|
What if ... your life is and was a Mystery School? Make Things Know Thyself. Dwell in that possibility.
~ Lisa Rasmussen MFA |
Free Frankincense and Holiday Joy Essential Oil with a 200 Point Order of doTerra essential oils12/19/2018  Super opportunity to start incorporating essential oils into you self care rituals and practices. Bonus** In December when you buy the Home Essentials Enrollment Kit which is at Retail:$366.67 Wholesale:$275.00 PV: 225.00 plus shipping You will get for Free
**As we are in the gift giving season, I thought I would share these amazing doterra essential oils promotional deal for this week. If you have ever considered adding these powerhouses in your Self Care rituals this week is an ideal time. It's a great chance to get started, stock up on favorites, build your collection, or get some Christmas and Holiday gifts sorted! Tis the season!! If you're interested in purchasing doTerra, COMMENT on the post, and I'll be in touch to walk-through how you can purchase the daily deal. Or DIY go to my.doterra.com/harmoniaessentialoils1 Any questions? Send me a message! or e-mail me at [email protected] How to become a Doterra wellness advocate and or get your free frankincense oil, joy oil, and membership. An amazing value of over $120.25 for free.
If you want more information about becoming a Doterra wellness advocate Click here or email me at [email protected] and I will get back to you asap. Please email or give me a call at 415.377.4956 if you have any questions or you need support. Wishing you a season filled with radiance of the sun and the illumination of the moon. Namaste, Lisa 
1 Comment
I think I have always been a happy dreamer. I believe in my dreams, I believe in your dreams, and I believe that in this life time we should all try to reach our greatest potential. Whatever that may be, it is your Dream!
For me this is how we change the world. As Joseph Campbell said it is the Hero’s Journey, we are all called to action. What question will you answer? "Follow your bliss and the universe will open doors where there were only walls." Joseph Campbell I also feel that following ones dreams is the Art of Life. From inspiration, vision, and courage you manifest your passion and you find your authentic truth and destiny. Here is what I found on my journey in following my own dreams. I have so much more to learn, but this is what I know right now.
Harmonia Practice ~ Intuitive Vision Board It is the end of 2018 and it is beautiful time to create your vision board for 2019!! Play the song below for inspiration! Grab your most inspiring and doterra essential oil, magazines, poster board, pen, paper, scissors, and glue. Here is short Harmonia Practice workshop idea for your vision board. The key to this vision board is to work with your intuition and your subconscious mind to create your board. Then at the end transform it into your mindful (conscious mind.) The results for this manifestation process, I believe will be stunning! Happy Dreamer! Begin with a total grounding and visualize yourself connecting to the core of Mother Earth
Have a beautiful, creative, abundant, and peaceful Holiday Season and New Year. Cheers to you Happy Dreamer! 
Art is our one true global language. It knows no Nation, it favors no race, and it acknowledges no class. It speaks to our need to reveal, heal and transform. It transcends our ordinary lives and lets us imagine what is possible." Richard Kalmer All one has to do is look outside your door and you know something is a awry. There is the ever increasing population of homeless people on our streets, many of whom are veterans and/or mentally disabled. Then turn on your TV and look at the staggering facts of the increased incidents of domestic violence, abuse and sex trafficking within our communities. Also, check out our “normal” adult population as a large percentage are addicted to drugs and alcohol for mood elevation and numbing. No one can argue that in the 21st century there is a lot of disconnect and misery. Things really have to change. Can Art and its process be a catalyst? It seems that the ever spiraling argument from our politicians is that Art is not necessary in our society, but war is necessary. This hawkish worldview has many flaws: It causes a lot of suffering and torture, and it costs a lot of money. Every year our governments slice away at the collective cultural, arts, and arts education budgets to aid our addiction to institutionalized violence. The arts advocacy folks have refined their standard and very convincing argument that the arts revitalize and actually create our economy, which they do 100%! But for me there is an even more compelling and restorative argument here: that creating art is actually beneficial for one's own well being and for the community as a whole. It is not a bandage for societal wounds, but actually an agent of transformation and healing. The bottom line is art is good! Here are some facts about the benefits of art:
