplicity of Monocles
What I mean by "perceived level of sight," is a reference to earlier examinations of my own perceptions as to how "I" see, which are perceptions integral to the process of knowing my own experience. In this notebook, under the Drawings page, on 8/24/20, I discussed the artifact titled, "What Now Feels Like." There, I described the visual lenses that have become somewhat "solidified" in my seeing, which also are projections of force within self that are so moving, that they became personified through the identification of the "visual lens." A new conceptualization of "seeing through self, as though one is looking through a series of monocles, which rotate left or right upon a singluar rod," was formed in my mind.
Perceptual Construct of Consciousness as an Invisible, Multidimensional Rotating Door that Revolves Through Copies of Itself
In this event of realization, this epiphany, I experienced time and space as though my mind was projecting subtle windows of magnification within the space between my mind and the pencil line." Further, I stated, "I believe there is a construct of consciousness that is built something akin to an old-fashioned rotating door one might find in the lobby of a hotel. This invisible construct, depending on the inner movements of focus and perception, rotates not only in one direction, but through multi-dimensional copies of itself. It is in the focus upon, and perspective within this construct that provides clarity within the images I see."
The Eye with Wings, that is an Arrow
There is also, as one observes the drawing below, the new development of a holographic female, who has a male behind her, pointing his finger to a heart, which is over the area of her abdomen. The bottom of this heart has an eye with wings extending from both its left and right sides, but form the shape of an arrow into her abdomen. In total, this smaller section seems to be descriptive of reflective mechanisms of self within Self, that are transcribed here. There are messages in this work, and the corollary structures that may impede understanding, are nullified, once meditation is employed.
This is Paranormal, right corner detail, on 11.01.20. Work in Progress, graphite on watercolor paper.
This is Paranormal, right Whole Side Section of work in progress, 11.01.20. Graphite on watercolor paper.
10.30.20 Deconstruction of This is Paranormal
I am very pleased with the progress of this work.
When orientation is turned for increased perspective, one can appreciate the finalized development of the image of a male figure. The form enters at an odd angle from the right, hovering.
As I concluded, I must always be myself, and trust the subtle spiritual indices I am able to perceive. [The reality that may not be perceived by a reader, is that the feelings no longer act as barriers, but are now experienced as a supportive system that is a useful tool. Through one-pointed focus upon a thing, it expands within the mind of the observer. Sensitivity through this process of looking and knowing, and willingness to completely redefine one's experiences as now Higher, and parallel to the initial lower state of comprehension, has been transformative.]
The Male on the Right
As one gazes at the male form in a meditative, relaxed state, there seems a small fellow perceived next to his right ear. I remember noting as a child, while watching Sunday morning cartoons, the idea of two warring spiritual beings that inform, with the positive individual represented as an angel on one side, and a devil on the other. This idea is a healthy perceptual platform to begin, if one understands that beliefs representative of the negative, must be deconstructed to attain the locomotion of positive, synchronous action.
I do not see his left hand, as it moves down and out of the picture. His right hand subtly foreshortens directly toward the viewer, and his closed fist is holding something. It looks and feels to me a half-moon slip of paper, as it is slightly bent in its upper corner. When gazing at this spot, and moving the perceptual field out just a bit, the chest area seems to turn into a working table of sorts. Its edges are defined closest to the viewer as energetic lines of deeper inner self, and culminate in the inner eye that hovers at, and as, the base of this table, which is central within his chest.
The Metaphor of Pi
Pi might be symbolic of the larger spiritual landscape, which metaphorically could be defined as the circle's circumference, with the diameter - a straight line passing from side to side of any figure or body, through its center, indicative of relational orientation of the two parts. Further, there is also present on the table within the form, multiple hearts, which was realized as symbolic to the artist of one's perspective within herself. It is realized these three hearts on the table are indicative of the ability to perceive from multiple points-of-view at once.
Ability to See Multiple Perspectives Simultaneously, and the “Out-of-Body Experience"
This is a true skill, to place one's consciousness within multiple perspectives simultaneously. These hearts may be indicative of the "out-of-body" state, from within meditation. This is understood as a state that is defined by perception of one’s consciousness, or “self’s” location, as placed somewhere other than where the body currently rests.
Sybolic Objects
The arm that is reaching up so obviously, on the left side of the male's face, is not his. It belongs to the little fellow at his right ear. These size considerations that define what part belongs to whom, is only readable from the Higher Insightful State, so may appear visually "confusing" in translation to the reader/viewer. Within this hand, there are multiple small objects.
The Appearance of Ronnie
Within the Right Side Detail below, there seems a female is surrounded by angelic forms. To the right of her, there is a face that I have mentioned is the first of more than one, that is simultaneously One. The second aspect of this face appears to have flames moving upward and out from its head, but this second face's flames are straighter than the first's. These could be interpreted at feathers of sorts. And in this epiphany, it seems the room just rotated within my mind. Exciting stuff!
The Small Space of a Far-off Place
This smaller space on the right explains movement in a far-off place, and in its increasing clarity, one can appreciate a group working alongside each other. Further, there are also interesting outline-forms of people at the bottom of the Right-Side Detail, and these support characters to the overall story within the drawing that is unfolding. For example, the central cartoon-like female’s feet are literally placed upon the shoulders of the outlined form of a man walking into the drawing.
This drawing is quite enjoyable, and the pleasure is in the moment of now.
I am very pleased with the progress of this work.
When orientation is turned for increased perspective, one can appreciate the finalized development of the image of a male figure. The form enters at an odd angle from the right, hovering.
As I concluded, I must always be myself, and trust the subtle spiritual indices I am able to perceive. [The reality that may not be perceived by a reader, is that the feelings no longer act as barriers, but are now experienced as a supportive system that is a useful tool. Through one-pointed focus upon a thing, it expands within the mind of the observer. Sensitivity through this process of looking and knowing, and willingness to completely redefine one's experiences as now Higher, and parallel to the initial lower state of comprehension, has been transformative.]
The Male on the Right
As one gazes at the male form in a meditative, relaxed state, there seems a small fellow perceived next to his right ear. I remember noting as a child, while watching Sunday morning cartoons, the idea of two warring spiritual beings that inform, with the positive individual represented as an angel on one side, and a devil on the other. This idea is a healthy perceptual platform to begin, if one understands that beliefs representative of the negative, must be deconstructed to attain the locomotion of positive, synchronous action.
I do not see his left hand, as it moves down and out of the picture. His right hand subtly foreshortens directly toward the viewer, and his closed fist is holding something. It looks and feels to me a half-moon slip of paper, as it is slightly bent in its upper corner. When gazing at this spot, and moving the perceptual field out just a bit, the chest area seems to turn into a working table of sorts. Its edges are defined closest to the viewer as energetic lines of deeper inner self, and culminate in the inner eye that hovers at, and as, the base of this table, which is central within his chest.
The Metaphor of Pi
Pi might be symbolic of the larger spiritual landscape, which metaphorically could be defined as the circle's circumference, with the diameter - a straight line passing from side to side of any figure or body, through its center, indicative of relational orientation of the two parts. Further, there is also present on the table within the form, multiple hearts, which was realized as symbolic to the artist of one's perspective within herself. It is realized these three hearts on the table are indicative of the ability to perceive from multiple points-of-view at once.
Ability to See Multiple Perspectives Simultaneously, and the “Out-of-Body Experience"
This is a true skill, to place one's consciousness within multiple perspectives simultaneously. These hearts may be indicative of the "out-of-body" state, from within meditation. This is understood as a state that is defined by perception of one’s consciousness, or “self’s” location, as placed somewhere other than where the body currently rests.
Sybolic Objects
The arm that is reaching up so obviously, on the left side of the male's face, is not his. It belongs to the little fellow at his right ear. These size considerations that define what part belongs to whom, is only readable from the Higher Insightful State, so may appear visually "confusing" in translation to the reader/viewer. Within this hand, there are multiple small objects.
The Appearance of Ronnie
Within the Right Side Detail below, there seems a female is surrounded by angelic forms. To the right of her, there is a face that I have mentioned is the first of more than one, that is simultaneously One. The second aspect of this face appears to have flames moving upward and out from its head, but this second face's flames are straighter than the first's. These could be interpreted at feathers of sorts. And in this epiphany, it seems the room just rotated within my mind. Exciting stuff!
The Small Space of a Far-off Place
This smaller space on the right explains movement in a far-off place, and in its increasing clarity, one can appreciate a group working alongside each other. Further, there are also interesting outline-forms of people at the bottom of the Right-Side Detail, and these support characters to the overall story within the drawing that is unfolding. For example, the central cartoon-like female’s feet are literally placed upon the shoulders of the outlined form of a man walking into the drawing.
This drawing is quite enjoyable, and the pleasure is in the moment of now.
This is Paranormal, detail, orientation turned for perspective. Image of floating male, finalized. 10.29.20
This is Paranormal, work in progress. Right side, detail, 10.29.20.
10.28.20: Deconstruction of This is Paranormal
I was thankful for the time carved out to draw yesterday and today. With the excitement of the art show, as well as some very cool business developments... There is a lot happening...
The Speed of Development
To see the gift of images form upon the paper, as "I" observed within the meditative state - I found I could not move my hand fast enough, to expose the images bubbling up from beneath. I did pause in observation of this phenomena, during this particular sitting, and I noted my physical sensations. What I observed, was that as my point of focus narrowed, the center of my neck slightly tightened; it is a pleasurable feeling I experience throughout the day, especially when in a meditative state. This is representative to me, intuitively, as an indicator that "communication," is occurring.
As I have stated in this notebook, the spiritual realm is incomprehensibly vast. I mention this because the physical peculiarities of the body, may echo content's source, as revealed upon the paper. What I mean, is that the medium of note that I mentioned on my blog, has been found within this work. The images' quality is very subtle, but if one remembers to relax and look at the drawing as though he is gazing at a fire, it can be discerned easily. I also perceive a door behind him, and definitely feel like he is attempting to assist me. I believe this is a synchronicity of kindness.
The Small Scene
These smaller "scenes" peopled with far-off, outlined descriptions of individuals, feel very moving to me. There is curiosity and wonder in this smaller scene, with maybe a little more to observe flow forward into visual range soon. This process of drawing is special, and I believe everyone should be open to see what is seemingly beyond himself, in his own way. To do this, the practitioner of meditation, would benefit from a daily sitting with a purpose in mind (like a meditation on the Presence of God or Spirit within himself), as well as a mindful/one-pointed focus within the framework of an everyday, silent and pleasurable activity. By focusing the mind within pursuits such as art, music, dance, walking, running, or cooking (a singular activity with oneself), the mind accepts and loves itself with increased freedom. These are Modern Day, valid ways in which to practice the one-pointed, mindful focus that loosens the ego and enlightens the mind.
The Whole Image
There is a holographic female with a Watcher (Angel) looking through her third eye. There is another that appears more the classic Angel, who has what seems a rainbow/energetic wings coming out of his back. This latter angel has multiple perceived aspects, as evident in a vacillation of the eye between the obvious smaller face, and the larger face that is apparent when one is in his meditative state while looking.
I sense an enormous amount of wonderful information in this drawing, and am looking forward to sitting in front of it tomorrow.
I was thankful for the time carved out to draw yesterday and today. With the excitement of the art show, as well as some very cool business developments... There is a lot happening...
The Speed of Development
To see the gift of images form upon the paper, as "I" observed within the meditative state - I found I could not move my hand fast enough, to expose the images bubbling up from beneath. I did pause in observation of this phenomena, during this particular sitting, and I noted my physical sensations. What I observed, was that as my point of focus narrowed, the center of my neck slightly tightened; it is a pleasurable feeling I experience throughout the day, especially when in a meditative state. This is representative to me, intuitively, as an indicator that "communication," is occurring.
As I have stated in this notebook, the spiritual realm is incomprehensibly vast. I mention this because the physical peculiarities of the body, may echo content's source, as revealed upon the paper. What I mean, is that the medium of note that I mentioned on my blog, has been found within this work. The images' quality is very subtle, but if one remembers to relax and look at the drawing as though he is gazing at a fire, it can be discerned easily. I also perceive a door behind him, and definitely feel like he is attempting to assist me. I believe this is a synchronicity of kindness.
The Small Scene
These smaller "scenes" peopled with far-off, outlined descriptions of individuals, feel very moving to me. There is curiosity and wonder in this smaller scene, with maybe a little more to observe flow forward into visual range soon. This process of drawing is special, and I believe everyone should be open to see what is seemingly beyond himself, in his own way. To do this, the practitioner of meditation, would benefit from a daily sitting with a purpose in mind (like a meditation on the Presence of God or Spirit within himself), as well as a mindful/one-pointed focus within the framework of an everyday, silent and pleasurable activity. By focusing the mind within pursuits such as art, music, dance, walking, running, or cooking (a singular activity with oneself), the mind accepts and loves itself with increased freedom. These are Modern Day, valid ways in which to practice the one-pointed, mindful focus that loosens the ego and enlightens the mind.
The Whole Image
There is a holographic female with a Watcher (Angel) looking through her third eye. There is another that appears more the classic Angel, who has what seems a rainbow/energetic wings coming out of his back. This latter angel has multiple perceived aspects, as evident in a vacillation of the eye between the obvious smaller face, and the larger face that is apparent when one is in his meditative state while looking.
I sense an enormous amount of wonderful information in this drawing, and am looking forward to sitting in front of it tomorrow.
This is Paranormal, work in progress: Small scene, right center of Whole Image, 10.28.20
This is Paranormal, work in progress. Image of floating male, right center. Image developed as though his image were coming from a new location within me, and literally translates visually, as floating in from the right, when viewed within Whole Image.
This is Paranormal, work in progress, Whole Image, graphite on watercolor paper, 10.28.20
10.22.20 Work in Progress Notes:
Observations:
I sat at the large drawing I am calling Imagination again today. A familiar face peeked out at me, as it had done for months. I love this face, as it seems very sweet to me, magical. In the Before image, I am referencing the area directly above the mermaid, which is at the very bottom of the image. In the After image, the face I am referencing, with a corresponding body/form, has now surfaced to be appreciated. This fairy, I have found my mind calling her, is holographic in nature, and her full form was realized today, but I have been watching her face for months. I can read her from head to toe now, and she sits with her left leg bent, which reads through and as, a part of the mermaids face. This seeing through parts of one thing to another is common in this work. It occurs to me that the holographic nature of this image feels like breathing to me.
