When We Pray – Progress

Greetings Family,

I was unable to complete the whole manuscript of my book last month. Although I was quite enthusiastic to get it done, I think I was a little unrealistic about the amount of time I could actually put not the project without going to a retreat location and write from there. However, I did manage to get four chapters completed which places me at the halfway mark! I have four more to go and will be ready to get back into writing mode as we refocus for a new month.

Unfortunately, I was sick with the flu the whole holiday weekend and spent 85% of my time at home in bed! 😦  But I’m almost well now and plan to get back into the swing of things later this week.

Below is a summary of each chapter of the project. As you can see below I don’t necessarily complete the chapters in order because my brain just won’t work that way. I meditate upon which chapter should come next and trust that Spirit will guide me to the write one, as it inspires me with the needed content.  Hope you find them of interest!

WHEN WE PRAY:

8 MEDITATIONS ON THE AESTHETICS OF PRAYER & THE SPIRITUAL LIFE

CHAPTER SUMMARIES

Preface

Since the book is really a series of essays or meditations (or monographs??) I don’t think a formal introduction to the contents/concepts is needed. However, I do think it important to basically set the tone for the reader and provide a few insights about the overall direction of “When We Pray” and my reasons for developing its content.

When We Pray
Making the Connection: Prayer, Aesthetics & the Spiritual Life
This initial essay will paint a picture of the overall conceptual framework that allows the reader to begin to see and understand the connections between prayer, aesthetics and the spiritual life. In this section, I will define some essential terms, provide some historical and contextual grounding, and lay the overall framework for the more specific points of discussion that will comprise the other meditations.

When We Pray
The Aesthetics of Enlightenment: the Universal & the Particular – COMPLETE
It is here that the real work begins. I delve into the most misunderstood paradox in spirituality, how the seemingly particular act of going within through prayer and meditation ultimately leads to an ever more intimate understanding of that which is most common to all – the universal. This essay will delve into this paradox and help us to understand how the aesthetic dimensions of spiritual life help us to better understand the universal and the particular.

When We Pray III
Making Special: Sacred Symbols, Sight & Geometry – COMPLETE
What does it mean to make something special? How does our concept of the sacred relate to our use of symbols and the ways in which symbol is used on the spiritual path? This meditation will examine these ideas and relate them specifically to the process of spiritual growth and discernment – particularly with regard to the ways both humans and Spirit utilize symbols and signs as a means of communication.

When We Pray IV
The Work is all Divine: The Role of Imagination in Prayer & Manifestation – COMPLETE
In this essay, I will explore the ways in which imagination and manifestation play a central role in prayer and the spiritual life. It will present the conceptual framework and context through which manifestation and imagination helps us to see understand the inherent connection between prayer, imagination, and the process of manifestation.

When We Pray V
Awakening: The Art of Prayer & the Art of Life – COMPLETE
We use the term “art” in relation to a wide range of human endeavors that stretch from the actual creative work of the “Arts” to the facility with which we live our lives. This meditation will explore the term “art” by defining it in a manner that allows us to connect it with aesthetic experience, inspiration, and the spiritual life. Particular emphasis will be placed upon the notion that prayer is an “art” and how human beings can harness the aesthetic dimensions of prayer in order to live inspired and artful lives.

When We Pray VI
In Defense of the “Woo-Woo”: The Aesthetics of Mysticism and the Spiritual Life
The contemporary scientific model and its accompanying evidence-based approaches in the softer sciences have given mysticism a bad name. Even many Spirituality and New Age professionals will often shy away from the mystical or qualify any mystical statements by apologizing for becoming to “Woo-Woo”. In this chapter, I will address this phenomena and put forth a perspective that argues for mysticism and spiritualization as key components in prayer and spiritual development. This meditation will explore the ways in which the aesthetic dimensions of mysticism and mystical experience have always been and continue to be integral to prayer and the spiritual life

When We Pray VII
In the World & of the World
This chapter will focus upon the more practical aspects of living the spiritual life by examining how our spirituality should deeply ground and connect us to the world in which we live. How does one think about and frame their response to the world’s problems from a spiritual perspective, and what can the aesthetic dimensions of our spirituality bring to that discussion? There is a real and needed place for social activism, global thinking and reflection upon the ways in which our spiritual life can be brought to bear upon the needs of our current place in human history.

When We Pray VIII
Coda: There is only Love
Ultimately, love is all there is. This final essay will serve as a concluding segment that will weave together the various strands from the previous meditations through an examination of the concept of divine love. It will provide an overarching vision that incorporates the key concepts from the meditations. However, it will not be a summary, but rather an inspirational vision that is both a didactic and beautific discussion on love and the ways aesthetic insights can aid us in the expression of love in our every day lives.

Polarity: The Balancing Of Desire

INSPIRATION

Most people think the second chakra is all about sex and sensuality, but to limit this chakra’s energies to such a narrow bandwidth is literally majoring in the minors. Sex and sensuality are one the many by-products resulting from the actions of the 2nd chakra’s core responsibility: the balancing of polarity. Polarity is the action or power that connects two opposing forces. In this case, the old adage “opposites attract” is right on target. An easy example lies in the action and attraction of yin and yang both intermingling and interpenetrating one another. Polarity is the energy which binds the power of dualistic forces. As beings of Spirit and matter our very existence is an exercise in the balancing of dualistic forces in polarity.

The 2nd chakra is also associated with the moon, water, emotion, and the gift of clairsentience (the ability to receive information through feelings). This emphasis on motion and change compliments the dynamic movement of forces needed to maintain polarity among opposing dualistic forces. Likewise, the age-old association of the moon and water with feeling and emotion matches the mercurial nature of emotions themselves – as we can be happy one moment and sad the next. Humans can experience the depths of emotion and then enter a complete state of shock that renders us incapable of feeling. These are the mysteries of the sacral chakra. Upon close examination, you will find that the binding agent between these forces, the glue which acts as the substance of polarity is human desire. It is my contention that it is this connection to desire which links the sacral chakra so closely with sex and sensuality.

Each and every moment of each and every day we are desirous of any number of things. To be human is to experience desire. Desire itself is decidedly neutral – for without it none of us would be able to accomplish anything. But if left unchecked or untempered, our desires can so easily become an enemy from within. A trojan horse that is capable of undermining and destroying all our hopes and dreams. If we repress our desires we dam the flow and our manifestations become dull and lifeless. However, if we allow our desires and passions to overshadow everything they will eventually consume us. Therefore, we strive to maintain an equilibrium among our various desires through the action of polarity. Just like water, our emotions, energies, needs, and desires must flow. Shifting and re-forming as needed to fit the multi-form contours of our desires as they expand, contract and intermingle according to the demands of daily life. One of the most easily identifiable areas for observing this need for polarity lies within the realm of sex and sensuality.