Let the paradigm shift and lets all imagine a global art intervention! Lauren and I have been on this quest since the beginning of our Art is Moving collaboration in 2008. This is also precisely why we founded ARTbreakDay. Art can change the world. Within its magic it empowers individuals and entices a knowing of freedom! If you feel art is truly a beneficial for everyone in our society please join us on Friday, September 6, 2019 at ARTbreakDay! Experience the bliss of creating together in your community. If you cannot make it to one of our sites, take a moment in your day to take a break and create something!! All children are artists. The problem is how to remain an artist once he grows up. Pablo Picasso “What I am seeking is not the real. And not the unreal but rather the unconscious, the mystery of the instinctive in the human race.” ~Amedeo Modigliani Caol ‘Ait by Lisa Rasmussen MFA My MFA Thesis from the Holistic Studies Program at JFKU in Berkeley My art is a metaphysical journey of self -discovery. Ever since childhood I have been fascinated with the liminal ---- the neither here nor there, the betwixt or the in-between. I found the in-between to be a realm of pure possibility. During my eighteenth year, an event occurred that was paramount to my exploration. I was visiting friends and family in Wisconsin, the place where I was born, and I was involved in a serious car accident. I was knocked unconscious for around ten minutes. During that period of time, I floated far above myself. I gazed down at the scene peacefully and with curiosity. Through this passageway, I felt expansive. I instantly realized that I was not really unconscious, but that my being was occupying another realm. I felt the space I had entered was timeless and eternal. It was only when I witnessed two paramedics placing a halo around my head that my essence quickly shot back into my body and I slowly regained consciousness. Later, after speaking to my Mom, I realized that I had an out-ofbody experience. In the emergency room, I found out that part of my skull had been cracked, but that I would be ok. The doctors told me my life signs had begun to normalize. I eventually made a full recovery, but something inside me was awakened and my life would never be the same. My experience transformed me by concretizing my belief that consciousness is not limited to our physical being and that various liminal realities exist simultaneously in this incredible universe. The Bushmen of Southern Africa call this transformation the “Great Hunger.” This is not physical hunger, but a haunting hunger for meaning in one’s life. I soon developed a craving for mystical experiences within my own inner reality. My art transformed from being a mode of expressing my inner demons to an avenue of transformation, transcendence, and healing. I became deeply interested in the subjective and transformative powers I felt in the “in between” or altered states of consciousness. I discovered that my art and dreams were portals into my own self-exploration of the unknown. My ancestors, the ancient Celts, called this state “Caol ‘ait” (thin places) where the veil between the physical and spiritual worlds merge. Akin to the neo-shamanistic world of creativity as ritual and transformation I found that through my creative process I could pass through a type of threshold that allowed me to enter into a state of consciousness, where I could explore the interflow between time, space, and the eternal. As I continued to mature as an artist and a seeker, I developed a deep desire to travel to sacred sites and to study ancient cultures whose shamanistic worldviews encompassed a belief in a magical “other world” or “in between.” I was amazed at the archeological record, which showed that the ancients intuitively constructed places for ritual and worship that amplified the Earth’s energy. These “thin places” were potent portals into other realms of consciousness. In the book Overlay, art critic Lucy Lippard explores the relationship between contemporary art and prehistoric art. She states, “the ancient sites and images are talismans, aids to memory, outlets for the imagination, that cannot be owned--something seems to flow back to us through these places. The symbols in these sites are a synthesis of changing and multiple realities—both vehicles of several levels of reality and of several levels of communal need. The towering standing stone in the landscape seems not to dominate its surroundings but to coexist sensuously with them. It confirms the human need to touch, to hold, to make, in relationship to natural forces and phenomena.” (Lippard, 1983, pg 8.) Having visited many sacred sites around the globe, from Stonehenge to Machu Pucchi to Katmandu, it became very obvious to me that these sites are powerful manifestations of the symbiotic connection between nature and the inner realms of the ancients. As I gained more direct experience with these power spots around the Earth I became