The Breath is a Doorway to the Unconscious and Higher Mind
The breath is a powerful thing. From my observations, and in my reading, I have noted it is a source through which one may connect directly with, and create a window to and through, the unconscious mind. The order of the levels of the mind that one encounters through meditation includes: the conscious mind, the unconscious mind, and the superconscious mind. Above this level is the Source. But, do not be deceived by my delineations - I label and name only for the sake of being organized and able to share with others. Know that the Source, or Higher Mind/God, is fully able to be present and known, I have found, within all levels of the mind within oneself.
By focusing on the breath, the dynamics of one's consciousness, through one-pointed focus, is funneled inward. One learns that the movement and sensation of his own breathing transforms his inner state-of-mind, and by sitting in meditation, with the focus on the rise and fall at the chest/heart, or at the point of the nostrils where the stream of air flows in-and-out, the mind expands, and images begin to appear - if one is so inclined to see.
The Imagination may be moved to assist in conceptualizations of what is sensed as occurring within oneself. For example, at the beginning of one's focus inward, use language to assist and guide perceptions - state, "I affirm that my outer, ego-mind is lovely, and does its job well to keep me safe, but right now, it will move away and to the left, and I will ascend away from my thoughts, above and beyond my body, outward to the God of My Being." Then watch and observe the scene before you. I find that before I am even done saying the extemporaneous affirmation, I have watched within my mind the construction of a setting, the movement of my consciousness through it, at a parallel level with it, and then a curving movement upward ascending very quickly. I do not "try" to do this, it is just what I observe to happen. When the movement upward stabilizes into a new space, this is where I rest. Then, I often proceed to follow and interact with the individual energies that show up, or sit in what can often be called Rapture with the Presence of God.
The Spiritual always Presents Naturally - always in a way that is appropriate for each individual consciousness
The affirmation above is lengthy, and only reflects my own language flow. Be natural, be yourself. If something perceived is truly of Spiritual Design, it will be Natural in presentation to your mind. As I mentioned in my blog recently, and for clarification, I believe the imagination is a holy device of the mind, and its use should be imbued with integrity and compassion. It is a Natural Tool of the Mind, and what you imagine is a reflection of your own conceptualization of self.
The Fairy and The Energy Tool
In examination of this new female fairy-like being, one notes she has a half-moon in her bent, left arm, which she holds up near her head. Her right hand has within it what I read as an energetic eye. To me the moon is representative of the feminine aspect of self, and also is a reference to night and season. The energetic eye perceived in her other hand looks a lot like the Energy Tool I have created in my meditations. It, is a long, straight, rod-of-light that I use as a transformer of sorts, so when I focus upon it, I am transported to a new "location." Further, by creating a device such as this, I now have a symbolic platform/tool, that is representative of Higher Curiosity, and I use it to explore the places perceived within my Whole Self.
Use your imagination; it is a tool to use so one may know and achieve greater things. May the Light of Grace, Love and Peace be with anyone that looks at this work!
Observations:
I sat at the large drawing I am calling Imagination again today. A familiar face peeked out at me, as it had done for months. I love this face, as it seems very sweet to me, magical. In the Before image, I am referencing the area directly above the mermaid, which is at the very bottom of the image. In the After image, the face I am referencing, with a corresponding body/form, has now surfaced to be appreciated. This fairy, I have found my mind calling her, is holographic in nature, and her full form was realized today, but I have been watching her face for months. I can read her from head to toe now, and she sits with her left leg bent, which reads through and as, a part of the mermaids face. This seeing through parts of one thing to another is common in this work. It occurs to me that the holographic nature of this image feels like breathing to me.
The Breath is a Doorway to the Unconscious and Higher Mind
The breath is a powerful thing. From my observations, and in my reading, I have noted it is a source through which one may connect directly with, and create a window to and through, the unconscious mind. The order of the levels of the mind that one encounters through meditation includes: the conscious mind, the unconscious mind, and the superconscious mind. Above this level is the Source. But, do not be deceived by my delineations - I label and name only for the sake of being organized and able to share with others. Know that the Source, or Higher Mind/God, is fully able to be present and known, I have found, within all levels of the mind within oneself.
By focusing on the breath, the dynamics of one's consciousness, through one-pointed focus, is funneled inward. One learns that the movement and sensation of his own breathing transforms his inner state-of-mind, and by sitting in meditation, with the focus on the rise and fall at the chest/heart, or at the point of the nostrils where the stream of air flows in-and-out, the mind expands, and images begin to appear - if one is so inclined to see.
The Imagination may be moved to assist in conceptualizations of what is sensed as occurring within oneself. For example, at the beginning of one's focus inward, use language to assist and guide perceptions - state, "I affirm that my outer, ego-mind is lovely, and does its job well to keep me safe, but right now, it will move away and to the left, and I will ascend away from my thoughts, above and beyond my body, outward to the God of My Being." Then watch and observe the scene before you. I find that before I am even done saying the extemporaneous affirmation, I have watched within my mind the construction of a setting, the movement of my consciousness through it, at a parallel level with it, and then a curving movement upward ascending very quickly. I do not "try" to do this, it is just what I observe to happen. When the movement upward stabilizes into a new space, this is where I rest. Then, I often proceed to follow and interact with the individual energies that show up, or sit in what can often be called Rapture with the Presence of God.
The Spiritual always Presents Naturally - always in a way that is appropriate for each individual consciousness
The affirmation above is lengthy, and only reflects my own language flow. Be natural, be yourself. If something perceived is truly of Spiritual Design, it will be Natural in presentation to your mind. As I mentioned in my blog recently, and for clarification, I believe the imagination is a holy device of the mind, and its use should be imbued with integrity and compassion. It is a Natural Tool of the Mind, and what you imagine is a reflection of your own conceptualization of self.
The Fairy and The Energy Tool
In examination of this new female fairy-like being, one notes she has a half-moon in her bent, left arm, which she holds up near her head. Her right hand has within it what I read as an energetic eye. To me the moon is representative of the feminine aspect of self, and also is a reference to night and season. The energetic eye perceived in her other hand looks a lot like the Energy Tool I have created in my meditations. It, is a long, straight, rod-of-light that I use as a transformer of sorts, so when I focus upon it, I am transported to a new "location." Further, by creating a device such as this, I now have a symbolic platform/tool, that is representative of Higher Curiosity, and I use it to explore the places perceived within my Whole Self.
Use your imagination; it is a tool to use so one may know and achieve greater things. May the Light of Grace, Love and Peace be with anyone that looks at this work!
Before
AFTER: The Fairy and The Mermaid, section of Imagination, 10.22.20
10.18.20 Re-work notes for earlier work, Imagination, May/June 2020
Yesterday, I sat again in front of this large drawing. I felt drawn back to this work, and in its examination, I knew there was more to be discovered. Please see notes below, from 10.17.20, regarding this "pause and watch" process that sometimes occurs in this work.
What I found upon close inspection of the "incomprehensible section", just below the man's face in the original image on the left (Before), was the face of a young girl. I focused inwardly, let go of the preconceiving outer mind, and suddenly saw her whole body sitting neatly in the chair. It took me about two hours to get the subtle variations that I felt were so insistently pulling at "me," almost sparkling on the paper to get my attention.
It is significant to me that this lovely, young face's evolution upward, was determinant upon the dissolution of what I had come to fondly think of as "God's Face" (see original image below). That is what that face feels like to me, in the original version on the left. It is also interesting to me that from His Face downward to the mermaid (not shown here), I had named God's Realm (see larger image and notes on the Drawings page about May/June Large Drawing).
In observation of the whole reworked image, the sitting child is doing something with both hands. Her right seems to be pointing westward, with a small shape on the index finger. reminiscent of jewelry. Her left hand is more interesting, in that it seems to be turning a knob of some kind. The original drawing, which has been erased now, vibrates in the space of her skirt, hinting at a design there, and seems to move upward and from behind.
Within the space of her head, there is a strange, unidentifiable shape within the skull, and it is holographic (I think this is a good verbal description of consciousness... and very funny to me! I did not sit there and think at all, I just drew what materialized in front of me as the energetic lines I "see"). I read wings above her head to the left, and off to the right, and feel that a sense of upward movement, or lifting is still in need of resolution regarding clarity of the images here. Above this space, there sits a peaceful young woman. She wears a crown with flames, and on her lap is a new type of contrasting line that simultaneously reads as her skirt, and then pulls the eye up and out to an eye that seems to hover in mid-air, off to the left.
Overall, these two reworked sections, which I knew were not fully resolved when I set the drawing aside, appear to be an abstract depiction of the powerful state that is representative of a Child of God, and ultimately is a visual description of the metamorphosis of a state-of-being within oneself. I believe the story above this sitting child's head, is representative of the state I now currently feel I am experiencing within myself - a renewed realization of seeing beyond physical reality, and into the realm of the spiritual.
Yesterday, I sat again in front of this large drawing. I felt drawn back to this work, and in its examination, I knew there was more to be discovered. Please see notes below, from 10.17.20, regarding this "pause and watch" process that sometimes occurs in this work.
What I found upon close inspection of the "incomprehensible section", just below the man's face in the original image on the left (Before), was the face of a young girl. I focused inwardly, let go of the preconceiving outer mind, and suddenly saw her whole body sitting neatly in the chair. It took me about two hours to get the subtle variations that I felt were so insistently pulling at "me," almost sparkling on the paper to get my attention.
It is significant to me that this lovely, young face's evolution upward, was determinant upon the dissolution of what I had come to fondly think of as "God's Face" (see original image below). That is what that face feels like to me, in the original version on the left. It is also interesting to me that from His Face downward to the mermaid (not shown here), I had named God's Realm (see larger image and notes on the Drawings page about May/June Large Drawing).
In observation of the whole reworked image, the sitting child is doing something with both hands. Her right seems to be pointing westward, with a small shape on the index finger. reminiscent of jewelry. Her left hand is more interesting, in that it seems to be turning a knob of some kind. The original drawing, which has been erased now, vibrates in the space of her skirt, hinting at a design there, and seems to move upward and from behind.
Within the space of her head, there is a strange, unidentifiable shape within the skull, and it is holographic (I think this is a good verbal description of consciousness... and very funny to me! I did not sit there and think at all, I just drew what materialized in front of me as the energetic lines I "see"). I read wings above her head to the left, and off to the right, and feel that a sense of upward movement, or lifting is still in need of resolution regarding clarity of the images here. Above this space, there sits a peaceful young woman. She wears a crown with flames, and on her lap is a new type of contrasting line that simultaneously reads as her skirt, and then pulls the eye up and out to an eye that seems to hover in mid-air, off to the left.
Overall, these two reworked sections, which I knew were not fully resolved when I set the drawing aside, appear to be an abstract depiction of the powerful state that is representative of a Child of God, and ultimately is a visual description of the metamorphosis of a state-of-being within oneself. I believe the story above this sitting child's head, is representative of the state I now currently feel I am experiencing within myself - a renewed realization of seeing beyond physical reality, and into the realm of the spiritual.
10.18.20 - Reworked upper left section of Imagination - Contemplation of Energy
BEFORE: Left side, upper section of Imagination
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AFTER 10.18.20 - Reworked, mid to upper left side of Imagination - The Higher Child.
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10/17/20: Reworking of Imagination. Notes
Before and After? Or, just, 'To Be Continued?'
To prepare for next weekend, I felt moved to rework seemingly ambiguous sections of the large drawing that I am calling Imagination, from May/June, 2020. I was pleasantly surprised that this was the case, as I felt satisfied with the drawings' sections, but as a whole, it was challenging to read; I felt that there was more to see, but at that time, I guess I may not have been able to do so - for some reason. I have called this a state of incomprehensibility of my own work. I have observed that some of my work seems preparatory, in that a foundation is laid in the mark-making. But, it seems that this is what I must observe for a while, unfinished, in order that the structure of the whole image can be realized in my conscious mind. Even though I work only in sections of about 1 to 3 inches for hours at a time, it seems that some sections remain, to my mind, "unfinished," and I am moved to move on for a while to another work. Then, I am "pulled" back to something I have started, like this work, that was taken as far as it could be taken at the time, perceptually. I have worked on this drawing for two months straight (May/June 2020), and then hung it carefully on my wall to watch it as I went about my business.
I feel that there is communication in my own work, to myself, for learning purposes. One can learn a lot from observing himself. This is the framework of mind that is realized when an "extended pause" is placed on a drawing.
Yesterday, I began again on this large work, in the upper right corner and found what I perceived as "louder than usual" characters. Below and on the left is the "old" version. On the right is the re-worked version from yesterday.
In the reworked version on the right, I see a woman riding a horse, so far, with a small boy below her on the "ground," reaching up holding a heart in his hand. There is another character with large, cartoon-like eyes just to the right of the large woman's face, who is reaching toward the boy. There is also a strange outlined image just left of center at the top. He is fluid in line quality, is walking toward the viewer, and looks something like an abominable snow man. Lastly, there are a few characters in the very right upper corner that are evolving, looking, again toward the viewer. Size difference is significant, comparatively between large earlier figures, and smaller, newer characters. Overall, although this right upper corner is not completely reworked yet, there is a feeling of "setting out" on an adventure by this central female, horse-riding character.
Before and After? Or, just, 'To Be Continued?'
To prepare for next weekend, I felt moved to rework seemingly ambiguous sections of the large drawing that I am calling Imagination, from May/June, 2020. I was pleasantly surprised that this was the case, as I felt satisfied with the drawings' sections, but as a whole, it was challenging to read; I felt that there was more to see, but at that time, I guess I may not have been able to do so - for some reason. I have called this a state of incomprehensibility of my own work. I have observed that some of my work seems preparatory, in that a foundation is laid in the mark-making. But, it seems that this is what I must observe for a while, unfinished, in order that the structure of the whole image can be realized in my conscious mind. Even though I work only in sections of about 1 to 3 inches for hours at a time, it seems that some sections remain, to my mind, "unfinished," and I am moved to move on for a while to another work. Then, I am "pulled" back to something I have started, like this work, that was taken as far as it could be taken at the time, perceptually. I have worked on this drawing for two months straight (May/June 2020), and then hung it carefully on my wall to watch it as I went about my business.