Polarity: The Balancing of Desire

SYMBOLISM

The predominant color representation for this chakra is orange. For each chakra, I use a minimum of three variations of that particular color ranging from warm to kool. All other variations in tone are created by mixing a particular hue with white. For this image, I used the orange found in the lotus as the primary tone of the entire image. This tone colors the lotus, serves as the base tone for the background and was painted as a lighter layer on the flower beneath the seated figure.

The 2nd, or sacral chakra is symbolized by the six-petalled lotus with its accompanying  Sanskrit character (Savadhisthana). This same decorative flattened Lotus motif is found at the top and a more realistically rendered lotus is found underneath the seated figure.

The seated figure is meditating in the full lotus position with his hands pointing downward in the shape of a triangle. The triangular mudra has its opening in the location of the sacral chakra. I opted not to place a small graphic image of the chakra within the space for two reasons: I wanted to keep the imagery consistent with the remainder of the series, and I felt that a bright graphic image there would draw the viewer’s eye directly to that location where it would remain stuck – thus sapping energy and movement from the overall composition.

In many ways, this particular piece has been the most difficult one to create thus far in the series. The choice of which chakra to work on next has been Spirit-led and intuitive. This exercise has also meant that a major portion of my focus for this series has been an exercise in tuning in for guidance. Not only tuning in but more significantly, exercising the courage and discipline to trust and follow that guidance once it has been received. In “learning to trust my gut” as the old folks used to say. Learning to balance my inner feelings and hunches with the knowledge and skills I have acquired along the way has been a source of tremendous growth for me. I look forward to the coming year with courage and wonder.  I have finally begun to realize that the process is as important as the outcome. Balance is the key. Namaste’

Look out for a discussion of the 6th chakra next month!

To purchase the original image please use the link below:

Damon’s Originals

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Flowering of the Cosmic Consciousness

INSPIRATION

To tell the truth, I’m really not sure where this is going? I have been doing a great deal of reflecting in the past few weeks and am in a constant state of awe and gratitude for my present way of being. My decision to pursue my dreams of being a full-time artist has also placed me in the unique position of starting my life all over again. I have literally been given (and co-created) an opportunity to re-create myself and my life. I sit at the potter’s wheel before a massive piece of clay that is ready to be formed into whatever image I desire. But what do I wish to create? What is the quality and content of my vision? I am totally free to fashion and create my life into anything I would like it to be. But this too is a position of both awesome freedom and great responsibility.

I have spent the last few weeks reflecting deeply upon my past, letting go of regrets, forgiving myself for wrongs inflicted upon self and others, examining the present moments, and thinking critically about who and how I want to be in the world. The decisions I make now, and the things I begin to manifest will become the building blocks of my new future – and this realization fills me with terror and exhilaration. But my past and its lessons are also still with me. These experiences have provided me with enough insight to understand that I cannot create a truly new and better future by operating with the same habits and levels of consciousness that have brought me to this moment. I must take a leap both artistically and spiritually. In order for lasting positive change to occur, one must not only know better but BE better!  Creating lasting change is an inside job. Without inner transformation, there can be no lasting and authentic manifestation. It is this realization which has caused me to spend the last few months meditating upon the crown chakra.

There can be no conscious creation without a corresponding change in consciousness. Einstein put it this way, “You cannot successfully solve a problem operating from the same level of consciousness which created it” (paraphrase mine). And so all things must become new. The 7th or “Crown” chakra serves as the gateway to higher levels of consciousness. It is our connection to the highest divinity and a key component in every act of physical manifestation. Spirit has been leading me to meditate upon the crown chakra (and my third eye) so that I can work on opening, widening, and deepening my connection to the higher levels of consciousness needed to become a more connected, centered, intuitive, creative, disciplined, resilient Damon – who is capable of creating and sustaining the life of my dreams. This effort necessitates the flowering of a cosmic consciousness. To leap towards the next level of my enlightenment.

Fron this perspective, we see the true meaning of enlightenment has nothing to do with a destination or goal to be achieved, but a process of ever-deepening discovery, or a never-ending expansion of one’s consciousness into that of the divine.  This expansion brings with it the capability to receive and perceive higher levels of vibration within one’s consciousness as the crown’s lotus expands and opens.  Hence we find that enlightenment is not a state of being, but a journey without beginning nor end.

Flowering of the Cosmic Consciousness

SYMBOLISM

The graphic lotus symbol above the figure depicts the crown chakra and its accompanying Sanskrit character “Om” (pronounced A-u-m). The repetition of the Om is purported to be the frequency and sound of the universe (Uni – one and verse – song = one song). As the Om is chanted our song becomes more fully integrated with the universal frequency until all is immersed into one song (the cosmic consciousness).

The color violet is associated with the crown chakra and is thus reflected in various shades throughout the composition. The colors which appear darkest to our eyes also retain the highest frequencies energetically, thus it makes perfect sense that a deep, rich, violet would serve as the highest point of the chakra system while the brighter colors containing the lower vibrational frequencies would comprise the lower chakras.

The figure is seated upon an opening lotus flower, in a deep state of meditation. His hands are formed in the shape of a power mudra as he connects to the source of all power and potentiality. In order to further emphasize the opening or flowering of higher consciousness, I also placed a violet spark on his forehead in the location of the third eye symbolizing the accompanying expansion of consciousness. The swirling mass around the figure is symbolic of the universal energies of creation and their raw unformed potential for physical manifestation. “In the beginning…the earth was a formless void and darkness covered the face of the deep, while a wind from God swept over the face of the waters.” Genesis 1:1

Look out for a discussion of the sacral chakra next month!

To purchase the original image please use the link below:

Damon’s Originals

To Purchase a Print use the link below:

Prints by Damon

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Will: The Power of Integration

INSPIRATION

Believe it or not, I wasn’t planning this. My initial chakra focused image, “The Flowering of Truth” was intended to be a single image. When I completed the work in February, I had no intention of creating another work on the chakras – nor the impetus to create a series. But it would seem that Spirit had other plans.

A large percentage of my inspirational and creative processes are dependent upon intuition and channeling. Most of my inspirations are brought forth through life-experiences and/or insights intuited/channeled/gleaned from my meditation practice. In a very real sense, one could view my creative practice as a spiritual development journal. In hindsight, I see that the process of strengthening my 5th chakra was in preparation for my departure from my day job in order to pursue my vocation full-time. I needed to connect with the expression of my voice and speak forth my truth in authenticity. “Will: The Power of Integration” is about the need for me to marshal my energies and resources towards the achievement of my goals so that I will have the strength to persevere despite all obstacles. It wasn’t until this image’s completion that I realized that this was the start of a series.

