Sangha Spotlight: Marika Popovits


Marika Popovits



June 2018



June 2018

Clear Light Sangha: “Marika, tell us about your early years; where you were born, your family life, the set-up.”

Marika Popovitz: “I am originally Hungarian. Marika is the Hungarian version of Maria. I was born on the nativity of the Virgin Mary so of course I would have to be called Maria. I left Hungary right after the second world war with my family. We emigrated first to Germany, and from Germany to Australia.  It was a very disappointing four years emigration in Australia. My father was an architect and he was, of course, in the wrong place at the wrong time. Australia didn’t want professionals. They only needed field workers, laborers, and so we were out of there as soon as my parents could manage. Which was a very good thing. We came from Australia to the United States in 1954 when I was 15."

CLS: "What was it like in Australia for you? How many sisters and brothers did you have and what was that period like?"

MP: "I have one younger brother who is a sculptor so both of us are fully dedicated, professional artists. I didn’t like Australia from the very outset. I was not far from Sydney in a town called Katoomba in the Blue Mountains which is considered scenically beautiful but if you consider nothing but eucalyptus trees as scenically beautiful then, I guess it was beautiful. Ha ha! But it didn’t really satisfy my needs for beauty having come from one of the nicest parts of Bavaria in Germany. So, when our friends took us to Aspen, I thought I had died and gone to heaven.”

CLS: "Going back to those early years, you were refugees fleeing from the war?"

MP: "As a child, we were fleeing Hungary, yet, we were actually very fortunate because Hungary was not really affected by the war until late 1944. At that time, my father had been working as an architect in the Ministry of Culture in a fairly high position and he was given three trucks to take his family out of Hungary to where wherever he felt was safe. None of our relatives could or would come so we took three truckloads full of strangers. One November morning, I was six -  I will never forget this moment - we came out of a temporary lodging, a farm house. We were outside washing ourselves in the cold water when somebody came racing down the road screaming, 'Get out! Get out! The Russians are 3 kilometers away!'"

"We left everything; the trucks, all our belongings, everyone’s belongings. We grabbed three suitcases. I grabbed my doll carriage which had my two dolls and my teddy bear. I refused to leave without that. In fact, I was so adamant that my parents had to come back and grab me and race with me to catch the next train. And that’s how we got out. And then we made a rather dramatic trek through Austria.”

"I was never afraid except for once: we were in a train escaping the country and the trains were being strafed by Ally bombers, probably American or British. I remember jumping out of the train and into a ditch close to the train and my parents lying on top of us, protecting us. That was the only time I really do remember distinctly being afraid. Other than that, I felt perfectly secure, however, I do remember some dramatic scenes like when we were in a train station waiting room and my father lifted me up and showed me what was happening. This was the City of Linz having been bombed and the whole city was in flames. The next day we walked through the city. I saw buildings literally sliced in half, and I remember seeing the furnishings in the rooms. It left such a profound impression on me, that later, I saw into things in a similar fashion, into everything in a similar fashion. I saw the outer surface as a veil which I could see beyond and into what lay behind. And those were, of course, the first paintings that I did of scenes, of scenery, of landscapes which revealed the inner essence of things."

CLS: "And that just completely broke through one sort of illusion for you."

MP: "Yes. I must’ve had a deeply mystical sense already as a child because my mother told me this remarkable story: she said we were with dozens of refugees huddled together waiting for the next train that we could catch. Everyone was, according to her, bowed down in fear and worry and so forth. And she said that I got up and I went from person to person and told them, 'Don’t be afraid because God is with us.' How could the six-year-old do that? The six-year-old wasn’t doing that. My mother said that she was just stunned. I just went from person to person saying not to be afraid, God is with us."

"I know that by the time I was eight, I had a very, very deep and conscious, profound desire for only one thing in life and that was union with God. That really lasted right through my teenage years, through many mystical experiences. Then, my so-called mind intervened and for the next 10 years I became nothing but a desperate searcher of the truth. No longer a believer, but a searcher."

CLS: "Got it. And then, suddenly, there was the separation, and the thinking, 'Oh, I’ve got to go after something out there.’ So, the mystical experiences, I want to ask you about those and I want to ask you about your mother; you said that your mother was so very loving. What was her spiritual teaching for you?"

**************MP: "My mother was truly an angelic being. My brother and I were very blessed to have a mother like that. She was quite religious, raised us as Catholics but my father, being agnostic, raised us in a much broader tradition. My mother was totally dedicated to us. I remember that we were raised with prayers and stories at night, stories that she made up and with immense love. We really loved her.”

“When I was six, I knew I was going to be a painter because all I ever wanted to do was to draw. From the time I was three years old that’s all I really did. I showed this talent very early on and my father took me under his wings and he taught me a great deal. He started to teach me perspective by the time I was six. And he gave me a big tome on anatomy. At seven years old I had to copy Raphael’s and Leonardo’s catechism of anatomy which I loved. Of course, I did a horrible job, but I absolutely loved the challenge. He taught me as much as he could until it came to a point where he could no longer teach me. Then, I just did what I had to do. I constantly drew and painted, and I took part in competitions which I mostly won."

"Then as I was becoming a little more recognizably talented, my mother began to teach me according to this mantra: 'You must be an artist for the glory of God and for the joy of mankind. Everything you do as an artist will be for the glory of God and the joy of mankind.' That was the mantra with which she raised me from the time I was in my early teens.”