I feel that there is communication in my own work, to myself, for learning purposes. One can learn a lot from observing himself. This is the framework of mind that is realized when an "extended pause" is placed on a drawing.
Yesterday, I began again on this large work, in the upper right corner and found what I perceived as "louder than usual" characters. Below and on the left is the "old" version. On the right is the re-worked version from yesterday.
In the reworked version on the right, I see a woman riding a horse, so far, with a small boy below her on the "ground," reaching up holding a heart in his hand. There is another character with large, cartoon-like eyes just to the right of the large woman's face, who is reaching toward the boy. There is also a strange outlined image just left of center at the top. He is fluid in line quality, is walking toward the viewer, and looks something like an abominable snow man. Lastly, there are a few characters in the very right upper corner that are evolving, looking, again toward the viewer. Size difference is significant, comparatively between large earlier figures, and smaller, newer characters. Overall, although this right upper corner is not completely reworked yet, there is a feeling of "setting out" on an adventure by this central female, horse-riding character.
Imagination, May/June 2020, upper right corner detail
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Imagination, 10.16.20, re-worked, upper right corner detial.
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10/14/20: Work in Progress Notes:
I was personally invited to participate in the Comstock Art Celebration, in Virginia City, on October 24th and 25th. The advertisement with times and dates is below. If you are a viewer of this website, please attend and support local artists. It is outdoors, with a lovely view of Virginia City and its landscape. I do not believe I will be selling any of the original artwork, but I will have prints made of some of the pieces, and these will be for sale. Also, I will have a sign-up form with me for the Scrying Experiment, which is no charge, wherein you have the opportunity to have a piece of art made just for you.
Also, I continued working on the Untitled Work in Progress (posting on 10.1.20 below), and will post a final version of it on the Drawings page.
I hope to see my website visitors at the Comstock Art Celebration!
I was personally invited to participate in the Comstock Art Celebration, in Virginia City, on October 24th and 25th. The advertisement with times and dates is below. If you are a viewer of this website, please attend and support local artists. It is outdoors, with a lovely view of Virginia City and its landscape. I do not believe I will be selling any of the original artwork, but I will have prints made of some of the pieces, and these will be for sale. Also, I will have a sign-up form with me for the Scrying Experiment, which is no charge, wherein you have the opportunity to have a piece of art made just for you.
Also, I continued working on the Untitled Work in Progress (posting on 10.1.20 below), and will post a final version of it on the Drawings page.
I hope to see my website visitors at the Comstock Art Celebration!
10.01.20 Work in Progress Notes:
Synchronicity:
I have been reading a book by Norman Paulsen, a Brother of Yogananda Paramahansaji's Self-Realization Fellowship, which was organized in 1920. For context, Paulsen is reflecting upon a sentence he heard while in deep meditation, and while in the presence of an angelic being within his perception. It says, "The words, 'Ride your own life stream home,' spoken to me by the angelic being, are meant for every person who reads this message. Where is home? It is in the first light of creation, Christ consciousness. This divine light, brighter than the noonday sun, shines within you, but only your awakened soul and the pure Self can see it. Meditation takes you to the pure Self within. Your now awakened soul, individualized Spirit, takes you home as a Christ-conscious human being, now a child of God. Yes, the kingdom of God is indeed within you. The words of Jesus, well spoken so long ago, are a living reality" (16) .
I found this paragraph especially meaningful, as only hours before, I had deconstructed the drawing titled "The Kingdom Within," in which I mention that it "feels like home" to me. These types of synchronicities abound in my life. I have concluded that perceived synchronicity is an indicator you are on the right path, and indicative of communication from the Higher Self within oneself. If you perceive synchronicity, make sure to give thanks. Gratitude for fortuitous events invokes a Higher State of Mind. You just get more of what you give...
Continued Deconstruction of Work in Progress:
There is an energy in this work that increasingly leans to the sense of a holographic environment. Also, this energy feels to me to be stabilizing somewhat. What I mean by this, is that there is the feel of a location, if one is in the meditative state of mind while he looks. Once the mind locates a recognizable image, find the fire-gazing, or meditative frame of mind within yourself, and then relax and look. There is a whitish background of sorts behind all of the characters; this is shaped something like a surfboard on its side. I have also realized a "fenced environment" that spans from that breadth, to the bottom of the page. The upper left corner is what remains to be finished, short of balancing the graphite density throughout. I know this much will happen.
Surrealism?
I am informed by way of more than dark or light, discernible characters, or perfection of form and detail. There is a surreal state-of-mind I actually feel when I look at this. It is the super-reality of the realization of God within. Is this the way the Surrealist's felt? I don't remember reading anything about a realization of Higher Mind in their work. According to Wikipedia, Surrealism was a cultural movement, which developed in Europe in the aftermath of World War I, and was largely influenced by Dada. The movement is best known for its visual artworks and writings, and the juxtaposition of uncommon imagery. Artists painted unnerving, illogical scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and developing painting techniques that allowed the unconscious to express itself. Its aim was, according to leader Andre Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.
Ok, so Surrealism as a movement is the search to resolve previously contradictory conditions of what was realized when one slept, with perception of physical reality? Where is the artist, and Higher Mind in Surrealist work? I think this is the difference between true Surrealism, and what is happening here. I will have to do more investigation, and read about Andre Breton. At the very least, I can see what's up with the "techniques" they created.
Many meditators and thinkers alive today, do not bind the definition of "what mind is," to a limited palette of an uncontrollable dream-world, and only the five senses. That said, this investigation is always to find out more, as it relates to the art, which I believe is an 'unconscious' expression of the Higher Mind. I do not believe the unconscious is unavailable or inaccessible. I do not feel at all like the work is progressing toward the illogical; rather, I find that "reading" it, is becoming much easier. How the images blend together feels like it is making more sense visually, at least to me. What I am seeing when I draw has never been confusing to me. Incomprehensible, yes (see 9.29.20 note), but I am never confused. I am still and present, observing, and watching what arises, and I devotedly follow that energy across the paper..
I am curious to hear what others might think of the drawings, and/or the writing. There is a new blog page on the website, and it is for "Something Good in Creation." What do you think of this drawing?
Synchronicity:
I have been reading a book by Norman Paulsen, a Brother of Yogananda Paramahansaji's Self-Realization Fellowship, which was organized in 1920. For context, Paulsen is reflecting upon a sentence he heard while in deep meditation, and while in the presence of an angelic being within his perception. It says, "The words, 'Ride your own life stream home,' spoken to me by the angelic being, are meant for every person who reads this message. Where is home? It is in the first light of creation, Christ consciousness. This divine light, brighter than the noonday sun, shines within you, but only your awakened soul and the pure Self can see it. Meditation takes you to the pure Self within. Your now awakened soul, individualized Spirit, takes you home as a Christ-conscious human being, now a child of God. Yes, the kingdom of God is indeed within you. The words of Jesus, well spoken so long ago, are a living reality" (16) .
I found this paragraph especially meaningful, as only hours before, I had deconstructed the drawing titled "The Kingdom Within," in which I mention that it "feels like home" to me. These types of synchronicities abound in my life. I have concluded that perceived synchronicity is an indicator you are on the right path, and indicative of communication from the Higher Self within oneself. If you perceive synchronicity, make sure to give thanks. Gratitude for fortuitous events invokes a Higher State of Mind. You just get more of what you give...
Continued Deconstruction of Work in Progress:
There is an energy in this work that increasingly leans to the sense of a holographic environment. Also, this energy feels to me to be stabilizing somewhat. What I mean by this, is that there is the feel of a location, if one is in the meditative state of mind while he looks. Once the mind locates a recognizable image, find the fire-gazing, or meditative frame of mind within yourself, and then relax and look. There is a whitish background of sorts behind all of the characters; this is shaped something like a surfboard on its side. I have also realized a "fenced environment" that spans from that breadth, to the bottom of the page. The upper left corner is what remains to be finished, short of balancing the graphite density throughout. I know this much will happen.
Surrealism?
I am informed by way of more than dark or light, discernible characters, or perfection of form and detail. There is a surreal state-of-mind I actually feel when I look at this. It is the super-reality of the realization of God within. Is this the way the Surrealist's felt? I don't remember reading anything about a realization of Higher Mind in their work. According to Wikipedia, Surrealism was a cultural movement, which developed in Europe in the aftermath of World War I, and was largely influenced by Dada. The movement is best known for its visual artworks and writings, and the juxtaposition of uncommon imagery. Artists painted unnerving, illogical scenes, sometimes with photographic precision, creating strange creatures from everyday objects, and developing painting techniques that allowed the unconscious to express itself. Its aim was, according to leader Andre Breton, to "resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality", or surreality.
Ok, so Surrealism as a movement is the search to resolve previously contradictory conditions of what was realized when one slept, with perception of physical reality? Where is the artist, and Higher Mind in Surrealist work? I think this is the difference between true Surrealism, and what is happening here. I will have to do more investigation, and read about Andre Breton. At the very least, I can see what's up with the "techniques" they created.
Many meditators and thinkers alive today, do not bind the definition of "what mind is," to a limited palette of an uncontrollable dream-world, and only the five senses. That said, this investigation is always to find out more, as it relates to the art, which I believe is an 'unconscious' expression of the Higher Mind. I do not believe the unconscious is unavailable or inaccessible. I do not feel at all like the work is progressing toward the illogical; rather, I find that "reading" it, is becoming much easier. How the images blend together feels like it is making more sense visually, at least to me. What I am seeing when I draw has never been confusing to me. Incomprehensible, yes (see 9.29.20 note), but I am never confused. I am still and present, observing, and watching what arises, and I devotedly follow that energy across the paper..
I am curious to hear what others might think of the drawings, and/or the writing. There is a new blog page on the website, and it is for "Something Good in Creation." What do you think of this drawing?
10.01.20 Untitled, work in progress, 7 1/4" x 6.5", graphite on watercolor paper
9/30/20 Before-Sleep "Scribble" Notes
This is an "unfinished" drawing I have had hanging on my wall since June. It was a quick "scribble-type" of effort, but looking closer, it is a true drawing, not just a scribble. It has been hung by thumbtacks at the furthest edges, and it has been kept because it captured a feeling that has pulled on "me." There is something that was introduced in this work that I cannot quite comprehend.
First thoughts upon a re-examination of this work, which feels as if it is suggesting more:
When we look at what we do not know or understand, in the examination more is revealed about ourselves. This is because what one's consciousness is focused upon expands, easily giving up information to the mind. This information originates in the now, within the self, and is a reflective mechanism of One Thing: You. There is no inherent value in anything outside of the mind, because the "value" is only what is believed. Belief is not Life. Belief is a construct of the mind, originating from experience that is polarized (positive and negative). Life is the opportunity to invent, discover, and realize whatever and whomever you are, and for many, within a polarized framework of "seemingly never to be able to know" what will happen next. The exception to this is learning who you really are through meditative efforts.
In the expansion of experience, if we are positioned correctly in the mind when we look at something, it is realized that we are more than we had originally thought. What we notice in the examination of the whole experience, is that one is not alone within himself; he is One with Another. I am made aware that this might be frightening when one truly and wholeheartedly asks to understand the meaning of life. But one has to consider: What do you have to lose, in taking the time to meditate and look within, with intent to know who you are? Ultimately, there is no value outside of the mind; physical reality is only provided as a reflective surface for the only qualifying indicator in this description that means Everything - the Realization of the Whole Self.
Incomprehension transformed to the Kingdom Within
Deconstruction of the work and the idea of incomprehension:
I am able to identify a unicorn, with the rider's head located at the top of the work. His face is a silhouette of white, and his torso seems to be located in various dimensions, in my mind. There is a density of shape and gradation within the "very center" area, and once one relocates the "aura" of the unicorn, the eye is quickly drawn both southwest and eastwardly, by two dragon-seeming faces - one of which is positioned looking almost directly at the viewer, the other looking at the path, which is off to the left. There is also in the left lower corner, a house, and behind that, a clear path between two mountains. Behind the unicorn and rider, there is a knightly fellow who bows his head slightly forward; he also wears a helmet. The unicorn's face translates as the knight's right leg in part, but the rest of the knight's leg is only an outline, remaining as the white of the paper beneath it. Overall, I have a sense of a valley scene, with mountains behind it. A king rides forward, and a knight in his kingdom is bowing in respect. I feel like it is a hero's journey, and the king is surveying his kingdom. A pretty beautiful deconstruction, as the whole work feels like home to me. That there are dragons coming from the lap of the king, I feel is symbolic of the power he has over his kingdom. And in this moment, I have the epiphany - I realize this drawing is a reflection of the Kingdom Within, and it is in this location that we understand what "I" means to each of us. It is only when we understand ourselves, that we have anything to share with others.
I hope you found some meaning in this work today, and that it may have sparked an interest in your own mind, about who and what you are.
Wow, was this just a description of what I am actually doing now, taken from a drawing done in June? Hmmmmm.
See Experiment #1 for where this epiphany has led me.
This is an "unfinished" drawing I have had hanging on my wall since June. It was a quick "scribble-type" of effort, but looking closer, it is a true drawing, not just a scribble. It has been hung by thumbtacks at the furthest edges, and it has been kept because it captured a feeling that has pulled on "me." There is something that was introduced in this work that I cannot quite comprehend.
First thoughts upon a re-examination of this work, which feels as if it is suggesting more:
When we look at what we do not know or understand, in the examination more is revealed about ourselves. This is because what one's consciousness is focused upon expands, easily giving up information to the mind. This information originates in the now, within the self, and is a reflective mechanism of One Thing: You. There is no inherent value in anything outside of the mind, because the "value" is only what is believed. Belief is not Life. Belief is a construct of the mind, originating from experience that is polarized (positive and negative). Life is the opportunity to invent, discover, and realize whatever and whomever you are, and for many, within a polarized framework of "seemingly never to be able to know" what will happen next. The exception to this is learning who you really are through meditative efforts.