The third chakra is found in the vicinity of the navel and solar plexus. Its primary element is fire – thus it is associated with the pancreas and adrenals. It’s color – yellow is the core of the preceding two chakras (red and orange respectively) as the core of any fire is bright yellow-white with the reds and oranges radiating from that burning center. The 3rd chakra is the integrator of the 2 preceding it (1 = earth/matter, 2 = water/creation). Hence the power of the 3rd chakra is based in integration. It’s mantra, “I can” is reflective of human “Will”. Not society’s traditional notion of “will to power, conquer, push through…” but a dynamic force that transforms and shapes through integration. From this perspective, “will” is the integration of our desire and focus for the purposes of transformation and manifestation. Thus transformation and manifestation are based upon one’s power to combine and integrate the various aspects of one’s being in order to direct them towards a purpose. This is the power of “Will”.

Will: The Power of Integration. The 2nd creation in my chakra series.

SYMBOLISM

As discussed previously, the color yellow is associated with the 3rd chakra and the core of fire and sun. I chose not to seat the figure because I wanted her to embody the energy associated with this chakra. This woman is standing, floating up and away from the lotus beneath her. She rises unaided, of her volition as she integrates her focus and desire in order to initiate her own ascension. She is the source of her own ascension and transformation due to her own self-integration (we are in truth the truth we seek). Her outstretched arms are symbolic of both praise and the discovery of her own inner power.  It is as if her outstretched arms and slightly lifted head evoke ecstasy and draw in the swirling matter that surrounds her as it becomes an integral part of her being. Her hair is both charged with the light of the chakra’s activation and the power flowing within. 

The graphic lotus symbol above her depicts the third chakra and its accompanying Sanskrit character. The open lotus beneath her figure is also symbolic of the chakras in general. 

Look out for a discussion of the crown chakra next month!

 

To purchase the original image please use the link below:

Damon’s Originals

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Prints by Damon

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The Awakening

INSPIRATION

If you recall, last month I spoke about my creative rut and accompanying blues. The 1 piece I did manage to create during the darkest portion of that period “Moonlight Blues” played an integral role in the creation of the piece featured this month.  It’s a shame that even the most spiritually in tune of us often miss the significance of certain events or decisions when we are caught up in the midst of them.  

For each of us there are ingatherings. Periods in our lives when we are struck by pain, hurt, loss, rapid change…and it affects us so deeply that we are forced to withdraw,  step back from life and the world, and just be alone (ingathering). During these times we are forced to grow, transform, stretch our inner being beyond the limits we had convinced ourselves we could not reach. During these periods of ingathering, we are often able to undergo rapid growth and experience profound shifts in spiritual awareness through which we are literally elevated and transformed. 

Just as the caterpillar cannot transform into the beautiful butterfly unless it withdraws from life and enters into its cocoon – a kind of ingathering. It must first go within. While in the cocoon, every cell in its body literally dissolves back into primal goo and is then recombined into an entirely new being.   It is literally transformed. From the prefix trans – to move beyond or through, and form – the physical manifestation of our material world.  We too must transform.

For me, the place of wrath and tears that created Moonlight Blues, was actually a time of ingathering. It was literally the cocoon of my transformation. From within that shell, I received an awakening. I was able to literally receive a divine transmission which elevated my outlook and frequency. My intuition has been awakened and strengthened, I have begun to connect intimately with my higher self and guides, and I have also been able to allow my spirit to fuse more fully with my physical being thereby uprooting many deeply held negative energies. There has been an awakening – a quickening that has pushed me to a new way a being with a new higher vibratory baseline. This Awakening is the inspiration for the similarly entitled work shown here.  

 

SYMBOLISM

“The Awakening” is the next phase of the process of ascension and descension I had been depicting in the ascension series (Ascension I, II and Breaking the Veil). The ingathering experience has given me deeper insights into the process and some of its more subtle nuances. The image depicts a single figure seated in deep meditation. If you know anything about meditation you understand that the act itself is a form of ingathering as one becomes still, goes within, begins to decompress from the body/mind’s constant barrage of sensory stimuli so that one can be renewed. As she receives divine transformation her head lifts up towards the heavens and in a gesture of receptivity and thanksgiving for the spiritual energies she is receiving. There is an opening, an infusion, a download if you will that will energize and awakens parts of her being (both physically and spiritually) which had previously lain dormant. The ability to literally float upon the air and phase in and out of  physical reality was a common feat documented on the life stories of many spiritual masters. 

As the figure floats upon the air bolts of lightning spread out beneath her. These thunderbolts represent not only spiritual power but the subsequent ability to affect the physical realm of nature – an ability that is also shared by those who have ascended and is usually narrated in the form of healings, walking on water, stilling storms, speaking with animals…etc.  Those who reach this level of mastery have power flowing through them that has a spontaneous effect upon others around them. This phenomena was responsible for the veneration of relics and other sacred items that belonged to holy figures. For example, the bible speaks of people being healed by the touching the discarded garments of the apostle Paul and other noted saints. 

Her hair rises up as it is filled with the sacred energies that are being received and course through her entire being. These energies are both spiritual and physical. Her hands form a mudra symbolizing power and transformation, while her eyes open up toward the heavens above. All the while she is supported by the divine hand of god which serves as a support, source of uplift, and grounding protection from any lower energies.

The burning fire bursting forth from the figure’s heart symbolizes healing, regeneration, and the development of a richer sense of intuition and connection to spiritual realities. There is so much discussion in circles about the third eye and its power to open one to spiritual insights, that we often forgot the true seat of all knowing is not from the mind or upper chakras, but from and within the heart. The same spiritual fire depicted within the figure’s chest is also mirrored above her in each of the smaller orbs that comprise the outer portion of the heavenly circle above. This divine connection is maintained within the awakened heart.

The other symbols within the piece are all loosely based upon numerological theories. The large circle above her is an adaptation of the Fibonacci scaling system which is directly connected to Phi and the golden rule of divine proportion found throughout nature, art, music, the human body, and symbology. The circular scaling sequence and the spiraling energies within the circle are all part of this system. The floating circular shapes are healing glyphs fashioned of copper that have been purported to heal those who come into contact with them, while the 9 pointed triangular shapes within the glyphs are indicative of the 9 personality types found within the Enneagram.  The number 4 is associated with the earthly plane so the four glyphs are earthly symbols which help to keep the figure grounded as the heavenly energies descend and fuse with her physical nature.  As in many of my other images, the figure is encircled within a biomorphically shaped ring of power which is indicative of both spiritual power and the auric energies.