driven to use art to foster my own personal relationship to nature and the mysteries that reside within. Characteristics of My Work My art and process are inseparable from life. I began drawing at a very early age. I instantly become immersed in the fantastic worlds I could create and the feelings I could express through my art. I intuitively took up automatic drawing and was intrigued when my hand would seem to move by itself. Later, I began to draw my dreams and I was amazed by what the drawings revealed. My work continued to develop with my travels and studies. I became very comfortable just being a conduit and having creativity flow through me. I have come to believe that I am merely a channel for something greater than me that manifests through my art. As Paul Klee wrote, “the artist does nothing other than gather and pass on what comes to him from the depths. He neither serves nor rules ---- He transmits…. he is merely a channel.” Portals “Lisa’s sacred intentions are painted multi-dimensionally, making marks on canvases with ancient symbols, and then layering over with an image the viewer finally sees. The presence of the Earth Mother herself is felt sweeping to and fro on a ground of archaic ecstasy. “ -JJ Levine Evocative, and elemental in force, my portals or my visionary abstract paintings evoke notions of the Earth, blood, fire, and the Void (the Buddhist term Sunyata, meaning the emptiness of creation where all form ar ises). My work offers a glimpse into the slippery windowsill between stages of becoming and dissolving. It speaks of the sensual as well as the luminous darkness that is revealed in immutable mysteries. Through my art and its process I find myself in a continuous journey of discovery into both the sacred and shadowy realms of existence. When I paint, I feel like I am invoking the ancients who painted in caves and ritual chambers. I begin each painting with an intention. I embed an archetypal symbol such as a Nordic Cross or Hindi Deity into my work. I do this either through drawing the symbol or focusing on a photo of the archetype. Sometimes I begin my paintings with some of the students I teach. My intention for them is healing. I let several students create the foundation of the painting with a color field. At times, I create to the rhythm of nature’s cycles, or to the full moon or lunar eclipses. Music is imperative and intrinsic to my creative process. I often engage my sense of scent through incense and I create ambient light through candles. I create a visual language using acrylics and mixed media. I build up layers of transparency through color and gel mediums. I usually start with a color field. Then I use the chance element of water to create flowing and dripping paint, so that patterns emerge organically from the interplay of mediums. At times, I may add materials from nature. I also integrate var ious primordial marks and layers of symbols. Mark-making comes from my spontaneous and intuitive impulses, which take on many forms. It is akin to the art form of Sumi or Chinese ink brush, where the paint that flows from the brush becomes an extension of my chi or energy. Like Jackson Pollock, who flung large f ields of drips and swirling paint, I have the intention of making energy visible, thus demonstrating the infinite patterns of connectedness. Mark-making is also like a form of archaeology, where I scratch away the surface excavating back through all that I have built, seeing what lies beneath. This desire to know what has been forgotten reveals itself through the portal of the mark. “ The ultimate unity which the ancients achieved has been lost. The ancients had combined within their plastic world the three all-important elements of human experience with in a single symbol. These three are sensualism, sensation, and objectivity.” (Rothko, 2004, pg92.) Through my creation of art, I seek to remember the wisdom of the ancients and what we have forgotten. At some point in the creative process I incorporate Sacred Geometry. “Sacred Geometry” is a philosophy and practice existing in ancient Egypt and Greece. Its implicit goal was to enable the mind to become a channel through which the earth; (the level of manifest form) could receive abstract cosmic life from heavens.” (Lawler, pg6.) I consciously separate the plane of the canvas by masking an area with a linear line or by creating a rectangle or square. To me, this symbolizes the in-between, as well as the relationships between space and time, chaos and order. It creates an edge or entry point for the viewer to explore deeper into the surface of the painting. The work below is called Chaos and Order. To me, it resembles the birth of a star or galaxy. It is the animate nature of the formless coming into form. The black lightning- like patterns emerge. The solid line symbolizes the spatial order or the relationship of form to abstraction. Chaos and Order was inspired by two journeys to South America. The golden color is a