In the expansion of experience, if we are positioned correctly in the mind when we look at something, it is realized that we are more than we had originally thought. What we notice in the examination of the whole experience, is that one is not alone within himself; he is One with Another. I am made aware that this might be frightening when one truly and wholeheartedly asks to understand the meaning of life. But one has to consider: What do you have to lose, in taking the time to meditate and look within, with intent to know who you are? Ultimately, there is no value outside of the mind; physical reality is only provided as a reflective surface for the only qualifying indicator in this description that means Everything - the Realization of the Whole Self.
Incomprehension transformed to the Kingdom Within
Deconstruction of the work and the idea of incomprehension:
I am able to identify a unicorn, with the rider's head located at the top of the work. His face is a silhouette of white, and his torso seems to be located in various dimensions, in my mind. There is a density of shape and gradation within the "very center" area, and once one relocates the "aura" of the unicorn, the eye is quickly drawn both southwest and eastwardly, by two dragon-seeming faces - one of which is positioned looking almost directly at the viewer, the other looking at the path, which is off to the left. There is also in the left lower corner, a house, and behind that, a clear path between two mountains. Behind the unicorn and rider, there is a knightly fellow who bows his head slightly forward; he also wears a helmet. The unicorn's face translates as the knight's right leg in part, but the rest of the knight's leg is only an outline, remaining as the white of the paper beneath it. Overall, I have a sense of a valley scene, with mountains behind it. A king rides forward, and a knight in his kingdom is bowing in respect. I feel like it is a hero's journey, and the king is surveying his kingdom. A pretty beautiful deconstruction, as the whole work feels like home to me. That there are dragons coming from the lap of the king, I feel is symbolic of the power he has over his kingdom. And in this moment, I have the epiphany - I realize this drawing is a reflection of the Kingdom Within, and it is in this location that we understand what "I" means to each of us. It is only when we understand ourselves, that we have anything to share with others.
I hope you found some meaning in this work today, and that it may have sparked an interest in your own mind, about who and what you are.
Wow, was this just a description of what I am actually doing now, taken from a drawing done in June? Hmmmmm.
See Experiment #1 for where this epiphany has led me.
"The Kingdom Within," June, 2020, 11" x 11", graphite on drawing paper.
9.29.20 Progress Notes
Fire-gazing and bi-location of the mind
A new friend related to me her experience of this work, in that, "It reminds me of fire in a weird way. It's so intricate. I stare at it like I would a campground fire. It's mesmerizing." I call this a meditative state, but for those who do not know what is meant by "meditative state," a "fire-gazing state" is very user friendly!
In the occult, this gazing state is often referred to as "scrying," and I have been aware of this corner of the world in regard to "definition of things," but there is no "magic" going on here, just synchronicities, epiphanies and miracles. Wikipedia says this about scrying: "It is the practice of looking into a suitable medium in the hope of detecting significant messages or visions. The objective might be personal guidance, prophecy, revelation, or inspiration, but down the ages, scrying in various forms also has been a prominent means of divination or fortune-telling. It remains popular in occult circles, discussed in many media, both modern and centuries old" (n.p.).
Honestly, that description sounds reflective of what I experience, except that I only sit in front of the drawing with intent to see what the Higher State of Consciousness provides. I am only a funnel. I suppose, in a sense, that is my intent, but it is really a "state-of-mind" like that of an empty sky wherein I see what I see with little occlusion. The word 'occult" is reflective of "secretive," and when I look, I see. For myself, the experience of realizing an image in this work, feels like receiving gift after gift after gift. Gift-giving can be secretive, but who doesn't like that kind of surprise?
To attain this state, it is useful to recall a time when one gazed at a flame, and how that relaxed state of mind felt, before looking at this work. In the "Whole Image" below, one can appreciate, after making the fluid transition into this relaxed focus, that even though it appears very busy at first glance, you can see past the images. In fact, you can see through them.
The physical mind wants to make sense of the world around it, and uses the eyes in the physical body. When the inner insistence that what you are looking at must be what you think it is (as perceived via only the physical eyes), a struggle for clarity ensues. This is because I believe we are all more than our physical bodies, and the mind is not caged in the skull. Consciousness is fluid, expansive, and as I mentioned elsewhere, multidimensional and holographic. It can and does locate itself in multiple locations simultaneously. For example, you can watch a bird outside of your window, and simultaneously remember the smell of your grandmother's perfume.
Also, out-of-body-experiences, bi-location of the mind (in the body, as well as another location) are also possible. We are limited by our imagination, in regard to our experiences in life. The truth of it all can only be discerned individually, and through experience. Overall, it is in one's willingness to see what is there, as it is, instead of forcing the analytical mind to interpret, that we see more fully who we truly are, and what our consciousness' is capable of realizing..
Fire-gazing and bi-location of the mind
A new friend related to me her experience of this work, in that, "It reminds me of fire in a weird way. It's so intricate. I stare at it like I would a campground fire. It's mesmerizing." I call this a meditative state, but for those who do not know what is meant by "meditative state," a "fire-gazing state" is very user friendly!
In the occult, this gazing state is often referred to as "scrying," and I have been aware of this corner of the world in regard to "definition of things," but there is no "magic" going on here, just synchronicities, epiphanies and miracles. Wikipedia says this about scrying: "It is the practice of looking into a suitable medium in the hope of detecting significant messages or visions. The objective might be personal guidance, prophecy, revelation, or inspiration, but down the ages, scrying in various forms also has been a prominent means of divination or fortune-telling. It remains popular in occult circles, discussed in many media, both modern and centuries old" (n.p.).
Honestly, that description sounds reflective of what I experience, except that I only sit in front of the drawing with intent to see what the Higher State of Consciousness provides. I am only a funnel. I suppose, in a sense, that is my intent, but it is really a "state-of-mind" like that of an empty sky wherein I see what I see with little occlusion. The word 'occult" is reflective of "secretive," and when I look, I see. For myself, the experience of realizing an image in this work, feels like receiving gift after gift after gift. Gift-giving can be secretive, but who doesn't like that kind of surprise?
To attain this state, it is useful to recall a time when one gazed at a flame, and how that relaxed state of mind felt, before looking at this work. In the "Whole Image" below, one can appreciate, after making the fluid transition into this relaxed focus, that even though it appears very busy at first glance, you can see past the images. In fact, you can see through them.
The physical mind wants to make sense of the world around it, and uses the eyes in the physical body. When the inner insistence that what you are looking at must be what you think it is (as perceived via only the physical eyes), a struggle for clarity ensues. This is because I believe we are all more than our physical bodies, and the mind is not caged in the skull. Consciousness is fluid, expansive, and as I mentioned elsewhere, multidimensional and holographic. It can and does locate itself in multiple locations simultaneously. For example, you can watch a bird outside of your window, and simultaneously remember the smell of your grandmother's perfume.
Also, out-of-body-experiences, bi-location of the mind (in the body, as well as another location) are also possible. We are limited by our imagination, in regard to our experiences in life. The truth of it all can only be discerned individually, and through experience. Overall, it is in one's willingness to see what is there, as it is, instead of forcing the analytical mind to interpret, that we see more fully who we truly are, and what our consciousness' is capable of realizing..
9.29.20, Detail, bottom-middle character faces
9.29.20 Front, bottom-middle characters, unfinished, work in progress
9.29.20 Whole Image, unfinished, work in progress
9.28.20 Work in progress notes:
In the middle of the bottom (see in Detail 9.28.20 below), there are a few new characters developing. Most notably is a woman who gazes beseechingly at a large-faced male figure. A dog sits next to the male on his left, and the male's arm is draped over the dog. Interestingly, the male and female fill a section of the work that I had consciously thought would resemble the section to the right, a flattened, two-dimensional space. Instead, I sat and watched the lines appear, once I focused my mind there, and very quickly saw these three-dimensional characters evolve completed, with minimal need for any erasing.
How this particular group evolved, felt similar to watching a sheet blow in a strong wind. The fabric of such an imagined sheet, hanging on a line, blows up and down, back and forth, blocking one's vision of the clear sky it blows within. These characters were seen in the moments the sheet was moved away by the strong breeze, suddenly "appearing in whole," and quickly transcribed. It was only when I focused upon this section, that the whole forms were visible to me. I had not seen, wondered, or suspected they were there, as there were no smudges, lines or marks to indicate the detail that developed suddenly.
I have read before, somewhere, of a comparison of the mind to an empty sky. When I am focused and poised to draw, this is an appropriate way to describe the perception I have of my whole mind - it is empty, and, I sit watching it, with assured expectation that something will "appear" on the surface that I am gazing upon.
This work is not as close to being done as I had suspected, but I hope it will be finished within the next few days.
Side note epiphany regarding the holographic (see-through) qualities experienced in this drawing: The mind is a holographic projector. When the eyes are closed, the mind can form three-dimensional, movable forms within the meditative state. For example, I relax, and then call to mind a shape, such as an egg, triangle, circle, square, or star. I hold the selected shape in mind for long durations (10-15 minutes), and in that sitting, often vary the color of the shape. I have not tried more complex shapes, such as those that mandalas represent. I mention this because on more than one occasion, I have awoken in the middle of the night, groggy from sleep, with eyelids barely opened, and in this half-asleep state, I literally see whole mandalas filling the landscape of my mind's eye. It has shocked me so completely in these moments - the details and colors - and the simultaneous/instantaneous intellectual acknowledgement within myself, of the complexity that occurs somewhere in my mind other than where "I" feel I am, in this barely awake state. These events, or dual-placement of self, wherein one part of self creates, and the other receives, is reflective of the experience one has when one knows their own Higher Mind.
Other note: The idea of this work having an audience other than myself, is a part of the point of my sharing information on this website. I am moved to mention here that the entirety of this website - the narration (written words), as well as drawn aspects, function as one whole. I understand that an audience may be attracted to art as a subject, but it is in the deconstruction of the entire process of the artist (drawings & writings), that the whole experience encompassing the art may be realized, at least in my case. Furthermore, if you have not realized it yet, the content of this website, in its entirety, is a focus upon Higher Insight into my own experience and expressions of existence. That means all of this is an expression of God Within me. Love, peace, and tranquility of mind are the experience of the artist, and the personal hope I have for this work, is that an inner mechanism within you is stimulated to feel similarly about your own world/self/existence. It is in the pursuit of these things within ourselves, and the appreciation of them, that we are able to give them away freely to others.
In the middle of the bottom (see in Detail 9.28.20 below), there are a few new characters developing. Most notably is a woman who gazes beseechingly at a large-faced male figure. A dog sits next to the male on his left, and the male's arm is draped over the dog. Interestingly, the male and female fill a section of the work that I had consciously thought would resemble the section to the right, a flattened, two-dimensional space. Instead, I sat and watched the lines appear, once I focused my mind there, and very quickly saw these three-dimensional characters evolve completed, with minimal need for any erasing.
How this particular group evolved, felt similar to watching a sheet blow in a strong wind. The fabric of such an imagined sheet, hanging on a line, blows up and down, back and forth, blocking one's vision of the clear sky it blows within. These characters were seen in the moments the sheet was moved away by the strong breeze, suddenly "appearing in whole," and quickly transcribed. It was only when I focused upon this section, that the whole forms were visible to me. I had not seen, wondered, or suspected they were there, as there were no smudges, lines or marks to indicate the detail that developed suddenly.
I have read before, somewhere, of a comparison of the mind to an empty sky. When I am focused and poised to draw, this is an appropriate way to describe the perception I have of my whole mind - it is empty, and, I sit watching it, with assured expectation that something will "appear" on the surface that I am gazing upon.
This work is not as close to being done as I had suspected, but I hope it will be finished within the next few days.
Side note epiphany regarding the holographic (see-through) qualities experienced in this drawing: The mind is a holographic projector. When the eyes are closed, the mind can form three-dimensional, movable forms within the meditative state. For example, I relax, and then call to mind a shape, such as an egg, triangle, circle, square, or star. I hold the selected shape in mind for long durations (10-15 minutes), and in that sitting, often vary the color of the shape. I have not tried more complex shapes, such as those that mandalas represent. I mention this because on more than one occasion, I have awoken in the middle of the night, groggy from sleep, with eyelids barely opened, and in this half-asleep state, I literally see whole mandalas filling the landscape of my mind's eye. It has shocked me so completely in these moments - the details and colors - and the simultaneous/instantaneous intellectual acknowledgement within myself, of the complexity that occurs somewhere in my mind other than where "I" feel I am, in this barely awake state. These events, or dual-placement of self, wherein one part of self creates, and the other receives, is reflective of the experience one has when one knows their own Higher Mind.
Other note: The idea of this work having an audience other than myself, is a part of the point of my sharing information on this website. I am moved to mention here that the entirety of this website - the narration (written words), as well as drawn aspects, function as one whole. I understand that an audience may be attracted to art as a subject, but it is in the deconstruction of the entire process of the artist (drawings & writings), that the whole experience encompassing the art may be realized, at least in my case. Furthermore, if you have not realized it yet, the content of this website, in its entirety, is a focus upon Higher Insight into my own experience and expressions of existence. That means all of this is an expression of God Within me. Love, peace, and tranquility of mind are the experience of the artist, and the personal hope I have for this work, is that an inner mechanism within you is stimulated to feel similarly about your own world/self/existence. It is in the pursuit of these things within ourselves, and the appreciation of them, that we are able to give them away freely to others.
Detail of work in progress, bottom/middle, 9.28.20
Whole image, work in progress, 9.28.20
9.25.20 I updated the 9.23.20 notes below, rewriting and adding. Please reference the newer versions of the work below.
The work in progress drawing from 9.14.20, did not survive the experiment in color that I tried with it, so I began a new drawing. The size is 7 1/4" x 6 1/2". There has been about 10 hours of work so far, with varying character size development.
How "I" see.