This image will be the cover for my next major project. I have begun the process of developing 2 books for next year. This image will serve as the cover of project number 2. A large format coffee table book entitled: When We Pray: Seven Monographs on the Aesthetics of Prayer and the Spiritual Life. Look for further details by the end of March 2017! 

To purchase the original image please contact me directly at:

Damon’s Originals

To Purchase a Print use the link below:

Prints by Damon

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My website:

Damonpowell.com

Ascension III: Breaking through the Veil

INSPIRATION

Although the appearance of this image is very different from the two which have preceded it, the impetus for its creation is deeply embedded within the same concept. “Breaking through the Veil” is still very much about ascension. At the most fundamental level, each of us is spirit and exists as such in this dimension and those beyond it. From a quantum perspective, we know that more dense slower moving particles (lower vibration) can not maintain their integrity in the presence of less dense particles (higher vibration). The more dense particles must either be accelerated to the higher frequency or be destroyed by it. From a spiritual viewpoint, Spirit must literally descend to a lower frequency in order to become encased within physical matter. The portion of human consciousness which exists within our bodies had to literally descend and break through into this 4th-dimensional reality. 

Part of our spiritual work is the practice of more fully embodying this higher energy and consciousness within our physical body. At our best, we do this through a process of spiritual formation and an intentional cultivation of the inner life that will help spirit become increasingly more present within every aspect of our being. At our worst, we live unconsciously and are driven by ego, habit, and basic physical impulses. Siddhartha the first Buddha is a shining example of the potential we possess when the spiritual life is cultivated with discipline and intention. As we read his story we are privy to an ongoing process of transformation which culminates in him embodying so much spiritual light that he could phase up and out (ascend) into the higher dimensions of consciousness. He took the small spark which had initially broken through the veil and fanned it into a bright and shining light that brought about his ascension. 

When we review the life of Jesus and the events which led to his resurrection and subsequent ascension we find another point of entry. As a boy, we are told that Jesus was constantly spending time with the spiritual masters of his particular tradition. We also find that a significant portion of this embodiment work was completed during his baptism in the river Jordan under the hand of his cousin John the Baptizer. We are told that when he presents himself to John for baptism, Jesus rose up from the water and the spirit descended upon him like a dove. Whether we view this literally or symbolically, the essential point is that he was transformed in a manner which was easily identifiable by those around him. In this case, he was provided with an inpouring of spiritual power for the performance of his particular mission within the earthly realm. This descension could be interpreted as a greater connection to his higher self, or a greater capacity to access the frequencies within the higher realms. This capacity allowed him to perform various works which seemed to be miraculous by our limited perspective. 

The examples above inspired me to create “Breaking through the Veil”. The images I create are not only birthed from my vocational practice but are the result of spiritual insights that have accompanied my own process of spiritual formation.

 

SYMBOLISM

“Breaking through the Veil” symbolizes ascension and descension. The piece was created using scratchboard because the stark contrasts between dark and light were an essential part of my vision for the image. We encounter utter darkness on the left and right sides of the image. For me, this blackness is pregnant with symbolism. In Western Euroethnic culture, blackness is associated with that which is base and evil. But in other cultures this isn’t the case. The blackness encountered here is associated with formlessness, the void, a place absent of any “thing” yet pregnant with infinite possibility. Science refers to it as anti-matter that fills the spaces between space and as such it is the blank canvas of the cosmos.   

On the left side of this expanse, we find a single point of light shining forth within the darkness. This light, this single spark from source is filled with infinite knowledge which is symbolized by the all-seeing eye contained within it. This single divine spark is filled with all knowledge and therefore, an infinite capacity to act upon and within the darkness which surrounds it. It uses its very being to pierce through, manipulate, and mold the slower moving anti-matter into a form that a portion of its consciousness can embody. In the process of descension and embodiment so much is of its former brilliance is lost that it, we, so often forget that how truly powerful, brilliant and expansive we are. We forget that there is so much more to us than theses bodies and thoughts could ever contain. We forget that this is not all there is and that the reality we know is simply the tip of a massive iceberg buried deep within.  

The child-like figure finds shape and form as it emerges from the darkness yet it is not fully formed as none of us truly are. Some of us will live a thousand lifetimes and still remain partially unformed. unfulfilled, and never fully mature into the possibilities for which we were intended.  This is why we must work at embodying the spark, bringing forth the light which yearns to become fully actualized within us. Live in the Light!

The rings emanating from the figure are indicative of both spiritual light and the dissolution that accompanies time. The first one is bright white and clear as we grow into our full maturity. The second aura is much denser because it represents the genesis of our physical forms process of decline. Notice that each successive emanation has less form and greater degrees of dissipation.  What is spirit must return to spirit. Eventually, the physical form will return back into the void from which it was birthed, and the spark will once again merge with its own omniscient brillance. As Job reminds us, “Naked I came from my mother’s womb, and naked shall I return. The spirit gives and the spirit will take away.” Amen.

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Damon Powell – Artist & Theologian

Winds of Hope

INSPIRATION

Recent events in my life have led me to the contemplation of hope. It just so happens that life has been moving along at its own steady pace. Sometimes intense and other times slow, but thankfully there have been no major upsets or crashing waves. When things are like this I often find the breathing room needed to catch my breath and connect more deeply to my higher self. It is during the steady rhythm of life that I am more easily able to reflect upon life’s deeper layers and connect with Spirit from a much more grounded place.

These times of recollection and reflection usually start with gratitude. I find myself grateful for the periods of sunshine that burst forth from the heart in the seasons between the storms. When I am quiet, I can observe a kind of in-gathering within my mind and spirit as all the myriad pieces of my identity are gently de-fragmented and reconnected to one another. I review the progress I have made, see things moving forward, and am filled with gratitude. But even more than that – I am filled with hope.

I am able to see the bigger picture and all the small but progressive steps that let me know I am moving forward towards my goals. This acknowledgment fills me with hope. Hope that that I can succeed. Hope that I can achieve my goals. Hope that I have and can make the right choices, and hope for the future. Hope is foundational and inspirational. The bible reminds us that,  “faith is the substance of things we yet hope for, the evidence of things not seen.” Most of us focus upon faith in this passage but the statement clearly places an even weightier emphasis upon hope – as the foundation which makes faith even possible. Without hope, life has no meaning. Without hope, faith is not possible. Without hope, there is no vision for the future. From this perspective, hope could best be defined as an assurance that the things we desire are actually capable of becoming reality. Thus my stepping back to acknowledge my progress. express gratitude for my current place, and celebrate my accomplishments fills me with hope.