reference to the luminosity and divinity of the worldviews of Mesoamerican ancient cultures. The first journey involved two trips to Peru; the realm of the children of the sun. There, I met a shaman who performed a ritual and led us through the Inca experience. He guided us into the ancient ruins and we directly experienced the transcendent power of that place. In Peru I felt like I had visited the womb of creation. The second journey involved a visit to Iguaçu Falls, one of the seven wonders of the natural world. The panorama of the falls filled me with fascination and a respect for the power and perfection of nature. I had a spiritual experience gazing down into “the devils throat.” I was also intrigued by the strange patterns that occurred in nature, like lichen growing on the boulders below the falls. I felt an affinity with the place because in many of my automatic paintings similar patterns often appear unintentionally. Totems My latest canvases are a series of mysterious and explosive triptychs that ascend dynamically into space. These works are the intersection of my studies with my interest in Shamanism. In this work there is a quality of the “event” and a sense of both my immersion and retreat from this state of being. This work was inspired by my travels to the petroglyphs of Pu’uloa, Hawaii and the sacred sites of Knowth, NewGrange, the Hill of Tara and the Giants Causeway in my ancestral land of Ireland. I work on all three canvases simultaneously on the floor. My intention is to break through and connect physically and metaphysically to all three worlds of my consciousness -- -- the lower, middle, and upper worlds (the subconscious, conscious, and super consciousness). Through my process, I feel a sense of immersion into and through these states of being, as the work occupies the darkness of the optical world and the lightness of the inner world. While creating I unify each canvas to the others through mono printing and/or an intuitive and automatic calligraphy. When the work is complete it is transferred from the Earth into the sky as it is hung vertically on a wall. The totems become the tentacles of a sacred site. The work symbolizes the Axis Mundi, which is an ancient archetype in religion and mythology. A representation of the Axis Mundi is the world tree. The tree is considered to be the connection between heaven and Earth. The anthropologist Mircea Eliade describes the Axis Mundi as “the absolute reality; the center on which the world is founded.” I seek for my totems to help us remember what we have forgotten in this world and to become an outlet for the imagination. Site Specific works “ I stumbled upon a sacred moment. My nephew and I went walking on a wooded trail near our home. He is twelve years old and loves the woods. We are glad to be close. But even in the woods we were distracted. Thinking of other things, not particularly present with each other or where we were. We stumbled upon the shrine at Cascade Falls, and it awoke something inside us. What is this? We wondered. Look at these colors…around this beautiful tree, and resonant energy ... this is where people have gathered to honor this place. And so we finally entered into a place where we were, and arrived, home at the falls.” ~ Bennett Johnston My earthworks are collaborative installations that pay homage to trees in and around the Bay Area that emanate power or have an absence of it. It began as a practice to rekindle my ancient relationship with trees. Evidence of human kind’s interconnection with trees traces back well over 6,ooo years. Humanity once had a deep spiritual relationship with trees. Indeed, the precursor to our dominant patriarchal religions was the tree. My work is a cross culture phenomenon inspired by the Kalaptura tree (wishing tree) of India and by various ancient and indigenous cultures around the globe that worshipped trees. While creating these works metaphysically, I activate my belief in animism ---- the shamanistic worldview that bodies in nature have souls and consciousness. Thus far I have created eleven earthworks, five being solar and six being lunar. The solar or circle shrines symbolize the archetype of the masculine. The crescent or lunar shrines symbolize the archetype of the feminine and must be created near a water source. I employ these two energies through the intuitive action of creating concentric circles around the trunk of a tree with pigments, spices, and food from Asia, India, and South America. The inner rings of the shrine seem to exteriorize and vibrate with energy through the vibrant and contrasting colors of the pigments. After each work is complete I meditate with the tree and document my experience. An important aspect of this project is the witnessing and of the interaction of the work by another to activate its potential for the witness to remember something they have forgotten. My intention is for my shrines to evoke introspection and a sense of the sacred for those who stumble