Original Re-Painted

Journey to Inner Space

On the left is the painting I just sold to a wonderfully appreciative buyer. It's a re-painted version of the one on the right, Journey to Inner Space. I used acrylic paint on a matte board, then sprayed it with high quality UV Archival Sealant. It protects it against fading and discoloration. Price $200 plus shipping for the hand painted duplicate. I can make duplicates of any of my paintings for you for about the same price. Use the below form to contact me if you see something you'd like to have me paint for you.

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Here's where you can see more about prints of these and other paintings.

Very often - as was the case here - I experience synchronicities as I read spiritual development self-help books. As I worked on creating the new painting, I was reading about compression and expansion in Glenda Green's book Love Without End. It wasn't long before I realized how the teachings applied to the painting. I've struggled to put it into words, revising this story several times. Each time, I've felt I'm falling short of communicating it adequately.

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For further clarification of the concepts, I refer interested readers to the actual words as written in various places throughout the book, most especially in Chapter 12, God and Reality and Chapter 13, Jesus On Science. It's not possible to cover here everything about how the Sacred Heart plays a key role; I'll only touch upon it briefly. I'll attempt to give a synopsis as it applies to my artwork. For the sake of simplicity, I won't speculate about whether the Jesus in Glenda's book was actually the same Jesus Christ described in the Christian Bible. Instead, I'll focus on the information being given out. I personally find it very valuable. It doesn't matter so much whether or not people accept that it's the "real" Jesus talking, in my opinion.

According to Jesus, the power of compression is created by love. Compression and expansion are like the great breath of the universe. Their pulsating rhythms that alternate between silence and percussion provided the origin of sound.

As I read about this, I began to see correlations in the painting. Even though I was the artist who created it, after I finished it, I didn't even know how to express in words, couldn't fully grasp, what it meant. It took on a life of its own. I was the observer waiting in the wings for a deeper understanding of it to be revealed to me. Early on, I saw its main power source as the mind. That was the limit of my understanding. When I finally read Jesus' teachings in the book, they led me to see that the all-encompassing love accessible to us all from within the core of our being, the Sacred Heart, is superior in every way to the mind. Likewise, I'm seeing that the real source of power for this painting lies entirely within the Sacred Heart, with Mind its rightful subordinate.

The painting was created from my memory of a very special moment I experienced during a dream. A moment when I activated some type of shift that went from stasis-like compression to active expansion. The light energy burst depicted the expansion aspect. I registered sensations during the event both bodily and beyond the body. I felt like I was on a return trip to my body from some unknown place.

I experienced a sensation of moving fluidly and very rapidly through a tunnel. Sound pulsated faster and faster as I increased my speed. Now as I see it anew, a connection is obvious to me between the dream lesson and what Glenda's Jesus described as the origin of sound in terms of compression and expansion.

The painting's "spaceship" is part inorganic (metal), part organic. Signs that it is organic are suggested by the padding to either side that resembles blood cells. The segments of the walls of the tunnel that I sped through seemed to be lined with my own blood cells. It seemed I was somehow seeing from a cellular level, while simultaneously perceiving something enormous - or infinite - in scale.

The spaceship appears to be broken open at the bottom. It represents the transparency of anything normally regarded as physically solid. And that we straddle both worlds, the physical and the beyond, the internal and the external. Was I mirroring an external event even as I experienced it internally? As Jesus says in the book, "The ultimate condition of truth is the point where the inner and the outer are one." The hands at the controls suggest that the "I" is the driver of the ship, the ship a metaphor for the body. Both body and spaceship can be seen as a robot. The body is a metaphorical robot that can be physically maneuvered through any act of will to directly connect to the Divine. The light energy burst is a form of movement beyond the limited self to awareness of the Limitless, the Higher, God Self.

In Chapter 13, Jesus says that science is on the threshold of leaping into a greater definition of what truth is but that it is actually people such as Glenda, an artist, who will demonstrate its power. He tells her she is already using it in her work.

I feel like I did something similar artistically without even having a full
grasp of what it means or what I've done. Not having a grasp is not upsetting to me because it's such a pleasure to feel like this is all one great adventure. An adventure coming from a place where my Divine is supporting me, not judging me for not knowing. The Sacred Heart is that place.

It's thrilling to be assured that as our collective Sacred Heart consciousness grows, we'll scale new heights of understanding regarding love-powered compression and expansion. This, Jesus says, will lead to new, exciting ways to scientifically harness the energy of magnetic attraction which will replace current friction driven energy forces. I can only wonder in awe about the implication that artists have something to offer the sciences.

Maybe we're heading for a new, as yet uncharted phase in human evolution. One where longstanding negative barriers regarding the arts will at last be breached. The barriers to which I refer are ones arising from societal tendencies to perceive the arts as frivolous and not essential for human survival. This barrier wall we have erected has impeded our greater comprehension of the ways Jesus describes wherein artists have been helping humanity reach the heights of its potential. With the advancement in human consciousness, maybe the fear-based survivalist approach to existence we often currently fall back on will relax its hold on us.

When it does, as artists evolve at the same pace as the rest of humanity, they could imaginatively set a new standard for how to live as an artist. The physical needs of all artists everywhere could be more actively supported and sustained. Governments, civilizations, and individuals living at a higher level of being than presently exists could step up to provide needed support structure wherever it's found lacking. A sign that a civilization is not at its pinnacle is one where many of its most creative individuals are barely able to finance and maintain an existence on a par with peers in other fields. Perhaps, as Glenda's Jesus seems to hint at, a current-day plague of civilization, the reality of random creative individuals subsisting as "Struggling/Starving Artists", could disappear into a forgotten past.