Hope is the wind which blows through my spirit filling me with renewed determination and inspiration. My sails are full so, I do a bit more dreaming and make a few more plans. Then I stretch my arms out wide, lift my head towards the heavens and bathe in the hope’s breeze. HOPE

THE CREATIVE PROCESS

I began this blog because people who view my works often inquire about the meaning within my imagery and the symbols I employ. Since a great deal of my work is about spiritual insight and visual metaphor, symbology plays in integral role in my creative process. Lately, visitors to my studio have also begun asking about my medium, techniques, and the ways in which I am able to integrate them into my overall creative process. So I took the time to snap a few photos of this work in various stages of my creative process.

Everything starts with an idea or inspiration. It may be something I see, a spark gleaned from something I’ve been reading, an image or feeling that is impressed upon me within my meditations…but  things keep coming so I just try to remain open. Once I have solid grasp upon the concept, I begin doing sketches and/or looking at various images that may help to translate my inspiration into concrete visual form. This particular image had a rather long germination which began last winter while I spent 2 months viewing a package of subliminal message videos I had purchased. The actual composition came together quickly after I began researching images.

I am an extremely visual person and an artist so I often save random images that speak to me. While watching one of the videos, the image of the young man standing in the field struck me so I saved it. A few months later I was on google images (I just do that sometimes) and the grassy knoll just kind of popped out at me so I saved it as well. A month or so after that, I was at work making myself a cup of tea. I pulled the last tea bag out of the box and I saw the image of a lotus flower on the inside so I ripped the box apart and took the image to my studio so that I could digitize into my image library.  Shortly after that, I was sitting in my studio sketching. I was feeling really good and reflecting upon how well about things had been going and I got this very full, glad, hopeful feeling. I began to try and sketch it – so I pulled up a few images from my image library to see if anything might create a few more sparks and these three spoke to me.

As you can see from my initial thumbnail sketches it didn’t take long for me to come up with a workable composition. There are days and weeks when it doesn’t  come this easily and I may spend weeks researching, or end up producing 20-30 thumbnail sketches until I can find an inspiring and workable composition. Once I have a good composition, I will often produce 2-3 larger ones (4 x 6) to work out some of the light and shade problems.  For this image, I didn’t feel the need to do so. I moved directly to creating some small color roughs. The circled Image with the double stars is the color combination I decided upon using. With an extremely complicated image, I will create 1 or 2 larger-scale color roughs (4 x 6 as well) to alert myself to any potential tonal problems that may arise before I get into the actual process of execution.

The Work

For me, getting down to the actual work of creation is also an act of worship, and ritual. This aspect of my vocation involves the use of several rituals that I employ to move me toward concrete acts of creation. Creativity necessitates form. An idea or concept is no better than a daydream until you give it form through acts of concrete physical manifestation. Just as “faith without works is dead” inspiration that are not accompanied by acts of manifestation die shortly after conception.

Keeping the above in mind, I often let the work itself determine the medium from which it will be manifested. At some point during the sketching stage, the imagery begins to inform me about which medium would be the best vehicle for this particular expression. In this case I knew the colors needed to be bright and vibrant so scratchboard was not a consideration. Once the color roughs were completed, it became clear to me that watercolor would be a better medium since the white paper beneath would produce a much brighter, ephemeral, and luminous quality than I could achieve with acrylics.

I begin by engaging in prayer, and then slowly and mindfully laying out my materials so that they are easily accessible and functionally placed within and around my work area. I then choose my material (in this case watercolor paper), and outline the image upon the surface. I often us a projector for larger layouts rather than drawing everything out by freehand. In this case, I used a thinner sheet of paper than I normally prefer to work with (I prefer 300lb Arches watercolor paper), so I had to size the paper before I could begin any actual painting (many artists don’t lay out their imagery until after sizing, but I prefer to do it beforehand).

Before I begin to do any creative work I spend at least 10-15 minutes in prayer and meditation just before I begin. I created a small altar in my studio that contains candles, incense, crystals, a bell, and other items of significant personal value. After completing my meditation, I spend about 2-3 minutes with my Ipod selecting what (if any) music will be playing for that particular creative session.  With Winds of Hope I began by painting the first layer of washes upon the largest areas of the image. Although it is not depicted here, each area of color has anywhere from 5-8 thin layers of color upon it. This technique allows for the vibrancy of the colors to reflect up through the paper as each successive layer builds upon the next.

As you can see from the images below, the vibrancy of the colors slowly builds intensity with the application of each successive layer. The more subtle details and shading are added in as each layer of color is applied. For me, this process is more like sculpting than painting. I often imagine myself pushing, pulling and molding the various surfaces and contours of the image rather than drawing or rendering them with the paint brush.

Finishing Touches

As you can observe from these photos, I save the more precisely detailed portions of the image for last. In this instance, it was the waving grass and the figure’s skin tones. These final details were part of my work activities on days 5-6.  Sometimes, I will initiate changes to the image based upon insights or promptings that come to me during my preparation meditations. For this particular piece, there were no promptings over the course of the process, but once the work was completed several people pointed out that the figure resembled me. This was not a conscious decision on my part and I honestly hadn’t noticed (oftentimes, we do more than we can know or say).

The piece was unveiled in my studio for the First Fridays Art Murmur without the facial mustache and goatee, but after the 7th or 8th comment about the figure resembling me, the following day I removed it from the frame and added the mustache and goatee so that the figure would resemble me more closely.

SYMBOLISM

There are only two actual symbols in this image: the lotus flower depicted behind the central figure, and the West African Adinkra symbol floating above them both. The work’s title, “Winds of Hope” embodies the notion of Hope being the wind which blows through mind, body and spirit, filling us with renewed determination, enthusiasm,  courage, and willingness to sacrifice for the creation of our dreams. Hope is the literal wind beneath our spiritual wings. The figure lifts his head toward the heavens and opens his arms wide to be caressed by the spiritual winds of Hope in a display of gratitude for blessings already received. The lotus behind the figure is also indicative of hope as it springs up from the muck and mire of muddy riverbeds to show forth its splendor. The Adinkra symbol floating above the main portion of the composition literally symbolizes Hope in West African symbology. I thought it very apt and appropriate that hope is connected to the heart’s symbol. For hope too is about the heart –  it’s dreams, passions, and desires. Purple is indicative of spiritual power and love, red passion, and yellow symbolizes wisdom, happiness, and divine benevolence.