upon them in a forest or in a city. One of my latest tree shrines was a solar shrine created at Lincoln Child Center, a mental health agency for abused children where I teach transformative art. It was a collaborative project with my students. The tree we chose was a neglected olive tree located on a small island of dirt surrounded by cement. We poured the pigments and contrasting hues to activate the solar energy in the concentric circles. Then we tore Sari cloth and ribbons and asked all the children to make wishes as they tied the ribbons to the tree. The children intuitively asked permission from the tree. One child wished for world peace. Another wished to go home. A third wished he would not be restrained anymore. The wind blew through the tree with the simplicity and majesty of Tibetan prayer flags, carrying my students’ wishes away. My earthworks are expanding internationally. I have decided to create shrines around the globe. In March of 2008, I went to Copper Canyon in Mexico and I created a shrine in around a tree located in a place called “the valley of frogs.” From afar, I noticed several people looking at the shrine with curiosity. I hope my shrines will help build awareness of our spiritual connection with the environment, and that they will help foster reverence for all life. Photography My photography is a form of seeing as well a process of me becoming a witness ---- a capturer of my own personal transcendent moments in time. With photography I harness moments in the sacred sites I have traveled to around the globe. In ordinary reality I photograph moments of light that exemplify the sublime, the beauty, and the magic of my perceived space in that time. My paintings, upon which I reflect on for hours on end, often become my subject matter as they transform and glow in the sunlight. Like my tree shrine photos, this process of documentary usually reveals something that was hidden or unknown to me. The Hands of Creation series manifested from my teaching transformative art to vulnerable and emotionally troubled children at a mental health agency in the Bay Area. I was looking for a way to honor the creative powers of my amazing students. Because of privacy issues I was not allowed to photograph their faces. So I decided to take pictures of their creative tools ---- their hands. Through the Hands of Creation project, I seek to honor that state of the soul where the artist/child experiences the ultimate liberation, which is the act of creation itself. It is my way of honoring the children’s essence and creativity, and counteracting apathy. My portraits are the revelation of the “other” to many viewers who know little about the struggles these children face. They bring to light the horrific plague of abuse that exists in our society. Through my practice and my teaching, I attempt to heal the wounded soul and to empower these magnificent and marginalized children. Philosophy We are made by magic. All of us in general are magicians. Andre Pierre (Haitian artist) I came to JFK University in the fall of 2003 with two perspectives: One being the visionary artist who was following my dreams and realizing my greatest potential; the other being my shadow. Previously, I had been doing f ine art sales in the gallery world and trying to find some redemption about being in the arena. I call it my six-year research project to see what the art world was all about and how I could infiltrate it. I became sickened by the ugliness of greed and the perverse paradox that we were selling “beauty.” Visionary and spiritual aspects of the artist were never mentioned and were denied for the sake of money. Artists become brand names and lingered in “rock star” status. We were not selling art, but image and status. I was heartbroken. Where had the essence of art gone? This worldview of art also resonated with my education. Having taken many art history courses, I noticed that the word, “spirituality,” was always left out. The “S word” was not accepted in the mainstream art world. My personal quest is to reunite art and the spirit. Akin to the alchemist’s work, which is the transformation of gross material into spiritual substance, I see my art as artifacts of my ever-transforming consciousness. My art and its process represent a humble quest to resurrect divination in my personal journey and into the community at large. As an artist my work gives the viewer a personal glimpse of my internal revelations. While creating I become a shamanic cave painter, an archeologist, an alchemist, and sorceress. I speak of divination in its broadest sense, meaning that through my art and process I find myself in a continuum of discovering the unknown within myself and in the world that I live in. The motives and impulses behind my creative process are my shamanistic belief that through the process of creation, I align with dynamism and the divinity that is animated in all of life. Like Tibetan art, which symbolically describes levels of