Orientation of my "self" to this drawing, has been challenging. What I mean is that when my conscious mind travels through it, studying the progress as a whole, I feel like the characters that are evolving have already been drawn before. I suppose this sensation is similar to how deja vu feels. De ja vu is a feeling one has already experienced the present situation (I can poke fun at my own mind here, as there is only so-much variety in mark-making quality with only graphite and eraser upon paper). I feel like this drawing is finished already in my Higher Mind (the Objective Observer of the Total You, located within oneself, and realized through meditative practices), and that I am only copying it down. This is a literal, distinct location in my mind that is realized when I draw, through which is funneled the "unconscious" projection from within. There is a highly pleasurable feeling, often euphoric, when I am located consciously in this way. Overall, by using the imagination, one may understand these things (meditation would be the quickest route to discover his Higher Mind within). The state I am describing has been forthcoming, in regard to a conscious familiarity (or deja vu), but the actual event, the drawing itself, is "unremembered." This also relates to the "amnesia-like" effect to my mind; I do not consciously "know" what I will be drawing.
Maybe this will help: The "I", the personality of "me," does not create these drawings. The "I" of who you might speak to on the phone, only transcribes.
Central Female Figure and the smaller individuals
The large central "female" figure that seems to be leaping in the air is observed to have multiple faces; it is still indeterminate which one, if any will vacillate upward and become more dominant over the others. Maybe they will all remain. When I moved over to the right within the process of watching what evolves, the group of smaller individuals materialized very easily, from the paper.
Spatial Orientation
There appears to be a door behind the largest, central female. It can be seen best in the "whole image" below. In this space, one can begin to read a "background" of sorts. When this is focused upon, it aligns my mind to the space perceived, and seems to "ground" the developing characters who will bubble-up without context otherwise. A feeling of being "within sections", or bound by dimensional space is, perceptually, unknown within myself. There are no boundaries in my mind - it is a fluid, limitless state that is multidimensional in function. For example, past, present, and future can be simultaneously experienced, referenced, relived (if desired), or created anew. This is by way of the imagination - a functional tool through which the mind (all parts) may express itself. I can only guess that the challenge, in locating these characters within some sort of spatial orientation, is because the mind is limitless. And, as Jung conjectured, it is not only "yours," but is connected as a part of a whole to a larger, collective unconscious. Try to use your imagination to visualize that!
As a result of this limitless self just described, spatial relationships are the most challenging in drawing in this way. The "characters" that evolve are sensed by myself as "projections" - each separate line, as well as any shape suggestive of form, are the result of combinations of subtle differences sensed in the energetic quality of line I see appear on the paper. This sensing is highly subtle. The evolved characters, as a result, seem irrespective of three-dimensional spatial relationships, and quite often result in "sharing" of character body parts. The final drawing can be demanding to one's conscious mind in its reading; I find clearer meaning of the work, outside of drawing time, when structural indications of space inform the character relationships.
The foot was "already there."
Also, this way of drawing often surprises during the work. For example, in the lower left corner there appears a child on a woman's lap (whole image). The foot of the child was "discovered" already existing and drawn into place, unbeknownst to my conscious mind. After seeing the lines of the child's head, and drawing them, the line traveled down the page, and turned into the back line of the leg, finally connecting fluidly into the completed foot that was already drawn there, without lifting the pencil.
I am enjoying the varying character types. The silly, cartoon-like characters are continuing to populate the work. There seems to be dimensional differences regarding how far a character is developed, and as the eye travels from the upper-right downward, these characters become increasingly flattened and two dimensional. The "detail image" below houses centrally in the uppermost section a character with a sword. Compare this character with the two just down and to the right of him, and the dimensional flattening is appreciated. Also, very detailed female figures pop-up just underneath the "sword bearer": one is walking, the other sitting cross-legged and to the right. Overall, I am curious and pleased with character evolvement, and intuitively feel this study is almost complete. Probably, there are only a few more hours to go...
The work in progress drawing from 9.14.20, did not survive the experiment in color that I tried with it, so I began a new drawing. The size is 7 1/4" x 6 1/2". There has been about 10 hours of work so far, with varying character size development.
How "I" see.
Orientation of my "self" to this drawing, has been challenging. What I mean is that when my conscious mind travels through it, studying the progress as a whole, I feel like the characters that are evolving have already been drawn before. I suppose this sensation is similar to how deja vu feels. De ja vu is a feeling one has already experienced the present situation (I can poke fun at my own mind here, as there is only so-much variety in mark-making quality with only graphite and eraser upon paper). I feel like this drawing is finished already in my Higher Mind (the Objective Observer of the Total You, located within oneself, and realized through meditative practices), and that I am only copying it down. This is a literal, distinct location in my mind that is realized when I draw, through which is funneled the "unconscious" projection from within. There is a highly pleasurable feeling, often euphoric, when I am located consciously in this way. Overall, by using the imagination, one may understand these things (meditation would be the quickest route to discover his Higher Mind within). The state I am describing has been forthcoming, in regard to a conscious familiarity (or deja vu), but the actual event, the drawing itself, is "unremembered." This also relates to the "amnesia-like" effect to my mind; I do not consciously "know" what I will be drawing.
Maybe this will help: The "I", the personality of "me," does not create these drawings. The "I" of who you might speak to on the phone, only transcribes.
Central Female Figure and the smaller individuals
The large central "female" figure that seems to be leaping in the air is observed to have multiple faces; it is still indeterminate which one, if any will vacillate upward and become more dominant over the others. Maybe they will all remain. When I moved over to the right within the process of watching what evolves, the group of smaller individuals materialized very easily, from the paper.
Spatial Orientation
There appears to be a door behind the largest, central female. It can be seen best in the "whole image" below. In this space, one can begin to read a "background" of sorts. When this is focused upon, it aligns my mind to the space perceived, and seems to "ground" the developing characters who will bubble-up without context otherwise. A feeling of being "within sections", or bound by dimensional space is, perceptually, unknown within myself. There are no boundaries in my mind - it is a fluid, limitless state that is multidimensional in function. For example, past, present, and future can be simultaneously experienced, referenced, relived (if desired), or created anew. This is by way of the imagination - a functional tool through which the mind (all parts) may express itself. I can only guess that the challenge, in locating these characters within some sort of spatial orientation, is because the mind is limitless. And, as Jung conjectured, it is not only "yours," but is connected as a part of a whole to a larger, collective unconscious. Try to use your imagination to visualize that!
As a result of this limitless self just described, spatial relationships are the most challenging in drawing in this way. The "characters" that evolve are sensed by myself as "projections" - each separate line, as well as any shape suggestive of form, are the result of combinations of subtle differences sensed in the energetic quality of line I see appear on the paper. This sensing is highly subtle. The evolved characters, as a result, seem irrespective of three-dimensional spatial relationships, and quite often result in "sharing" of character body parts. The final drawing can be demanding to one's conscious mind in its reading; I find clearer meaning of the work, outside of drawing time, when structural indications of space inform the character relationships.
The foot was "already there."
Also, this way of drawing often surprises during the work. For example, in the lower left corner there appears a child on a woman's lap (whole image). The foot of the child was "discovered" already existing and drawn into place, unbeknownst to my conscious mind. After seeing the lines of the child's head, and drawing them, the line traveled down the page, and turned into the back line of the leg, finally connecting fluidly into the completed foot that was already drawn there, without lifting the pencil.
I am enjoying the varying character types. The silly, cartoon-like characters are continuing to populate the work. There seems to be dimensional differences regarding how far a character is developed, and as the eye travels from the upper-right downward, these characters become increasingly flattened and two dimensional. The "detail image" below houses centrally in the uppermost section a character with a sword. Compare this character with the two just down and to the right of him, and the dimensional flattening is appreciated. Also, very detailed female figures pop-up just underneath the "sword bearer": one is walking, the other sitting cross-legged and to the right. Overall, I am curious and pleased with character evolvement, and intuitively feel this study is almost complete. Probably, there are only a few more hours to go...
Whole image, 9.25.20, unfinished
Detail, 9.23.20, unfinished
Whole image, 9.23.20, unfinished
09/21/20: Update - I am currently working on writing and research, and will do my best to post the current drawing work here by the end of this week.
09.14.20: Spatial Awareness, 8" x 6 1/2", graphite on watercolor paper - Second Day
Notes: If the eyes are relaxed, and a gaze that is absent of analytical, conscious intent is placed upon the drawing, a new experience of the drawing is realized. In this particular drawing, there almost seems a vibratory quality to the lines that are not primary; these lines have been erased to a degree that only an echo of the original is still evident. I often wonder how many other drawings are behind the most evident, finalized images? I am consciously aware that there are hierarchies to character relationship, insomuch as they realize construction as a whole. For example, the largest female figure on the left seems the most visually dominant realized character; nevertheless, the smaller group of characters that have formed over her right arm feels just as important to my own mind.
I have been experiencing moments when I focus on a single part of a character, and thoughts like, "That is red!" occur - and as fast as it enters, it exits. They feel like "drive-by thoughts." They are suddenly there in the moment of focus, and then suddenly not there, and I am left with a resonant feeling for that color in relation to that shape and content. Realizations such as this are useful to pay attention to because whatever one focuses on does tend to expand. What direction and path that expansion takes is reflective of inner beliefs about the point of focus. Nevertheless, even though "drive-by" information occurs, and I could follow it, there is an "inner pull to see what is in every millimetre of the paper, through mark-making with graphite; this overrides any interest in color applications at this juncture. Focus equals excitement, and I am excited about understanding character relationships, as well as clarity of the images within those relational structures.
Belief structures are deep connections within one's concept of self. Beliefs create feelings, thoughts, behaviors, and then experiences, in that order. When a positive point-of-view is maintained regarding any consideration, then an acceptance and understanding of your own power in relation to the consideration is evident. For example, I feel great affinity for the use of the single media of graphite, when drawing within a meditative state. I desire to understand color in relation to the character images, but feel it is primary in importance to fully understand the visual lenses I feel are reflected in the multidimensional quality of this kind of work. All of these feelings and desires are the result of an inner belief about my own Visual Truths. Maintaining an openness to incorporating color is great, but until the moment the inner urge and desire for color is as strong as my primary desire, or overrides it, it will remain only graphite (which I love). Furthermore, excitement about one's focus is necessary to realize the synchronicity of existence. I am not super-excited about color yet. It may or may not bubble-up within me. In the interim, I feel my own mind is beginning some type of instruction. Literally, this manifests as these drive-by thoughts that feel like they originate from somewhere other than my own mind. These moments of realizations are called epiphanies.
Notes: If the eyes are relaxed, and a gaze that is absent of analytical, conscious intent is placed upon the drawing, a new experience of the drawing is realized. In this particular drawing, there almost seems a vibratory quality to the lines that are not primary; these lines have been erased to a degree that only an echo of the original is still evident. I often wonder how many other drawings are behind the most evident, finalized images? I am consciously aware that there are hierarchies to character relationship, insomuch as they realize construction as a whole. For example, the largest female figure on the left seems the most visually dominant realized character; nevertheless, the smaller group of characters that have formed over her right arm feels just as important to my own mind.
I have been experiencing moments when I focus on a single part of a character, and thoughts like, "That is red!" occur - and as fast as it enters, it exits. They feel like "drive-by thoughts." They are suddenly there in the moment of focus, and then suddenly not there, and I am left with a resonant feeling for that color in relation to that shape and content. Realizations such as this are useful to pay attention to because whatever one focuses on does tend to expand. What direction and path that expansion takes is reflective of inner beliefs about the point of focus. Nevertheless, even though "drive-by" information occurs, and I could follow it, there is an "inner pull to see what is in every millimetre of the paper, through mark-making with graphite; this overrides any interest in color applications at this juncture. Focus equals excitement, and I am excited about understanding character relationships, as well as clarity of the images within those relational structures.
Belief structures are deep connections within one's concept of self. Beliefs create feelings, thoughts, behaviors, and then experiences, in that order. When a positive point-of-view is maintained regarding any consideration, then an acceptance and understanding of your own power in relation to the consideration is evident. For example, I feel great affinity for the use of the single media of graphite, when drawing within a meditative state. I desire to understand color in relation to the character images, but feel it is primary in importance to fully understand the visual lenses I feel are reflected in the multidimensional quality of this kind of work. All of these feelings and desires are the result of an inner belief about my own Visual Truths. Maintaining an openness to incorporating color is great, but until the moment the inner urge and desire for color is as strong as my primary desire, or overrides it, it will remain only graphite (which I love). Furthermore, excitement about one's focus is necessary to realize the synchronicity of existence. I am not super-excited about color yet. It may or may not bubble-up within me. In the interim, I feel my own mind is beginning some type of instruction. Literally, this manifests as these drive-by thoughts that feel like they originate from somewhere other than my own mind. These moments of realizations are called epiphanies.
Detail of Spatial Awareness, 9.14.20
Whole image, Spatial Awareness, 9.14.20
9.13.20: Spatial Awareness, 8" x 6 1/2", graphite on watercolor paper - First Day
This drawing is developing upon a simple conscious framework of three squares that were drawn prior to relaxation into the meditative state and drawing process. The first square shape drawn was at 3 1/4" from the upper left corner, the next about two inches to the right of that, and the last at about 2 1/2" out from that. This created a simple platform that served two-fold: first, I am right-handed, and the conscious thought was, "If I can work from left to right, my right drawing hand won't slide across the worked surface, smudging the lines. The quality of the line, especially as it becomes more and more of a quality and energetic feel of being "stamped" onto the paper, is a part of what indicates finality of that line, and thus finality of the image that line belongs to.
Second, I believe this "square-making" is my conscious attempt to assist the media (graphite), with as little resistance to the accuracy of the placement of the line the first time. What I mean is that when I place a mark on the paper, it is in a state of acceptance that this mark is perfect as it is. Repeated visits to the quality of a line - its thinness, thickness, darkness, lightness - is because the consciousness is experienced as a multidimensional, vacillating construct of endless possibilities: the lenses of focus move within an ever-narrowing construct. Eventually, the drawing is experienced as an "overlapping multidimensional image that is reflective of a multidimensional inner awareness." Often, this literally manifests as side-by-side character development, wherein character body parts (legs, limbs, even facial features), read visually as simultaneously belonging to both. By placing conscious linear divisions before application of the "unconscious" drawing process, I found my mind noting these linear, conscious lines as "other" lines - literally hearing that word in my mind. Ultimately, these consciously created, enforced lines began to feel functional, in the sense that they created a type of "spatial awareness" within-and-without the "characters" that began to vacillate through the mark-making.