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Damon Powell – Artist & Theologian

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Live In the Light: I & II

Light

Since the dawn of time all of creation has been living in the light. The first intimations of life on this planet were birthed as a direct result of their interaction with beams of light that penetrated the atmosphere and  pierced the ocean’s surface to cause reactions within tiny micro-organisms. As the process of evolution continued its never-ending project of differentiation and expansion, the foreparents of humanity came into being. And just like the other animals who roamed the earth our foreparents lived, hunted, and died according to the rhythms of the sun and moon. It is no wonder that some of the earliest known spiritual and religious rituals were often centered around the sun and the characteristics of light.

As we developed signs, symbols, and language the notion of light was an integral part of our semiotic vocabulary and eventually became a potent universal metaphor. As an artist, I spend a great deal of time observing, studying and rendering light and its effects upon the world. The way it affects colors or shapes, what it reveals or obscures, how it creates a mood, and the thousands of other ways it influences my imagery. As a theologian, I am well acquainted with the use of light as a metaphor throughout all spiritual and religious traditions. Light is the physical manifestation of both cosmic and supranatural power. The creation of light and the heavens plays a central role in every culture’s cosmologies. From an aesthetic perspective this is an essential point because aesthetics is not just about beauty – but relationships and harmony. How each culture understands and relates to the cosmos and its creation will be reflected in all  its other relationships to some degree. For instance, if your cosmology interprets creation as existing for the benefit of humankind then this perspective will be reflected in your relationship to the planet and all the other beings within it.

INSPIRATION

The initial inspiration for all of my “Live in the Light” themed works comes from the song, “Live in the Light” by Fertile Ground. It just so happened that I was going through an extremely dark and rough period in my life. There was a great deal of fear and confusion about the future during this time. Most days I was struggling just to make it through the day without completely losing it. I was being consistent in my prayer and meditation practice but it seemed as if I was unable to be still enough to find the peace, answers, or relief I so desperately needed. Everything seemed dry. One weekend I couldn’t find the energy or focus to create so I decided to do some thorough house cleaning in hopes that it would declutter my mind a bit as well. I decided to put on some music while I worked and within 10 minutes Live in the Light began to play and I was literally struck by the lyrics as they resounded within my head. I just sat down and listened (over and over again) until I was overwhelmed by a palpable sense of well-being and peace. It was then that I gained my breakthrough. I knew that somehow everything would be alright if I just did my best to live in the light, love in the light. The healing, compassion and all else I needed would come forth if I did my best to stay in the light. I have taken the liberty of reposting the lyrics below:

Live in the Light

If this life is heaven, can we live like the stars? Then all of life is a just a lesson to live in the light, live in the light.

We keep on living life like better days are far away. Each day we pray to god to find our way back to the stars- when we need to heal our hearts.

If this life is heaven, then all that we do is all we have. See, we’ve got to find a way to shine love’s light today – somehow. See, we’ve got to find a way to shine love’s light today – somehow.

So let’s live in the light. live in the light, live in the light Let’s live in the light. live in the light, live in the light. See, this life can be heaven when we find peace of mind. The only way to receive our blessing is to live in the light. Love in the light.

So, let’s stop the wars, stop for peace, stop for love, stop the violence, stop the push, stop for peace, stop the lies, stop the fight, stop the death, stop the hate – live the light. So, let’s stop wars, stop for peace, stop for love, stop the violence, stop the push, stop for peace, stop the lies, stop the fight, stop the death, stop the hate – live the light. Oh live in the light.

Let’s live in the light Let’s live in the light. live in the light, live in the light Let’s live in the light. live in the light, live in the light.

I can see us dancing in the sun looking at the sky. I can see the god in everyone walking side-by-side. I can see us through your walls. I can see us in the stars. I can see the light in every night and peace in every heart. Let’s live in the light, Live in the light, live in the light…

 Live in the Light

SYMBOLISM

The image above was the first created on the Live in the Light theme. It was created using oils paints on a piece of canvas board which someone had given me a few years prior. I still had the canvas because I very rarely paint using oils. This image is the 2nd or 3rd creation I have ever made using oil-based paints.

The standing figure has her arms outstretched with her hands angled slightly upwards toward the heavens.  The figure is in a position of reverence, joy, and receptivity. She stands before the light with open arms and an open heart, ready and eager to receive all that is offered. The red line which outlines the figure is symbolic of love and the Holy Spirit in the Christian tradition. In Hinduism red is associated with the root chakra which is fundamentally raw creative power – the very energy of life itself. The symbol within the figure is the Reiki symbol of enlightenment. Reiki can best be described as a healing modality that utilizes touch and the transmission of divine energies for healing, balancing of the body’s systems, and rejuvenation. She stands upon the earth larger than life itself as she reaches out to touch and be touched by the cosmos. All the while still solidly grounded within material reality represented in the figure’s appearance of growing forth from the earth itself.

I purposely made the sun like shape ambiguous in its origins. This ambiguity symbolizes the very nature of the spiritual life, and the metaphor of light within it. It is unclear whether the light is emanating from the heart of the standing figure or shining down upon it. We are never quite sure if the light we feel, or the divine presence we sense is emanating from within us or touching us from without? In my experience, it is paradoxically both at the same time. Just as it is often said that when we hug someone the love we feel is not only their love for us, but our own love being reflected back within us. So it is with divine light. We must radiate the light even as we receive it – thus that which we extend out is also reflected back to us (you give what you get/like attracts like). The color red is present within the orb, but orange is also there to represent divine benevolence toward the creation. The yellow rays bursting forth from the orb/sun are both physical light and spiritual light which imparts divine wisdom to all (yellow). It was divine wisdom that created the cosmos and sustains it. The thin powder blue line circling the earth is indicative of divine love and inspiration.

Live in the Light II – The Grand Design

Live in the Light II  – The Grand Design was created using acrylic paint on a board. Once again we find the larger-than-life figure standing upon the earth. The darker blue is indicative of heavenly love which permeates both the earth and the heavens. The thin powder blue line circling the earth is indicative of divine love and inspiration. Golden rays of divine light pierce the heavens providing power, wisdom, and protection (gold).

This time red is used in both the figure and the symbol within the sun/light. The symbol is called the Grand Design and imparts 2 important meanings: 1) From a spiritual perspective it symbolizes three great world religions Judaism, Christianity, and Islam. It emphasizes their unity and connection to the same divine source. All three of which have been revealed to humanity here on the physical plane – hence the color red which indicates divine love for humanity. 2) As an artist the Grand Design points out all of the basic shapes that can be found in nature. All shapes can be comprised using either a square, triangle, circle or some combination. Thus we have the blueprint for every possible design contained within our own powers of creativity as they have been granted to us from above. It is through our various acts of creation that we most purely embody the image and wisdom of our creator. In this image the figure is more clearly defined as she is bathed in the encompassing light of divine wisdom as it flows past her to encircle all humankind (earth). Here the figure is representative of all humanity as it receives divine love and wisdom.