awareness, I intuitively explore the three levels of sacred art in my work: the outer, the inner, and the secret----The outer being the physical object; the inner being the ritual that occurs during my art making; and the secret, where through the process of my creation and through my reflection on the finished work, the unknown becomes known. Art is my personal ritual and teacher. My allure with “thin places” has also led me to explore transpersonal psychology and my own personal shadow through dream work andJungian analysis. My art is a record of my deep interest in mysticism and the natural world, as well as a passageway into my own mythical inversion of reality. It is my deep exploration into non-ordinary reality and the mysteries of the unknown. While creating I employ my two mental allies, instinct and intuition, to create a composition of chaos and order. The Mainstream My philosophy and worldview exist on the margins of our society. The mainstream philosophy is still part of the old paradigm. The Western World’s dominant philosophy consists of dogmatic materialism and acquisition. Spirituality is separate from the material. The dominant theologies in the world are patriarchal and oppress nature and the sacred Feminine. Countless lives are taken every day in the name of their god. Underlining patriarchal philosophy is the notion that there is only one truth. Even in the art world, spirituality has been suppressed. The pioneers of abstraction, like Kandinsky and his belief that art was a spiritual revolution, have been hidden in institutional closets. The dominant philosophy is that the universe is not animistic. The Earth and its animals are for man to own, rape, and pillage. Animals are treated as objects that feel no pain and are tortured in horrific and unbelievable ways via factory farming and in the name of scientific research. The dominant philosophies are so unjust and overwhelming, that one could easily develop a fatalistic vision of the world. There is hope though, as a new paradigm is emerging. Just like the life that bursts through the cracks in pavement, there are like-minded souls, who quest to revere life in itself. There are many teachers such as Krishnmurti, Jung, and Wilber who have challenged the materialistic culture. I can look to a somewhat hidden legacy of the great artists throughout history that have explored the transcendent through their art. The Spiritual in Abstract Painting from 1890-1985 offers a series of exposés illuminating the explorations by artists such as William Blake, Malchevich, and Mark Rothko into the mysterious realms of metaphysics and beyond. They all illuminate the potential of the universe and its symbiotic relationship with human nature. The new sciences are also revealing the mysteries of what the ancients knew through holistic systems and Quantum theory. Jung offers springs of hope to my ideal of being a visionary artist. “We see that [the visionary artist] has drawn upon the healing and redeeming forces of the collective psyche that underlies consciousness with its isolation and its painful errors: that she/he penetrated to that matrix of life in which all men/women are embedded, which imparts a common rhythm of human existence, and allows the individual to communicate his feeling and his striving to mankind as whole.” (Jung) Social Issues Each man/woman is a conduit for the infinite ocean of power that lies behind mankind. ~ Malevic I believe the core social issue that I am exploring in my painting, photography, site specific works, and my teaching is abuse, which plagues society and the planet Earth. My approach to this work is not criticism, but a gentle revelation of what was and what can be. In all my work I explore and reveal the shadow of humanity by facing it, bringing it to surface, and on a personal level, finding a way to transform it. In my work I foster the reverence of all life, the importance of one’s inner journey, the power of creativity and its intrinsic healing nature within all humans, my work rekindles our intrinsic and essential relationship with nature. The Art of Transformation As an art educator and healer I am drawn to the populations that are marginalized, like at risk-youth and emotionally disturbed children. Prior to graduate school I implemented a transformative art program for at-risk teens in Arkansas called “Teen Art Explosion.” The last project we completed was a dream art project. This work was a treasure. My work and the teens’ artwork became published in an international dream magazine. In 2006 I quested to teach again and I blindly took an art teaching job at a non-profit mental agency for traumatized and abused children. I was shocked by two things, the first being the absence of art for these children in their daily lives and the other being the rigid behavior ist model that the system had adopted for these traumatized children. Maybe I was lucky that there was no art program because the vacuum enabled me to pioneer