The two central images are the second set of faces that have evolved in the center of this drawing, with the first set dissolving under the eraser as the new faces emerged. As I stop drawing and look at it, I think of the concept of duality. Reflecting on the concept of duality is a part of belief examination. We live in a reality that reflects the positive or negative belief constructs we hold. These beliefs determine personal definitions, and ultimately how we experience reality. Of course, I believe most people would say that they want their reality to be positive, but it is in the negative experiences, and the people we identify as "negative" to us personally through life, that we owe the greatest thanks when we examine our beliefs. If we did not have the experience of the challenge within ourselves, that experience of attempting to reconcile the negative events of past experience, in the moment of now, we would never know who we truly are. This "inner struggle" is always a decision-making process, and without a turning inward of the conscious mind, within meditation, toward the Higher Self that is realized within this state, all sorts of caramelized-energy-thought-forms sit, motionless, indeterminate, and may ultimately lead to confusion and a sense of "being lost", having "lost something," or feel like emotional fear or resentment.
Instead, we have the option to decide for ourselves what our preferential reality will be. We can bless those individuals that for some reason are on our minds, and then let any seemingly "negative" energy go. We do this with statements within meditations, such as: "May he always know love and kindness," or "May she know peace, love and freedom within herself." AND, really mean it. Using the imagination to will goodness toward others is an experience in itself that revolutionizes perceptual existence. This personal, inner evolution, leads to what happens next, which is the true goal: we change ourselves, and this experience is the willingness to focus within our own mind on Higher Love and Greater Knowledge that is available to us all. As a result, the personal experience of one's own world is as a place of peace, happiness, synchronicity, and love.
As a side note, this enlightened awareness is not a denial of our own past behaviors, or "current perceived issues." Instead, it is an acceptance of the fact that physical reality is a reflection of what we believe. Whatever is perceived outside of ourselves is really neutral because it is our beliefs (positive or negative) that determine our reaction and experience of the world... relationships... everything.
Back to the drawing - I really like the smallish character that formed under the central female's right eye. This smaller, more abstracted character, only seems to have one eye itself, and juts out oddly to the left, creating a dimensional space that seems to differ to that of the larger characters' developing dimensional spaces. Multiple conceptual dimensions are still discernible, but the focus within these dimensions seems a "bit more" increasingly respective of differing character type development.
Honestly, I'm having more fun in front of the drawings. Also, I have watched my own mind attempt to consciously keep an awareness of the entire drawing, pulling away for a moment and "backing-up" from the experience of whatever line I am involved in, and in that moment of a "full conscious reading" of what I see, I feel acceptance, love, and a willingness to let it be whatever it is. It is a state of joy, even euphoria to be immersed in focus like this. That is what this whole website is about - the journey within now.
This drawing is developing upon a simple conscious framework of three squares that were drawn prior to relaxation into the meditative state and drawing process. The first square shape drawn was at 3 1/4" from the upper left corner, the next about two inches to the right of that, and the last at about 2 1/2" out from that. This created a simple platform that served two-fold: first, I am right-handed, and the conscious thought was, "If I can work from left to right, my right drawing hand won't slide across the worked surface, smudging the lines. The quality of the line, especially as it becomes more and more of a quality and energetic feel of being "stamped" onto the paper, is a part of what indicates finality of that line, and thus finality of the image that line belongs to.
Second, I believe this "square-making" is my conscious attempt to assist the media (graphite), with as little resistance to the accuracy of the placement of the line the first time. What I mean is that when I place a mark on the paper, it is in a state of acceptance that this mark is perfect as it is. Repeated visits to the quality of a line - its thinness, thickness, darkness, lightness - is because the consciousness is experienced as a multidimensional, vacillating construct of endless possibilities: the lenses of focus move within an ever-narrowing construct. Eventually, the drawing is experienced as an "overlapping multidimensional image that is reflective of a multidimensional inner awareness." Often, this literally manifests as side-by-side character development, wherein character body parts (legs, limbs, even facial features), read visually as simultaneously belonging to both. By placing conscious linear divisions before application of the "unconscious" drawing process, I found my mind noting these linear, conscious lines as "other" lines - literally hearing that word in my mind. Ultimately, these consciously created, enforced lines began to feel functional, in the sense that they created a type of "spatial awareness" within-and-without the "characters" that began to vacillate through the mark-making.
The two central images are the second set of faces that have evolved in the center of this drawing, with the first set dissolving under the eraser as the new faces emerged. As I stop drawing and look at it, I think of the concept of duality. Reflecting on the concept of duality is a part of belief examination. We live in a reality that reflects the positive or negative belief constructs we hold. These beliefs determine personal definitions, and ultimately how we experience reality. Of course, I believe most people would say that they want their reality to be positive, but it is in the negative experiences, and the people we identify as "negative" to us personally through life, that we owe the greatest thanks when we examine our beliefs. If we did not have the experience of the challenge within ourselves, that experience of attempting to reconcile the negative events of past experience, in the moment of now, we would never know who we truly are. This "inner struggle" is always a decision-making process, and without a turning inward of the conscious mind, within meditation, toward the Higher Self that is realized within this state, all sorts of caramelized-energy-thought-forms sit, motionless, indeterminate, and may ultimately lead to confusion and a sense of "being lost", having "lost something," or feel like emotional fear or resentment.
Instead, we have the option to decide for ourselves what our preferential reality will be. We can bless those individuals that for some reason are on our minds, and then let any seemingly "negative" energy go. We do this with statements within meditations, such as: "May he always know love and kindness," or "May she know peace, love and freedom within herself." AND, really mean it. Using the imagination to will goodness toward others is an experience in itself that revolutionizes perceptual existence. This personal, inner evolution, leads to what happens next, which is the true goal: we change ourselves, and this experience is the willingness to focus within our own mind on Higher Love and Greater Knowledge that is available to us all. As a result, the personal experience of one's own world is as a place of peace, happiness, synchronicity, and love.
As a side note, this enlightened awareness is not a denial of our own past behaviors, or "current perceived issues." Instead, it is an acceptance of the fact that physical reality is a reflection of what we believe. Whatever is perceived outside of ourselves is really neutral because it is our beliefs (positive or negative) that determine our reaction and experience of the world... relationships... everything.
Back to the drawing - I really like the smallish character that formed under the central female's right eye. This smaller, more abstracted character, only seems to have one eye itself, and juts out oddly to the left, creating a dimensional space that seems to differ to that of the larger characters' developing dimensional spaces. Multiple conceptual dimensions are still discernible, but the focus within these dimensions seems a "bit more" increasingly respective of differing character type development.
Honestly, I'm having more fun in front of the drawings. Also, I have watched my own mind attempt to consciously keep an awareness of the entire drawing, pulling away for a moment and "backing-up" from the experience of whatever line I am involved in, and in that moment of a "full conscious reading" of what I see, I feel acceptance, love, and a willingness to let it be whatever it is. It is a state of joy, even euphoria to be immersed in focus like this. That is what this whole website is about - the journey within now.
Spatial Awareness, whole image, 9.13.20 (first day)
09.04.20 Developmental Notes for Perspective Determines Reality, 10" x 13", unfinished
I have previously mentioned unconscious "visual lenses" in developmental notes of work. In reflecting upon this idea, in conjunction with a desire to consciously understand the varying character types that evolve, a description of my conceptual experience of drawing aids in its deconstruction. What I mean is that the experience of drawing is like looking through multiple lenses of monocular construct. For example, imagine countless monocles all attached by hinges on a line that extends between the mind and the surface of the paper. Really, these are imaginary, but the process of seeing through this conceptual structure is like looking through something like this, which results in the experience of "seeing" lines, forms and shapes, without analytically thinking, that suddenly "appear" on the paper through it.
Dependent upon my focus and perspective through these many imagined lenses (that are all one-in-front-of-the-other), in this space between my mind and the paper, now imagine that they begin to move upward and to the left, leaving fewer and fewer as my focus narrows. For example, a line "suddenly appears," and I focus on only that line, until there is no longer a feeling of energy in that line. What is going on in the entire work is inaccessible to me, only the "invisible, yet visible" point I am focusing upon (invisible to an objective observer) is evident to my mind. Ultimately, the lenses through which I look are lenses of varying degrees of focus within myself, ever-narrowing, and I begin to "see" something on the paper: fewer lenses result in increased realization of whole images, through the formation of visual illusions that morph into paradoxical arrangements within the mark-making.
This is a fluid, pleasurable, lightening-quick exercise of the mind, and one that echoes the way I lay my conscious mind upon each part of my physical body when I am in meditation. For example, in preparation for meditation, I relax and visualize each part of my body, telling it to go to sleep. As I move upward, a wave of energy seems to cancel out conscious perception of the entire physical body, and I achieve the mind-awake, body-asleep state - a highly focused mental state, which is the experience of the moment of "now." Similarly, while drawing, focus is narrowed to such an extent, that the body seems a shell, within which I hover within and above, in a state of excited willingness to be informed. The correlation should not be quickly dismissed because it is in the movement of the consciousness upon something, the focus, and the quality of the heart, or perspective within that focus, that determines the energy read on the surface of the paper; or, in the case of the meditative experience, the realization of energy movement upon and within the physical body.
I have included four images here for consideration. The unfinished whole image is posted last, and is what I use to gauge completion. Gauging if a work is complete consists of an abstract, subjective group of indices, whose collective values, quality and energy, translate to my mind something akin to the feeling one gets when looking at a paper map. In an attempt to read that map consciously, I have to stop drawing, and sit and look at the work in a state of dual placement of consciousness - one that is informed without analytical constructs (the Creator-Self who is informing through seemingly unconscious means), and the other is the conscious self, who seems a "ride-along" on the visual trip. I am aware that words are inadequate to describe this Higher State, but it is a natural one that is multifaceted.
For myself, the visual journey begins in the center of this work. I note the strange, haunting eyes of a face that is not fully seen, but appears to be "peeking" through an opening in the images. I find my eye moving up the perceived arm of the woman, and then suddenly over on the very left, noting a line of characters have formed, and they seem to be in a procession of sorts. In my mind, this is the beginning of this character type, and these cartoon-like images progress back over the woman and into the center. This parade of characters is unfinished - there is still a lot of work to do, but it seems that the "small figure" (as seen below), whose hand is held up and toward the viewer in a "stop" or "halt" signal, is one of action that might be seen in an officer as he directs traffic. I believe this is the "halt" point for this character parade.
That these characters remind my conscious mind of a "place" that I find myself in while in meditation is noteworthy. I often ascend within the meditative state, through "tunnels of light", and arrive in an incalculably large environment peopled by uncountable other energies. These souls move within a construct that seems akin to a wagon wheel turned on its side. This structure seems enclosed with sides that move from the edges of this circular shape, inward and upward to a point - very much like the shape of a child's spinning top. It is within this shape, and surrounded by these other energies, that I often find myself moving upward, above all of the soul-movements below, and into ever-expanding spheres of light that are extremely difficult to describe using words, without those words turning into something that sounds like poetry. It is glorious! It is within this inner, Higher Place that "questions" (or rather "thought-forms") can be posed, and answers received. This is a highly abstract, but simultaneously clear state of expansion of the mind that has been described as one of "universalness". For example, John Van Auken comments on this state in his book Passage in Consciousness: A Guide to Expanding Our Minds and Raising the Life Forces in Our Bodies through Deep Meditation, saying, "The more you practice [meditation with intent to attain a spiritually higher level], the more you develop your body, mind and spirit to know and understand the finite condition and the infinite condition," and concludes with, "After a while, even when in individualism you feel the universalness. It's wonderful but much more natural and normal than I expected" (45).
The last interesting aspect of this particular drawing to date, is the formal arrival of letters, as seen under the large male head on the right. Just under the chin, I noted after its development the word LOVE etched into the paper. This evolution is interesting in that it indicates to me a connection of the conscious mind's language within the "unconscious" self. I do not know if the word will remain in the final work, but I accept it as an indication of progress, in my attempts here to consciously know what it is I am looking at, even if I was not conscious of its transcription.
Small figure detail
Upper section detail
Left side detail
Whole image, Perspective Determines Reality, 10"x 13", unfinished
09.02.20 Notes for Perspective Determines Reality, unfinished, 10" x 13" graphite, glue, and sand on watercolor paper
While walking the dogs this morning, I was stung by a wasp between the fourth and fifth toes on my right foot. As I limped forward, wondering what to do, I recalled something I had read in the Bashar material (Quest for Truth: 100 Insights That Could Change Your Life, by Darryl Anka). Specifically, he states, "The Universe is not 'pointless' nor is it extraneous; there are no 'pointless creations.' The Infinite Creation does not create it to be so. Therefore, trust that the things which do occur in your reality and the things you are witness to do have a point, do have a reason. If you approach it from that attitude and from that trust you will be able to glean the reasons for why something has occurred. Trust it and it will come to life" (96).
I do believe that larger lessons within life are given, and if we look closely in mindful examination of the events we perceive, we are informed in a new way. By juxtaposing perceived lessons learned from seemingly separate events, consciousness has the ability to teach itself. What I mean, is that by maintaining a positive perspective, even when the physical body is suffering the influence of venom injected into its system without conscious permission, the mind is freed to move upward in integrity. A positive perspective of integrity is the only path to enlightenment: it is a paradigm of the state itself.
Now, I relate the events of the wasp sting, and my reaction to it, to the experience of the visual experiment currently underway. I have struggled with my attempts to expand into different visual media, using clear glue sponged onto the surface with sand sprinkled on top of this in this particular experiment. I was led from indicators of experience within myself, to surmise this might evoke something from my heart, and in an attempt to use the heart to navigate the "unconscious" or "subtle" mind. The struggle has been purely mechanical; working with the sand and glue invoked a perceived time limit, as the glue dries quickly. It felt glorious to move the pencil through this substance of sand and glue, all the while seeing the lines sparkle to life underneath and within this thin matrix. The pencil seemed to be engraving, and the wisps of sand congealed in unpredictable, yet telling collections.