In Conclusion

This series reminds me that we must live in the light. That we are part of the light and its rays can only be reflected in us if we strive to live in it each and every moment. We do this by being present to life, present to our feelings, and present to the divine light within us. This life can be heaven if we allow ourselves to pour forth the aspects of heaven which are innately present within us. Live in the Light!

P.S. I had the pleasure of being interviewed by Mr. Heath Armstrong, Producer and host of the Artrepreneur Now podcast. If you get some time check it out or download it from iTunes (free) so you can listen at your leisure.

To Purchase a Print click on any of the images above, or use the link below:

Damon Powell – Artist & Theologian

To purchase an original work please contact me directly at:

info@damonpowell.com

When We Pray: Reflections on Prayer & Meditation

INSPIRATION

My initial interest in devotional images was birthed in my childhood. The first devotional images I encountered were found within some old family bibles that I found on book shelves in various family members homes.  I was fascinated by these depictions of divine beings and biblical figures. At school I would go to the library and check out various art books that depicted images created by the old European Renaissance Masters – especially those featuring the works of Da Vinci and Durer. In college, I was once again drawn back to these same images with a greater capacity for understanding  after I entered art school and began to receive in-depth training in drawing, painting, and art history. 

My first attempt at creating a devotional image did not occur until I received a commission from the President of my seminary – Dr. Louis Charles Harvey. He commissioned me to create a large watercolor illustration of African slaves with wings on their feet flying up and away from the plantation fields and into the vast expanse of the heavens. His inspiration for this image was based upon the old Negro Spiritual, Steal Away to Heaven. I later completed a second image based upon the biblical Annunciation event (the angel Gabriel informs Mary that she has been chosen to conceive Jesus – Luke 1.26-38) for a doctoral class on Christian iconography.

The impetus for the “When We Pray” series was birthed out of my own personal experiences with prayer and meditation. Prayer is an essential component of the spiritual life and its importance is emphasized throughout all spiritual traditions. Although we often make a distinction between prayer and meditation, the two often support and interpenetrate one another. For my purposes, prayer can most easily be defined as communication with the divine.  Prayer, like any other form of communication must involve both sending and receiving. Thus it occurs within the context of dialogue and mutuality. In order for this mutuality to be authentic there must be some real capacity for both parties to affect and be affected.

We could also define prayer as the movement or opening of the heart towards the divine. This movement or opening involves a change of focus and orientation that tunes one in to the divine frequency so that one is prepared to engage with the divine in dialogue and mutuality. From this perspective, one simply seeks spirit through the focus of attention and expectation on the divine and communication results as a natural part of the process. The underlying assumption is that our creator wants to be to in communion with the creation in dialogue and mutuality.

SYMBOLISM

My intention was to create an image which depicted: a) my understanding of prayer, and b) visually communicate the mood and feelings which accompanied some of my own experiences with prayer and meditation.  I wanted to give birth to all of the sensations I had experienced energetically, emotionally, psychically, and physically. At the outset, there was no plan to create a series of images, there was simply a compelling desire to make visible the invisible, to encapsulate that which is universal within the particularity of a single image. Each daily encounter with spirit provides new experiences and information that can fuel another image, always the same and yet somehow always miraculously different. It is this miraculous quality which spurred me to complete more images over the course a year. It wasn’t until I had begun the fifth image that I decided to complete the series at seven works – thus symbolizing completion.

All of the works contain two constant motifs: 1) the divine presence being symbolized through the use of a hand(s), and 2) each figure is cocooned within a pulsating field of spiritual energy. The presence of these two motifs in each image is a visual representation of the quality of sameness or consistency that accompanies prayer and meditation, yet all the while other aspects of theses same elements can be different or convey slightly different qualities. It is the same, yet at the same time always different. In these works this quality is conveyed by depicting each cocoon differently, the hand (or hands) are depicted in varying positions, and in each image symbols are present but they vary in size, shape, and meaning.

Hands

The symbolism of hands is pregnant with a wide range of possibilities. The divine hand is an image that is encountered across a wide range of religious literature. The Christian bible often makes references to the hand or finger of God resting upon, supporting. protecting, surrounding…various persons and situations. The Exodus narrative is a perfect example of the use of this symbol with great effect (for more information see my blog post from October 2014). In my personal experiences the divine presence expresses its self in a variety of ways that often give me sense of being held, caressed, protected, stroked, supported, guided or whatever else may be appropriate at that particular time. This sense is one which I have experienced consistently within my prayers and meditations.

Divine Energy/Light

The sensation of energy, light, Chi, Holy Spirit, aura, magnetic fields, bioelectricity…is one of the most widely acknowledged examples of the various ways one can encounter spiritual power during prayer and meditation. Although many of these terms describe very distinct forms of experience they all ultimately originate from one common divine source. Each praying figure is surrounded by a divine light which is intentionally biomorphic in form and unclear in origin. One is not sure if the light originates from the praying figure, or one of the symbols which are depicted within the image. I deliberately chose to alternate the tone of  the light surrounding each figure by depicting the energies in black (Fig. 1, 3, 5 & 7) or white (Fig. 2, 4 & 6).

I

This is the 1^st image in the series. The hands symbolize the presence of the divine supporting, sustaining, protecting, touching, caressing, loving…each of us as we open ourselves to know and be known. In this image the cross represents divine sacrifice and protection, while our connection to the divine is represented through the Tibetan symbol of enlightenment within and above the figure. 

 

II

This 2^nd image makes use of a single hand which supports the standing figure.  The divinity within is represented by the Reiki symbol of enlightenment emanating from the figures back. The Yantra behind the figure is the Sodasi which represents perfection, totality and the full cycle of creation.

 

III

This is the 3^rd image of the series. The symbol behind the figure is the Islamic Hand of Fatima which is indicative of divine protection, and the Egyptian Eye of Horus which represents enlightenment and supra-natural intuition. The aureole-like 8 point star is indicative of enlightenment, the Bahai faith, and the 8-fold path of the Buddha. The transfer of energies is symbolized by the yin/yang symbols within and below the meditating figure.

  IV

This 4^th image depicts a figure in prostration before the divine in prayer and supplication. The symbol below the figure represents the power of Islam as does the Crescent moon and star suspended above it. The rays of divine light pour forth from the Crescent moon as it shines forth piercing the darkness with the light of truth.