my own transformative art program at the center. One inspiration and model for my program came from the film Born into Brothels, which documented disadvantaged children in India who were given the opportunity to express themselves through art. One of the most powerful aspects of this film was that the children’s art was received in the public through exhibitions. Using my background in art sales, I set up exhibitions for my students to show their work. My vision was to awaken the public to the plight of these marginalized youth, to see the beauty within them, and to build bridges between communities. Such initiatives, to my knowledge, are quite rare in the mental health community. During my two years at the center, I have developed ongoing public exhibitions for the children’s work. The most successful project is called “The Art of Transformation,” which is a gallery event showcasing the work of children from five mental health agencies. These exhibitions have fostered transformation within my students and the communities they have shown in. The people who buy my students’ work are moved to their core. The art has awakened them to the beauty and the imagination of the perceived “other.” I mentor children to find their creative power and give voice to their fragmented beings. Bryanna, one of my beautiful students, has dubbed my art room “the calm room”. Everyday that I work with these amazing and resilient children my belief that art is a healing force is affirmed. Within my work in society I attempt to expose abuse in the world. My art looks at it straight in its face and attempts to begin the process of healing through the art process and its reception. My work responds to social issues as it aspires to renew and resurrect the spirit in art. The spirit is not a dogmatic truth, but a universal truth. The found peace Earlier this year, I attended The Missing Peace, an exhibition by curator Randy Rosenberg at the Yerba Buena Center for Art in San Francisco. The exhibition was about the Dali Lama and his archetype. It represented the greater ideals he stands for such as tolerance, unity, connection, and healing. It was inspiring to see that there were contemporary artists like myself who were also interested in similar issues and journeying into the inner realms. Rosenburg states, “One of the central roles of art and the artist is to encourage us to think about the forces that shape our lives. The transformative power of art invites us to reflect on our beliefs about those forces, and to make the shifts in our perception necessary to expand them (The Missing Peace, pg 8). Like The Missing Peace, my art also seeks to educate, inspire, transform, and engage, and heal. Ongoing Projects: This is the New Movement is a project challenging the old paradigm of art as an iinstitution, unreachable by the masses. I, along with two other local artists, attend museums once a month and encourage audiences to express what they felt about the art they saw. We hope to instigate a dialogue. We leave our flyers with our website for people to find so they can log on and express their views online. We also create videos of each visit and post them on YouTube. Our movement integrates technology and new paradigm views to challenge the status quo of the art world and to entice the masses to engage in art in a visceral and challenging way. 2018 Update this expanded into Art is Moving my non-profit, that I Co-founded with Lauren Odell Usher Sharpton. We created cutting edge Art Advocacy programs like Art Break Day, which is a global celebration of the power of Art! I am also collaborating with artist and activist Janice Brewster to honor victims of abuse. We will be creating an installation this spring in companion with my student’s artwork Janice has collected thousands of hand tracings from around the world to break the silence that pervades this plague in all our societies. Next year we hope to organize a trip to Africa to collaborate with the Zulu tribe in breaking the silence of abuse and resurrecting the healing power of art. As I conclude my studies at JFK I continue to be a prolific painter and I continue to be overwhelmed and amazed by my audience’s receptivity and understanding of my work. My coursework at JFK has been fruitful and has expanded my vision. I found that the sacred is a realm of the larger truths surrounding and conditioning our lives and dwelling within or in between: it is the realm of the hidden, and therefore, revelation. Art and teaching is my sacred purpose.  by Alessandra Sorrentino