As I advanced, the image expanded outward, and the glue began to harden. I watched myself, and noted that my emotions vacillated between a lower, and then higher state of euphoria. I noted I was naturally able to maintain a positive point-of-view in what appeared to be at least 7 different visual lenses, as indicated not only by geometric linear divisions, but by demeanor of character type. For example, a female figure on the left is transcribed in a quality that seems to imbue it with a soft, but vacillating energy, as though a mirage-like, gaseous substance is affecting the viewer's ability to read details. Whereas, within the smallest details of the center, miniature beginnings of cartoon-like characters are now evolving. Furthermore, the glue and sand drying together caused a commitment of sorts to occur. I was literally stuck with a surface that would not respond to the lines I was still seeing as moving across the hardened, immovable surface. As a result, I "found myself" chipping away at it, revealing new markings that are twice removed from seeming unconscious influence.
Even though I perceive the transcription of 7 or so different visual lenses, or perspectives, as visually functioning, I also realize a multiplicity of other lenses through which my mind surfs, while working through this experiment. Even though I am drawing only what is "seen" as an indicator, it is in the watching in a state of focused anticipation, and in the realization of a recognizable form that is the pleasure of the work - the epiphany. I re-learn everyday, that everything is related to everything else when meandering through the subtle realm of information within the "unconscious" construct. Analytical judgments do not function at this level of work; it is all an intuitive stream of information from which the mind is informed.
The connection between the experience of the wasp-sting, and the perceived mechanical difficulties of expanding the visual experience beyond the simple tools of graphite, eraser and paper, is in the position of the mind. The experience of life teaches through a perception of polarity (positive or negative), as well as constructs of conditioning (socially and personally). By mindfully ascending beyond the perceived limits, we are informed about the larger lessons, and for development of a different kind, and freedom is found within this "go-with-the-flow" point-of-view. Ultimately, I have come to believe that when something breaks, or appears inadequate, it is a good time to sit and meditate, then go back with excited intent and positivity.
While walking the dogs this morning, I was stung by a wasp between the fourth and fifth toes on my right foot. As I limped forward, wondering what to do, I recalled something I had read in the Bashar material (Quest for Truth: 100 Insights That Could Change Your Life, by Darryl Anka). Specifically, he states, "The Universe is not 'pointless' nor is it extraneous; there are no 'pointless creations.' The Infinite Creation does not create it to be so. Therefore, trust that the things which do occur in your reality and the things you are witness to do have a point, do have a reason. If you approach it from that attitude and from that trust you will be able to glean the reasons for why something has occurred. Trust it and it will come to life" (96).
I do believe that larger lessons within life are given, and if we look closely in mindful examination of the events we perceive, we are informed in a new way. By juxtaposing perceived lessons learned from seemingly separate events, consciousness has the ability to teach itself. What I mean, is that by maintaining a positive perspective, even when the physical body is suffering the influence of venom injected into its system without conscious permission, the mind is freed to move upward in integrity. A positive perspective of integrity is the only path to enlightenment: it is a paradigm of the state itself.
Now, I relate the events of the wasp sting, and my reaction to it, to the experience of the visual experiment currently underway. I have struggled with my attempts to expand into different visual media, using clear glue sponged onto the surface with sand sprinkled on top of this in this particular experiment. I was led from indicators of experience within myself, to surmise this might evoke something from my heart, and in an attempt to use the heart to navigate the "unconscious" or "subtle" mind. The struggle has been purely mechanical; working with the sand and glue invoked a perceived time limit, as the glue dries quickly. It felt glorious to move the pencil through this substance of sand and glue, all the while seeing the lines sparkle to life underneath and within this thin matrix. The pencil seemed to be engraving, and the wisps of sand congealed in unpredictable, yet telling collections.
As I advanced, the image expanded outward, and the glue began to harden. I watched myself, and noted that my emotions vacillated between a lower, and then higher state of euphoria. I noted I was naturally able to maintain a positive point-of-view in what appeared to be at least 7 different visual lenses, as indicated not only by geometric linear divisions, but by demeanor of character type. For example, a female figure on the left is transcribed in a quality that seems to imbue it with a soft, but vacillating energy, as though a mirage-like, gaseous substance is affecting the viewer's ability to read details. Whereas, within the smallest details of the center, miniature beginnings of cartoon-like characters are now evolving. Furthermore, the glue and sand drying together caused a commitment of sorts to occur. I was literally stuck with a surface that would not respond to the lines I was still seeing as moving across the hardened, immovable surface. As a result, I "found myself" chipping away at it, revealing new markings that are twice removed from seeming unconscious influence.
Even though I perceive the transcription of 7 or so different visual lenses, or perspectives, as visually functioning, I also realize a multiplicity of other lenses through which my mind surfs, while working through this experiment. Even though I am drawing only what is "seen" as an indicator, it is in the watching in a state of focused anticipation, and in the realization of a recognizable form that is the pleasure of the work - the epiphany. I re-learn everyday, that everything is related to everything else when meandering through the subtle realm of information within the "unconscious" construct. Analytical judgments do not function at this level of work; it is all an intuitive stream of information from which the mind is informed.
The connection between the experience of the wasp-sting, and the perceived mechanical difficulties of expanding the visual experience beyond the simple tools of graphite, eraser and paper, is in the position of the mind. The experience of life teaches through a perception of polarity (positive or negative), as well as constructs of conditioning (socially and personally). By mindfully ascending beyond the perceived limits, we are informed about the larger lessons, and for development of a different kind, and freedom is found within this "go-with-the-flow" point-of-view. Ultimately, I have come to believe that when something breaks, or appears inadequate, it is a good time to sit and meditate, then go back with excited intent and positivity.
Perspective Determines Reality, 10" x 13", unfinished
Detail - figure of girl, unfinished
Detail - cartoon-like images, unfinished
8.28.20 Untitled, unfinished, 10 x 13, graphite on watercolor paper (this should be up on the "Drawings" page soon).
Notes:
For today, I began behind the child's head at the top and to the right. That I "saw" the cross, and then realized it must be transcribed onto the surface, was so quickly implemented, that the I of any ego left in me, dissolved - my hand continued to move, and I was far outside and above myself - watching what was happening. I watched as I moved further to the left, wherein the echo of the same shape can be perceived. I "saw" that there was something in front of it. At first it was a hooded figure that seemed to be riding a horse, but as it was worked, it disappeared, as so many of the figures do, and the unfinished body of a figure rests in front of it now.
That there are now wings evolving behind the foremost female figure to the left, is indicative of an angelic presence in the art. When I abstract these images via a photo, and put them on the computer screen, I realize it assists in putting some objective space between myself and what is happening within the work. The great sense of having forgotten something - this amnesia of the "unconscious" mind and how we get to that - is somehow managed by this distance, and I am beginning to feel a color: I feel a very light-blue, diaphanous film of color should be laid across these wings. I will reflect on the most transparent methods - maybe egg tempera?
Another symbol that repeatedly shows up while I draw is the shape of a heart. I unconsciously eject these shapes from my pencil, and they act as placeholders for a point-of-view that needs to be visited while in that spot. I do not know at the time this was exactly the case. I just realized this and am writing it now.
That a cross evolved is reflective of all I know about the Individual Christ. That my mind seemingly separates Him from my own self-concept is only for a reader's understanding. There is only One Consciousness, I have concluded, but one must go inward first to understand these things for himself. Spending time in quiet reflection is also helpful, to lift the consciousness upward.
Notes:
For today, I began behind the child's head at the top and to the right. That I "saw" the cross, and then realized it must be transcribed onto the surface, was so quickly implemented, that the I of any ego left in me, dissolved - my hand continued to move, and I was far outside and above myself - watching what was happening. I watched as I moved further to the left, wherein the echo of the same shape can be perceived. I "saw" that there was something in front of it. At first it was a hooded figure that seemed to be riding a horse, but as it was worked, it disappeared, as so many of the figures do, and the unfinished body of a figure rests in front of it now.
That there are now wings evolving behind the foremost female figure to the left, is indicative of an angelic presence in the art. When I abstract these images via a photo, and put them on the computer screen, I realize it assists in putting some objective space between myself and what is happening within the work. The great sense of having forgotten something - this amnesia of the "unconscious" mind and how we get to that - is somehow managed by this distance, and I am beginning to feel a color: I feel a very light-blue, diaphanous film of color should be laid across these wings. I will reflect on the most transparent methods - maybe egg tempera?
Another symbol that repeatedly shows up while I draw is the shape of a heart. I unconsciously eject these shapes from my pencil, and they act as placeholders for a point-of-view that needs to be visited while in that spot. I do not know at the time this was exactly the case. I just realized this and am writing it now.
That a cross evolved is reflective of all I know about the Individual Christ. That my mind seemingly separates Him from my own self-concept is only for a reader's understanding. There is only One Consciousness, I have concluded, but one must go inward first to understand these things for himself. Spending time in quiet reflection is also helpful, to lift the consciousness upward.
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Whole image, 8.28.20
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8/27/20: Untitled, unfinished, 10" x 13", graphite pencil on paper
Today, I received the smaller sizes of lead pencils. The effect can be seen in the quality of line observed, as used for the two new characters at the very top right (a child reaching toward a bird). I will leave deconstruction of character relationships for later. Nevertheless, one's approach to Higher Insight seems to be indicated as thematic.
This is still a mapping stage, and I'm diligently attempting to focus on volume, as I see the directions in the lines of the paper.
Other notes for today: I have been reading a text entitled Christ Consciousness, by Norman Paulson, as well as reflecting on the inner mechanism of enlightenment - it is a paradigm of enlightenment processes to move one's consciousness forward with integrity. The combination of reflection on integrity, combined with the following statements from the author of Christ Consciousness, have helped me come to a theoretical hypothesis about how I might navigate the imagination. It may be the only way.
Paulson stated while describing his experience of Christ Consciousness that, "The unifying light alternated with materializations of form, the metamorphoses revealing the law of cause and effect in creation," (178), and in the next paragraph stated, "I cognized the center of the empyrean [Heaven] as a point of intuitive perception in my heart" (178). And, I realized that it may be my own heart that is the directional compass of the art content. That is something worth contemplating, and in that contemplation, I arrive back in the loving hands of the Higher Spirit of the endeavor.
Today, I received the smaller sizes of lead pencils. The effect can be seen in the quality of line observed, as used for the two new characters at the very top right (a child reaching toward a bird). I will leave deconstruction of character relationships for later. Nevertheless, one's approach to Higher Insight seems to be indicated as thematic.
This is still a mapping stage, and I'm diligently attempting to focus on volume, as I see the directions in the lines of the paper.
Other notes for today: I have been reading a text entitled Christ Consciousness, by Norman Paulson, as well as reflecting on the inner mechanism of enlightenment - it is a paradigm of enlightenment processes to move one's consciousness forward with integrity. The combination of reflection on integrity, combined with the following statements from the author of Christ Consciousness, have helped me come to a theoretical hypothesis about how I might navigate the imagination. It may be the only way.
Paulson stated while describing his experience of Christ Consciousness that, "The unifying light alternated with materializations of form, the metamorphoses revealing the law of cause and effect in creation," (178), and in the next paragraph stated, "I cognized the center of the empyrean [Heaven] as a point of intuitive perception in my heart" (178). And, I realized that it may be my own heart that is the directional compass of the art content. That is something worth contemplating, and in that contemplation, I arrive back in the loving hands of the Higher Spirit of the endeavor.
Detail, 8.27.20
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8/25/20: Untitled, unfinished, 10" x 13", graphite pencil on paper
Developmental Notes:
Written 8/26/20 -
It feels like a lot was accomplished today. My desire is clarity of what is really present, not what I think is present. Nevertheless, conscious deconstruction is assistive in that it may provide indicators that teach the conscious mind. I am trying to learn from myself, and as the student and teacher, hypotheses based on subjective and objective examination are helpful.
I have noted there are different types of characters that evolve, depending on factors of perceived space, as well as a very subtle sense of relationship. This hierarchy is determined by a central matrix which evolves to a point in parts - it is not the characters themselves (they are built out of this matrix that is created by the initial mark-making). Furthermore, if the conscious mind observes objectively, this matrix is seen in every part I have not developed, mostly indicated by the marks created in the initial stage. But, this matrix grows while I focus upon it, and reveals to my mind the parts of the characters unfolding. For example, the central female character's right shoulder currently has a circle with a propeller-like, mechanical-seeming construct within it. In this instance, and at this stage, it can be appreciated. It has evolved within a figure that is fairly well-developed, and because I consciously know the mechanistic development at her shoulder will most likely expand if I focus upon it, its existence is a signal to my mind to move away from this area for now. It is examples of mechanical-seeming constructs like this, that evolve in conjunction with areas of focus, that indicate an important line-of-force to my mind. This line-of-force is perceived as existing behind and within the point of its development. I also understand that this particular line-of-force has a relationship to the overall movement of the piece, and may be the mechanical center for the entire work.
That I understand from observation that my mind builds more fluid forms upon architectural-seeming, mechanistic constructs feels natural to me. Structure is important, to some degree, but especially in unconscious work, as the rules for that realm of mind do not adhere to what the conscious mind might call "correct perception." That these areas elicit a reminder to self as to the point-of-view maintained while hovering over a drawing is also useful. I have always "kept my distance" from an area like this one at her shoulder, until something more is fleshed-out in the work.
Written 8/26/20 -
It feels like a lot was accomplished today. My desire is clarity of what is really present, not what I think is present. Nevertheless, conscious deconstruction is assistive in that it may provide indicators that teach the conscious mind. I am trying to learn from myself, and as the student and teacher, hypotheses based on subjective and objective examination are helpful.
I have noted there are different types of characters that evolve, depending on factors of perceived space, as well as a very subtle sense of relationship. This hierarchy is determined by a central matrix which evolves to a point in parts - it is not the characters themselves (they are built out of this matrix that is created by the initial mark-making). Furthermore, if the conscious mind observes objectively, this matrix is seen in every part I have not developed, mostly indicated by the marks created in the initial stage. But, this matrix grows while I focus upon it, and reveals to my mind the parts of the characters unfolding. For example, the central female character's right shoulder currently has a circle with a propeller-like, mechanical-seeming construct within it. In this instance, and at this stage, it can be appreciated. It has evolved within a figure that is fairly well-developed, and because I consciously know the mechanistic development at her shoulder will most likely expand if I focus upon it, its existence is a signal to my mind to move away from this area for now. It is examples of mechanical-seeming constructs like this, that evolve in conjunction with areas of focus, that indicate an important line-of-force to my mind. This line-of-force is perceived as existing behind and within the point of its development. I also understand that this particular line-of-force has a relationship to the overall movement of the piece, and may be the mechanical center for the entire work.