 

V

The 5^th image of this series incorporates the use of a female figure.  Images 5, 6 and 7 all make use of the female form to complete the series. Unlike image #2 this figure faces the viewer as she stands with outstretched arms before the divine in prayer and supplication. The symbol above the figure represents the flow of divine energies that surround the figure. The star behind the figure symbolizes heavenly light pouring forth in crystalline form as she is delicately perched upon divine hands.

 

VI

This is the 6^th image in the series, the 2^nd female figure, and the second seated figure. She is seated in meditation with her palms together in front of her heart. The symbol above her represents the Buddhist wheel of life and its 8-fold path. The symbol below the figure represents Sikhism but has been turned upside down. I took some artistic license with this symbol for the sake of the composition. To my knowledge, this does not alter the symbol’s meaning. As with all the images in this series, the divine energies surround the figure as heavenly light bursts forth from above her.

 

VII

This is the 7^th and final image of the series. This female figure is in a prayer position with her palms turned upward toward the heavens. The divine hands are cupped around the figure as if they are forming a shield of supernatural power and protection. I chose to complete the series by only using symbols derived from African sources. The symbol above the figure represents the divine Eye of Horus which mimics the shape of the pineal gland and its association with the 3rd eye, or intuition. The symbol below the figure is the crescent moon of Islam which is predominant among most parts of East and North Africa. The outer symbol is an interpretation of the ankh. As with all the images in this series, divine energies surround the figure but in this final image the light is emanating from the figure herself as indicated by the use of light and shading inside the hands.

To Purchase a Print click on any of the images above, or use the link below:

Damon Powell – Artist & Theologian

MEDITATIO: A VISUAL MEDITATION

INSPIRATION

I have been incorporating various forms of meditation into my spiritual tool box since the mid 1990’s. My initial exploration into the practice of meditation began after I read the writings of Ron Hubbard in the early 1980’s. I began experimenting with some of his practices but was too young to maintain the discipline required for me to gain any substantial benefits from my practice – so I eventually abandoned it.

My first consistent exploration was the result of my participation in a Tai Chi class. Tai Chi is a martial art form that can also be used as a moving form of meditation. The first 15-20 minutes of class were spent under guided meditation that would help calm and center the students before we began practice with the movements and forms. The practice of Tai Chi provided a solid foundation that has served me well.

The inspiration for this image came about as a direct result of my meditation practice. The focus of that particular morning was upon maintaining my awareness of the inner and outer dimensions of my experience simultaneously. Sitting quietly, calmly focusing upon my breath and then expanding my awareness gently outward in hopes of being more present to both the internal rhythms of my body (heartbeat, breath…) and the external, sensual dimensions of my surroundings (smell, hearing, feeling…). At some point I entered a space of deeply personal stillness as if I was suspended in a single moment and was completely aware of both the external and internal dimensions of my existence, but there was also something more – an acute awareness of energy flowing in, through, and around me. it was active and dynamic, but also gentle and delicate at the same time.  The result of that experience left me with a burning desire to communicate what I was feeling in some way.

These kinds of insights have been recognized by many spiritual teachers who have called for the elevation of intuition over reason, and pushed for greater acceptance of the kinds of knowledge and experience gained through practices like meditation, intuitionism, and super rationalism. They postulate that this knowledge is based on experience which is sui generis, that is – of a different kind. In my experience ultimate truths have always been more readily accessible through intuitive, mystical, or artistic experiences. Earl Coleman finds that both the aesthetic and the spiritual often share identical traits. Both artists and those who engage in spiritual practices have often spoken about reaching a point in which they achieve a heightened state of awareness. A space in which they are “caught up” into a higher level of consciousness that allows them to see, and feel in a new heightened way. Many have felt an acute awareness of a power greater than themselves at work, yet it was all-at-once a part of their “self.” For instance, those who engage in meditation experience the same brain wavelength patterns as persons who are engaged in “creative” activities like drawing, composing, writing….etc. The feelings one experiences during times of creation or meditation are much more distinct, and of a drastically different quality than ordinary emotions (sui generis). Both the spiritual and the aesthetic give one a sense of having come in contact with the ineffable, ultimate reality, or what theologian Paul Tillich often referred to as the “ground of being.” At the least, these activities create experiences which are out of the ordinary, thereby moving us toward a deeper connection with something beyond.

MEDITATIO

SYMBOLISM

Center Oval

The overarching theme of this work is about the balancing of energies. I wanted to make a direct connection between the spiritual energies that surround us and their presence deep within us. The seated figure at the center is the both the sender and receiver of these divine energies. The figure is seated in a meditation pose which is often found in the yogic tradition. The Yin Yang symbol directly between the legs is situated at the point of the root chakra. This placement of symbolic energies here mirrors the outer spiritual energies which swirl around the outer portions of the composition. Notice the mirroring effect as the placement of the orange and yellow swirls is opposite of the placement found around the outside of the composition. 

The praying figure behind the young man is representative of both the “higher self” and/or a spiritual guardian who both protects and intercedes when needed. The idea for this figure has validation in a wide variety of traditions whether it be in the form of guardian, angels and spirit guides, or ideas about the existence of a higher self or astral body. Notice this figure is also in a position of prayer or meditation as it works to support the other’s spiritual efforts. My own experience often includes the feeling of being held, watched or even connected to a greater presence which is in some ways me, but not me. I equate this with the concept of the higher self or the inner observer who notices what I notice. 

The green and blue swirls are representative of the earth which acts as source of energy and ground for us here in the physical realm. The dynamic swirling action reminds of the flow of physical energies of land and sea as they swirls connect directly to the outer swirls in a continuous line outward from the center of the composition. The thin white line serves as a transition point between the two forms of energy as they transition back and forth from one form to another. 

Outer Oval

The outer oval portion of the composition is depicts the swirling spiritual energies that surround and support all physical life. These higher forms of vibration are responsible for both spiritual power and the divine’s raw untapped creative potential. They are directly linked to the earthly energies via the transitional line that governs their transformation into the physical realm. I chose to include the two star points to balance out the composition and to indicate the spark of divine light and mind that governs the swirling mass of raw creative potential. it is mind and higher light which directs the all creation. The very act of creating necessitates some kind of form without it there could be no creation.  The character located within the star points is the Sanskrit symbols for Om. In the Vedic tradition, Om is the meditational frequency of the universe (creation). 

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MEDITATIO

SOURCES

Earle J. Coleman, Creativity and Spirituality: Bonds Between Art and Religion. (Albany: State University of New York Press, 1998)