A painting made with the Help from an unexpected master in geometry and painting.
When a woman asked me to create a painting for her, I immediately got an idea of the symbol that ‘had’ to be incorporated. It caught me off guard a bit, and I searched for writing material to make a sketch of what I had in my head, or rather, of the ‘feeling’ I had about what it was going to be.
Just a few days later – which is also exceptional, as it usually takes weeks – I started working on the painting, and as I progressed with the colors, I wondered where this was ‘going.’ I roughly adhered to the sketch, but I felt that I was missing something, that I didn’t ‘see’ or that I didn’t understand somehow.
I know that I am inspired by, among others, by my guide Amhirez, who was a painting artist himself, and by my deceased love Linda. Sometimes they want me to create something, but it usually takes a while before I ‘pick it up.’ It’s not that I am ‘taken over’ or so. I don’t do automatic like some people practice automatic writing. Instead, I get ‘a feeling’ of something that I am going to create, and then I have to search for what corresponds with that feeling. You could call it a tunnel vision: I focus on one aspect, try to align it with ‘the feeling,’ and I keep working on it until it matches the original feeling I had. It’s almost a game with kids encouraging a blindfolded friend with hints such as ‘cold… colder… warm… warmer… yes!’
That morning, I was looking for the solution to what I felt was not right, but how could I solve that? I had roughly two openings on the left and right in the painting with a channel of energy in between, just like in the sketch, a vortex or something, with red at the bottom and violet at the top. That energy had to flow from top to bottom or vice versa, so I had neatly depicted it as a river. But the painting wasn’t ‘alive’ yet. I felt ‘cold’. Something was missing.
At the very end of those first hours of airbrushing, I decided to add a diagonal line through the center from the top right to the bottom left. That felt like the smart thing to do, but I still didn’t understand why I was doing it. Anyway… I made it a thin line, so I could easily remove it if necessary.
Below you see the result of that first painting session, without and with the diagonal line.
Tired, I took the painting to the living room, leaned it against the wall and turned on the TV – something that I never do during the day – and sat down on the sofa. A documentary about Leonardo da Vinci had just started on TV. ‘Strange,’ I thought, because I had often thought of him while painting. That had to do with another painting I still had to start, Rose, but that’s a story for another time.
Suddenly, I saw ‘it’!
Leonardo is one of the founders of the rediscovery of Sacred Geometry! The Egyptians and many other ancient civilizations mastered that knowledge down to the finest details, but ‘modern’ Western science is still lagging behind. The Vitruvian Man is a study work by Leonardo in which the concept of this extremely important science is explained. If you’re interested, you can read ‘Geometry of Creation’ by Drunvalo Melchizedek. Highly recommended! But of course, nowadays there are countless short video’s explaining Sacred Geometry.
One shape that is very important within Sacred Geometry is the so-called Torus shape. And I suddenly recognized that shape: two spiraling balls of colour now connected through this diagonal line. Together they create a torus!
Torus or Donut?
Below you see what I struggled with, because I still didn’t understand the principle of the Torus, one of the important mathematical shapes. A Torus could be compared to a donut that you can order at the bakery. But energetically, this shape plays a mega-important role in the Universe, and also in the energy field that your heart creates.
Only when I had drawn the diagonal line did I begin to understand what I had been searching for, and then I could continue painting and depict the vortex energy instead of a static river from top to bottom.
During the painting, I had had no idea of this, but now that I looked at it from a distance, I suddenly understood what ‘they’ wanted to tell me or have me create to start with. The Torus shape has the property of being a focal point for vortices.
Now that I realized this, I could continue with the painting…
After that, I emphasized the vortex in the center, and in later sessions, the colors changed as well, as often happens. Sometimes colors are replaced, others are added… it seems pointless, but gradually I have become convinced that this also happens for a reason. Colors are energies, and some energies must be present, but not visible, whatever the reason may be. Hence, I have developed the habit of taking photos from time to time.
In the end, I added stars, which caused the Torus shape to seem to float in space. It now looks more like a nebula, with a birth… of a planet?
Rebirth is a painting that places you in the heart of the whirlpool, of the vortex, where all the action takes place. And that action is the exchange of energies. Here, the vortex disappears into apparent nothingness, and here, the vortex emerges from apparent nothingness, maybe it ‘the Void’.
Here, birth takes place, which is the transition from one dimension into another. That is transformation, or a birth… or a re-birth.