That I understand from observation that my mind builds more fluid forms upon architectural-seeming, mechanistic constructs feels natural to me. Structure is important, to some degree, but especially in unconscious work, as the rules for that realm of mind do not adhere to what the conscious mind might call "correct perception." That these areas elicit a reminder to self as to the point-of-view maintained while hovering over a drawing is also useful. I have always "kept my distance" from an area like this one at her shoulder, until something more is fleshed-out in the work.
Detail 8.25.20
Whole image, 8.25.20
I include these images to illustrate perceived stages in character and setting maturation.
8/24/20 Unfinished, developing work
It is too early for much more than deconstructing the obvious as this work plays out. The dimensional construct within which the characters are set is not yet fully developed. Most of the work is created in a state that is willing to see anything that arises. This stage can look messy and muddy. Unconscious symbolic imagery is evident, and there are the beginnings of "in-between" character development, which appears sometimes in a quality and imagery that may elicit fright. This type of imagery seems to visually vacillate between more apparently peaceful images, as though it doesn't really know what dimension it belongs.
I did try blue colored pencils in the center, which may be seen best in the "Whole Drawing" below. Nevertheless, this ended up being erased for the most part, and I noted that a part of me felt as if it was an offence to use color: I watched as it disappeared under the eraser. I am still smiling for doing that, and I cannot explain this natural feeling, except that it baffles me.
I can only guess what the main character is up to, but right now it appears she is either dancing or walking a tightrope. Also, there is a secondary character to the right, who seems of knightly proportions, even though he wears a suit. Maybe they will stick around?
8/24/20 Unfinished, developing work
It is too early for much more than deconstructing the obvious as this work plays out. The dimensional construct within which the characters are set is not yet fully developed. Most of the work is created in a state that is willing to see anything that arises. This stage can look messy and muddy. Unconscious symbolic imagery is evident, and there are the beginnings of "in-between" character development, which appears sometimes in a quality and imagery that may elicit fright. This type of imagery seems to visually vacillate between more apparently peaceful images, as though it doesn't really know what dimension it belongs.
I did try blue colored pencils in the center, which may be seen best in the "Whole Drawing" below. Nevertheless, this ended up being erased for the most part, and I noted that a part of me felt as if it was an offence to use color: I watched as it disappeared under the eraser. I am still smiling for doing that, and I cannot explain this natural feeling, except that it baffles me.
I can only guess what the main character is up to, but right now it appears she is either dancing or walking a tightrope. Also, there is a secondary character to the right, who seems of knightly proportions, even though he wears a suit. Maybe they will stick around?
Development Detail 2
Development Detail 1
Main Figure
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Whole drawing
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What Now Feels Like, #3 image, unfinished.
8/23/2020: Work in progress - #3 image
The point and importance of the necessary conception of a multi-dimensional self construct has been a part of the information I have have been reading. I just finished Journey of Souls: Case Studies of Life Between Lives, by Michael Newton, PhD, which is exactly as the title promises, a case study of 29 individual perceptions of the spiritual world while under hypnosis. It is very interesting because these hypnotized individuals do not know much more about why they seek Dr. Newton's help, except that there are personal subjective indicators to each individual that pointed them in the doctor's direction, or a negative physical effect in the now, which is later realized to be caused by trauma from a previous existence.
Perception of and focus upon the content related subtler information about the hierarchies, places, other individuals, as well as God's Presence in this realm past physical reality that is described. I found myself considering not just the content, but also the multi-dimensional aspect of soul construct, wherein the larger spiritual self is perceived as an entity that is one with All That Is. This multi-dimensional soul construct complies with, desires, and excitedly and willingly submits to a spiritually imposed amnesia regarding who and what we really are. It is related that this amnesia is necessary in order to "prevent having full conscious knowledge of this [life] plan," and that the "unconscious mind holds the key to spiritual memories of a general blueprint of each life [that was previously experienced] (Newton, 213).
I suppose the synchronicity of the material to what evolved today in the drawing is evident to myself alone, unless I point it out. Although the drawing is not quite finished, within just another hour of working, I have realized that the previous interpretation was interesting, but incorrect. Nevertheless, it was a point of departure to get to here. This drawing now contains two people who are driving the perceived boat (I alone know this is a boat), simultaneously, while the central figure is elatedly expressing joy and excitement. That multiple "drivers" revealed themselves as a part of the picture, and that the monocular fellow on the left is no longer perceived as being restrained against his will, but instead picking up the metaphorical fish (always a metaphor for Christ-consciousness to my own mind), are positive improvements. Ultimately, the figures relate to me a picture of the many selves we are, and that these selves work together. The monocular individual picking up the fish relates limited vision of self combined with Christ-consciousness provides nourishment.
These drawings are reflective of my own life experience. How is that possible if I am not planning or consciously constructing the scene perceived?
8/22/2020: Work in progress - Title: What Now Feels Like, 2 1/4" x 3 1/4"
It is useful to watch and reflect on the specifics as they evolve, so this is not quite complete, but included here as a part of the artist's creation experience.
I have been contemplating the way I feel during what seems a success regarding materialization of an image and its parts. This drawing is very interesting in that, quite unconsciously, I watched myself draw the decorative-seeming line just within the lower right-hand corner, and during my watching-of-self while my hand moves, I wondered what the significance of a sudden transition of straighter-seeming lines to this squirrely-line quality meant. Next, I realized it related to the size of the drawing, and I understood I have now related the images to a memory of how a stamp feels to me.
The quality I love most about drawing the way I do is the effect of it being seemingly stamped onto the paper. It is when I feel as if the image has this "stamped" feel, that its existence elicits an inner peace and tranquility I cannot resist. I become peaceful and tranquil. The character could appear to have his heart coming out of his middle, such as the one-eyed character on the left, and if it feels "stamped" onto the paper, it no longer needs attention and development. He also has his arm tied backward around a tree, and if it feels "stamped" then its visual evocation of what might be construed as "restraint against one's will" will be finalized.
That the images are now building relational stories, through my conscious knowledge of metaphor and allegory, is worth noting. That I can analytically understand that this monocular, restrained individual on the left appears to be on an island, and that there are multiple characters that seem to be in a boat, elatedly speeding by his imposed restraint, is curious. Layer this understanding with the perceived quality of a stamp, and the polarity of conditions is now seen in the light of travel and transition - the characters in the boat are blinded by their own moment of joy to miss the fellow they pass that is stranded, isolated and restrained. Where is the middle-ground in the relationship between these characters? Or, is this drawing just a reflection of what I perceive my world to be right now? I wonder if others can see this meaning in it? Maybe when it is complete; I do not know yet.
Ultimately, if I am going to read these images as story-telling mechanisms, how does this relate to enlightenment? I suppose it relates in that the images, although unconscious in development, are no longer just symbolic of the unconscious construct. How could this be if one is able to deconstruct them intellectually as an allegorical experience? Further, as clarity of how the images flesh out continues to be increasingly clear, it seems I perceive this may not be just an unconscious construct, but a super-conscious one. What I mean is that if other people look and see the story I didn't consciously mean to tell, and it is of Higher Insight, the drawing itself may be an informant to the viewer's own development in some way because the images originated from the unconscious realm. Oh, if this were true! Jung outlined this "collective unconscious" state, and plenty has been said regarding its existence. The point: I have to decide if this is true, believe it, and then see what happens next.
This is a great mental and spiritual exercise, and I am really enjoying myself!
The point and importance of the necessary conception of a multi-dimensional self construct has been a part of the information I have have been reading. I just finished Journey of Souls: Case Studies of Life Between Lives, by Michael Newton, PhD, which is exactly as the title promises, a case study of 29 individual perceptions of the spiritual world while under hypnosis. It is very interesting because these hypnotized individuals do not know much more about why they seek Dr. Newton's help, except that there are personal subjective indicators to each individual that pointed them in the doctor's direction, or a negative physical effect in the now, which is later realized to be caused by trauma from a previous existence.
Perception of and focus upon the content related subtler information about the hierarchies, places, other individuals, as well as God's Presence in this realm past physical reality that is described. I found myself considering not just the content, but also the multi-dimensional aspect of soul construct, wherein the larger spiritual self is perceived as an entity that is one with All That Is. This multi-dimensional soul construct complies with, desires, and excitedly and willingly submits to a spiritually imposed amnesia regarding who and what we really are. It is related that this amnesia is necessary in order to "prevent having full conscious knowledge of this [life] plan," and that the "unconscious mind holds the key to spiritual memories of a general blueprint of each life [that was previously experienced] (Newton, 213).
I suppose the synchronicity of the material to what evolved today in the drawing is evident to myself alone, unless I point it out. Although the drawing is not quite finished, within just another hour of working, I have realized that the previous interpretation was interesting, but incorrect. Nevertheless, it was a point of departure to get to here. This drawing now contains two people who are driving the perceived boat (I alone know this is a boat), simultaneously, while the central figure is elatedly expressing joy and excitement. That multiple "drivers" revealed themselves as a part of the picture, and that the monocular fellow on the left is no longer perceived as being restrained against his will, but instead picking up the metaphorical fish (always a metaphor for Christ-consciousness to my own mind), are positive improvements. Ultimately, the figures relate to me a picture of the many selves we are, and that these selves work together. The monocular individual picking up the fish relates limited vision of self combined with Christ-consciousness provides nourishment.
These drawings are reflective of my own life experience. How is that possible if I am not planning or consciously constructing the scene perceived?
8/22/2020: Work in progress - Title: What Now Feels Like, 2 1/4" x 3 1/4"
It is useful to watch and reflect on the specifics as they evolve, so this is not quite complete, but included here as a part of the artist's creation experience.
I have been contemplating the way I feel during what seems a success regarding materialization of an image and its parts. This drawing is very interesting in that, quite unconsciously, I watched myself draw the decorative-seeming line just within the lower right-hand corner, and during my watching-of-self while my hand moves, I wondered what the significance of a sudden transition of straighter-seeming lines to this squirrely-line quality meant. Next, I realized it related to the size of the drawing, and I understood I have now related the images to a memory of how a stamp feels to me.
The quality I love most about drawing the way I do is the effect of it being seemingly stamped onto the paper. It is when I feel as if the image has this "stamped" feel, that its existence elicits an inner peace and tranquility I cannot resist. I become peaceful and tranquil. The character could appear to have his heart coming out of his middle, such as the one-eyed character on the left, and if it feels "stamped" onto the paper, it no longer needs attention and development. He also has his arm tied backward around a tree, and if it feels "stamped" then its visual evocation of what might be construed as "restraint against one's will" will be finalized.
That the images are now building relational stories, through my conscious knowledge of metaphor and allegory, is worth noting. That I can analytically understand that this monocular, restrained individual on the left appears to be on an island, and that there are multiple characters that seem to be in a boat, elatedly speeding by his imposed restraint, is curious. Layer this understanding with the perceived quality of a stamp, and the polarity of conditions is now seen in the light of travel and transition - the characters in the boat are blinded by their own moment of joy to miss the fellow they pass that is stranded, isolated and restrained. Where is the middle-ground in the relationship between these characters? Or, is this drawing just a reflection of what I perceive my world to be right now? I wonder if others can see this meaning in it? Maybe when it is complete; I do not know yet.
Ultimately, if I am going to read these images as story-telling mechanisms, how does this relate to enlightenment? I suppose it relates in that the images, although unconscious in development, are no longer just symbolic of the unconscious construct. How could this be if one is able to deconstruct them intellectually as an allegorical experience? Further, as clarity of how the images flesh out continues to be increasingly clear, it seems I perceive this may not be just an unconscious construct, but a super-conscious one. What I mean is that if other people look and see the story I didn't consciously mean to tell, and it is of Higher Insight, the drawing itself may be an informant to the viewer's own development in some way because the images originated from the unconscious realm. Oh, if this were true! Jung outlined this "collective unconscious" state, and plenty has been said regarding its existence. The point: I have to decide if this is true, believe it, and then see what happens next.
This is a great mental and spiritual exercise, and I am really enjoying myself!
What Now Feels Like, #1 image, unfinished
What Now Feels Like, #2 image, unfinished.
8/20/2020: The drawing below is what I am currently working on. For a challenge, I decided to enter a competition wherein the submissions all must be 6x6 inches or less. This drawing is 2 1/4" x 3 1/4". Very small. I seem to have stumbled onto a way to see and complete work without taking weeks... go small! Ha Ha. That said, the images did overflow past the border demarcation (especially on the right), and this is meaningful to me, as I feel it is the unconscious mind's response to limitations, and is an overflow past those limitations. There are many excellent lessons I have experienced in the creation of this piece. I will update it when finished, but I approximate the total hours put in will be about 20.
I have been working on this drawing since Friday, 07/12/20. I trust that what I am creating is exactly as it is supposed to be - that every mark, erasure, and pause is purposeful. Nevertheless, during drawing in this way, I sometimes struggle with patience, and have to recenter myself and take a break, as I "get in my own way", instead of "riding the wave". I hope that makes sense.
At a juncture, such as the work in progress below, without knowing what I will see evolve next, I have noticed an anticipation to see the drawing evolve, which automatically creates expectation. This is a very un-centered way to draw - the ideal state one in which I watch the drawing happen, participating very little in the building stage of the work. The only recourse is to take breaks when expectation arises, and to feel appreciative for what has developed thus far.
At a juncture, such as the work in progress below, without knowing what I will see evolve next, I have noticed an anticipation to see the drawing evolve, which automatically creates expectation. This is a very un-centered way to draw - the ideal state one in which I watch the drawing happen, participating very little in the building stage of the work. The only recourse is to take breaks when expectation arises, and to feel appreciative for what has developed thus far.
Three days of working on the image.
Fourth Day - Updated image on 07/13/20, below.
07/19/20: I have set this drawing aside, and have begun another one. I do not consider it finished, but I feel I need to work out some experiments. I will come back to it, probably in a few more days.
