In the vast realm of artistic creation, a subtle yet powerful force emerges: healing art. Works that transcend pure aesthetics to delve into the intricacies of the soul. Artists such as Emma Kunz and Hilma Af Klint have charted artistic paths that go far beyond the brush and canvas. Thus, I wish to talk to you here about spirituality, healing, and art.
I will share, in parallel with my experience as an artist, my intimate and authentic convictions from my artistic and life journey, as well as those of other female artists who have become inspirations over time and through my practice. Please do not see this as an egotistical approach, but rather a sincere desire to share a testimony, convey a life experience, and offer a humble space for exchange between you and me.
Art entered my life quite lately. At the age of 36, I decided to completely change my life and follow a deep calling from my heart to move towards alternative healing. Driven by a profound impulse to meet myself and heal, I started with Reiki, then ventured into hypnosis and NLP. Thus, I discovered mediumistic abilities, my natural inclinations for trance, and energy healing. I embarked on a significant journey to explore alternative healing methods worldwide, initially documented in a blog and later compiled into a book, which is now finalized and awaiting publication. I dedicated myself to sharing my life experiences, spiritual teachings received, discoveries, explorations, and my quest for universal healing and truth.
It was in Bali that art triumphantly entered my life. I was living in an ashram where I practiced meditation all day. This form of biodynamic meditation allowed me to travel beyond the visible and return with images filling my mind. I had an irresistible desire to paint, draw, and once again, share. With no experience in art and sincerely believing I had no talent, I took up pencils for the first time during a mandala workshop facilitated by a friend at the ashram. I never let go of them again. I drew with the limited materials I had on hand in that Balinese ashram, whenever I had a bit of free time.
This is how I began drawing lightcodes. At that moment, I had no idea what it meant; it was a frien with medumnic abilities who used this term after looking at my work.
One day, as I shared one of my artworks on social media, the first one I created in Bali, a friend asked me if I knew about Hilma Af Klint. That's when Hilma entered my life.
I had never heard of this wonderful artist, and I discovered one of her main works, Altarpiece no.1, which closely resembled one of mine, and later, a second one. I would never compare myself to this great artist, of course, but the resemblance is striking.
You can judge for yourself in the photos below.
I immediately researched her journey and found that this Swedish artist, born in 1862, was one of the pioneers of abstract art. She was part of a group of five women called "The Five," who gathered every Friday for spiritual meetings and the study of mediumship, among other things. Today, such circles of women are gaining great momentum, and I myself have been trained in women's wisdom and in facilitating red tents and rites of passage for women. I immediately saw a common interest in the spiritual practices in which I had been engaged for several years and those of this great artist. Through this spirituality and these meetings, Hilma Af Klint began to channel energies she called "The Great Masters" and initiated herself into automatic painting.
She said, "The paintings painted themselves directly through me, without any preliminary sketch and with great force. I had no idea what these images would represent, yet I worked quickly and confidently, without changing any brushstrokes."
Her major work, The Temple, was not understood during her lifetime, and Hilma spent most of her artistic life trying to understand and interpret these works of which she was herself a spectator. She bequeathed her works to her nephew upon her death in 1944, specifying that they should remain sealed for at least twenty years after her death, as humanity was not ready to receive them at that time. It would take another twenty years for her works to be finally revealed to the public in Los Angeles in 1986. Today, internationally renowned, Hilma Af Klint was also exhibited at the Guggenheim in New York in 2018, and her collection of over 1200 paintings is managed by the Hilma Af Klint Foundation in Stockholm.
What I see in Hilma's works is this quest for sacred union that speaks to the depths of my being and to which I have devoted myself in recent years. This dance between the feminine and masculine, with profound symbolism around duality and the union of polarities. Her works are filled with symbols, letters, and sacred geometry, making them powerful tools of awakening for humanity, in my view.
There is a strong healing vibration that the conscious human may not necessarily understand and interpret, but the spirit perceives. These are works that nourish a profound journey of ascension that humanity is currently experiencing on Earth. Thus, Hilma was a pioneer not only in abstract art but also in this transcendental, humanistic, and spiritual art.
Later, I met Emma Kunz, a Swiss artist, healer, and researcher in radiesthesia (1892-1963) whose exploration of sacred geometry opened doors to vibrational art and its therapeutic properties. Emma quickly utilized her gifts of clairvoyance and healing by practicing radiesthesia with a pendulum. Initially recognized for her talents in therapy and the sometimes miraculous help she provided to those who came to consult her, she never used the word miracle to describe her practice. She humbly explained that she enabled the awakening of hidden healing resources in every human being. She also claimed to have discovered healing abilities in the Würenlos stone, where the Emma Kunz Center was founded, and she named this stone "AION A."
In 1938, she began drawing large-format paintings on millimeter paper, and she named her work "Stylization and Form as Measure, Rhythm, Symbol, and Metamorphosis of Number and Principle." The use of sacred geometry and codes of light is evident in her works. She created her drawings with a pendulum, through radiesthesia. The pendulum dictated the points she had to place on paper, and she then connected them with a ruler and compass, sometimes for many hours without realizing the passing time, as if guided by an invisible power and a trance state that, once finished, left her as the first spectator of the work she had created.
In 1973, ten years after her death, Emma Kunz was exhibited for the first time at the Museum of Fine Arts in Aargau (Aargauer Kunsthaus), in Aarau, and in 1991, the official opening of the Emma Kunz Museum took place.
Emma's works do not leave one indifferent. They are hypnotic, soothing, magnetic. She also considered that her works were created for the 21st century and addressed questions about life and the future. Once again, we find a profoundly humanistic approach that accompanies the life journey of the human being on Earth and in their healing. A vibrational accompaniment, made through a deep emotional connection with the viewer, beyond pure aesthetics and their consciousness, to speak to the unconscious, which perceives this language through sacred geometry.
Sacred geometry becomes a fundamental canvas of healing art, deploying specific geometric structures to generate harmonizing and balancing effects. These forms, such as the circle, spiral, and triangle, are carefully selected for their symbolic meaning and perceived ability to induce states of calm and inner balance.
At the end of this exploration into the captivating world of healing art, it becomes evident that artistic creation can transcend its decorative role to become a catalyst for healing. Light codes derived from sacred geometry, carefully chosen color palettes with vibrational resonance, every element of healing art seems orchestrated to evoke a profound response. By revisiting the exceptional contributions of Emma Kunz and Hilma Af Klint, we have plumbed the depths of artistic expression, discovering how it can serve as a mirror to our own inner journey. Embracing this powerful fusion between art and healing, we honor the unique ability of art to transcend the boundaries of aesthetics to touch the deepest fibers of our being and soul, illuminating the path to tranquility and inner fulfillment.
I leave you with this quote from Emma Kunz: "May this energy point give rise to a meeting place, bringing together cultural, intellectual, and healing creation."
Thank you, Hilma, Emma, and all the others.