Just like we have our own energy centers or chakras, Mother Earth also has hers. When you start looking into the nature of this Universe and the Earth, you will start to see how everything is a mirror. Within us is a Universe, around us is a Universe and we are all connected. We are connected to Mother Earth through the subtle electrical current that runs around the entire planet. These electrical currents are known as “Ley Lines” and are almost like Mother Earth’s veins. Just like we have veins that flow in and out of the heart, Mother Earth has Ley Lines, which are lines of energy that coil around the earth in a similar fashion as a strand of DNA. In fact, where the Ley Lines intersect are believed to be high points of energy or high concentrations of electrical charge. Usually places where most scientific anomalies happen. These Ley Lines are also said to be able to take information or energy from these higher vibrational points and carry them around the world, spreading knowledge and wisdom to all inhabitants. These exact intersecting points are ‘coincidentally’ home to some of the most sacred temples and monuments in the world including the Egyptian Pyramids, Machu Picchu, Stonehenge and Angkor Wat. When you look into advanced civilizations like the Ancient Egyptians, it is clear that they seemed to understand the energy and power of these energy currents. In fact, most ancient cultures probably had some understanding of Ley Lines. In China they are known as Dragon Lines. In South America the Shaman’s referred to them as Spirit Lines, in Australia the ancient Aboriginals called them Dream Lines and in the west they are referred to as Ley Lines. The most interesting thing to note is that the points where the Ley Lines intersect, are perfectly aligned with astrological constellations. If you think of these Ley Lines as Mother Earth’s energy currents, you will begin to see how it is possible that Mother Earth also has energy centers or chakras. It is believed that these are the Chakra’s of Mother Earth: Root Chakra:Mount Shasta, California, USA Mt. Shasta is part of the Cascade Mountain Range which runs from Northern California into Oregon and all the way up to the Canadian border. Mt. Shasta is believed to be one of the most electrically charged mountains but the whole area is also buzzing with energy. This area is believed to be the base of Mother Earth’s energy system. Sacral Chakra:Lake Titicaca, Peru-Bolivia, South America The Titicaca Stone is the geometrical center for the Solar Plexus Chakra of Mother Earth. The surrounding area of Machu Picchu, Cuzco and Iquitos are also believed to have a very high energy. Two Ley lines intersect at Lake Titicaca, these include the Male Great Dragon Ley Line which runs from Mt. Shasta to Lake Titicaca and the Female Great Dragon Ley line. Solar Plexus ChakraUluru- Kata Tjuta, Northern Territory, Australia Uluru and an area called Kata Tjuta is believed to be the Solar Plexus charka of the earth. These areas are still considered sacred to the native Aboriginals today. The Female Great Dragon Ley Line connects both Lake Titicaca and Uluru. Heart Chakra:Stonehenge, England Stonehenge as well as the surrounding areas of Glastonbury, Somerset, Shaftesbury and Dorset all form the heart chakra of Mother Earth. Where Stonehenge is constructed is the strongest point of all of this energy. Again, the Female Great Dragon Ley Line connects Uluru to Stonehenge. Throat Chakra:The Great Pyramid, Jerusalem, Mt. Sinai and Mt. Olives (Middle East) The throat chakra of Mother Earth includes the area of the Great Pyramid, Mt Sinai and the Mount of Olives which is located in Jerusalem. The throat chakra is one of the largest energy centers of Mother Earth, which indicates its importance at this particular time in our history. It is also the only energy center that is not connected to the Male or Female Great Dragon Ley Line. Third Eye Chakra The Third Eye chakra is the only one that moves, this is due to the the movement of Earth’s axis. The Third Eye chakra moves every 150-200 years or every aeon. These aeons are also lined up with astrological constellations. It is believed that in 2012 we shifted into the Age of Aquarius, which means the Third Eye chakra is currently located in Western Europe near Stonehenge. When we shift into the Age of Capricorn, the Third Eye chakra will move to Brazil. Crown Chakra:Mt. Kailash (Himalayan Mountains) Tibet Mt. Kailas is considered to be the most sacred mountain of the Himalayas and is located in Tibet. This is the Crown Chakra of Mother Earth and is believed to be connected to the Scorpio Full Moon. In fact, many locals harness the energy of Mt. Kailas on the night of the Scorpio Full Moon, which typically happens once a year in April or May. For Mother Earth, this Full Moon marks the start of a new evolution and a new cycle of energy, as Scorpio is connected to the idea of death and rebirth. Even though these 7 chakras have a very high energy, there are also other high points of energy around the world where the Ley Lines travel. These include:
Article originally published on Life Coach Code |
Muse and Artivist
Lisa Rasmussen MFA is the Founder and Director of the Harmonia Institute. Lisa Rasmussen—artist, educator, curator, life coach, arts and healing practitioner, and art advocate—believes art can change and heal the world. Archives
January 2025
Categories
All
|
RSS Feed