CLS: "How did your father decide to go to Australia? How did that happen?

MP: "That is a very good question. It happened because my father knew that when Europe was to be divided between the Allies, the most likely place that the Americans would choose would be the most beautiful which was Bavaria. That’s precisely what happened. So, we were there in a little town in Bavaria called Oberammergau which was famous because every 10 years, the passion play takes place there. The American army marched in and soon after that my father began to work as the architect for the army. Then his supervisor, an American major, told my father, ‘You’d better get out of here. The Germans are going to take your position. There will be no position for you anywhere. So, where do you want to go from here?’ Of course, we wanted to come to the states, right? My parents applied and then just as we were hoping to go, the quota for that year closed down. My father panicked. His options were to either go to Australia or Argentina. In what he later considered to be the biggest mistake of his life, he chose Australia.”

 “Well, there are no mistakes. It meant a delay in his own life process. My father and mother learned to not panic and to have more trust. And he regretted it. But, in the long run, it wasn’t a waste. It taught us a lot about an entirely different world.” 

“After 4 and ½ years, we moved from Australia, to Denver, Colorado. My father found work immediately. He had a lot of experience, spoke English well, he was fine. I, fortunately, skipped two years of high school because the Australian education system was so superior. Thank God! Even that last year, I couldn’t bear it. It was so horribly boring. I just could not fit into the high school at all."

“But then I had an incredibly great, good fortune that I can’t even thank God enough for, to have had an art teacher who took me under her wings. I took every art class that she offered. She convinced me to take my artwork to a contest called the National Scholastic Art awards which gave you a four-year, full scholarship with materials, room and board, tuition and everything included, at your choice of the top five arts schools in the country. I won more top prizes than any student had won in Colorado in 10 years. The school was very proud. My work was shown at the Denver Art Museum among the prize winners. And I did not get a scholarship. That was such a scandal that my art teacher and my father went down to the Ministry of Education in Denver and really raised hell. They said, ‘I’m sorry but you should’ve known that the scholarship can only be given to American citizens.’ And nobody knew that.”

“My art teacher said, ‘We are not going to be daunted. I’m going to take you to Denver University to talk to the dean of the art department. Bring your portfolio.’ It was quite a remarkable experience. This man, Vance Kirkland, (there is an art museum named for him in Denver) he got up from his desk, and with tears in his eyes he embraced me and said, ‘It would be an honor to give you a scholarship.' And that’s how I came to Denver University.”

“That was really an incredible gift to me. And I must say that I was so grateful to Vance Kirkland because he was such a kind, dear man. But then, another incredible godly intervention: I had a party and oddly enough, one of the Denver University professors was amongst the guests. I didn’t invite him because I didn’t even know him. This professor came to me and gave me the most powerful advice of my entire life. He told me that I should actually not attend Denver University, they would be using me as a mascot. He said I should find the best school I can and become a special student of their degree program which would enable me to study at a much more advanced level. And be much more challenged. He said he considered me the best student he had seen in 10 years.”

“I took him totally at his word and I dropped out at the end of that year and began to look for a school where I really felt I could learn the most. I applied to Mexico City College which I heard would have a very challenging art department, but my visa didn’t arrive in time. I was fortunately guided again: my parent’s friends who lived in Los Angeles knew a professor at the university of Southern California, Francis De Erdeley. He was a Hungarian Transylvanian; we were all Hungarian Transylvanians. I had a pretty intense interview with him grilling me about my dedication and I guess he was convinced because he said, ‘OK, I will take you on.’ And he took me to his senior graduate student classes and he completely turned me around. What this man did in one year in terms of teaching me how to see and to draw was absolutely priceless. I owe him an immense debt of gratitude. But then I decided, foolishly, to get married and leave the University. My husband and I moved to Syracuse, New York where I continued my studies which was basically, ridiculously easy.”

“This was in 1957. At Syracuse University, thank God, at the end of my junior year I did a summer course with Josef Albers, the great colorist. Who came in from Yale. And I had this fantastically good fortune of painting with him for one semester and really learning, deeply learning color from him. At the end of which time, he took me aside and said, ‘OK. You’re done. Now all you need to do is paint, paint, paint and work, work, work. You’re done, you don’t need any other teachers. There’s nothing that really stands in your way to becoming a great artist.’ That was just such an incredible gift. I was all of 19 and by this time I decided I would go to New York City and look for a gallery. And by golly, I found a gallery in Greenwich Village right off the bat where I could sell almost everything I did for the next several years. And then my husband was transferred to California. And so, we moved to California.”

CLS: “What did he do? Was he supportive of you?”

MP: “He was an electrical engineer and he was very supportive. But, I soon found out that I was not cut out to be an engineer’s wife in an engineer society or those social circles. I was, of course, a full-time painter and that’s all I really did was paint. He did not have a problem with that, but I had a problem with that, living in that environment.”

CLS: “What was missing, what did you want?”

MP: “I wanted other artists. I wanted other creative people. I wanted challenges and a much more interesting and cultivated life. I missed being close to New York, and I missed those friends that I had at Syracuse University who were mostly writers and serious intellectuals. They all transferred to Berkeley to do their graduate studies. And I, of course, was out there in no-man’s land in a little town called Santa Maria that had nothing that was very interesting or stimulating. It wasn’t going to work for me. So, I obviously had to get a divorce.”

“It was pretty dramatic. He certainly didn’t want one. Neither did our families. But anyway, I did it. By this time, I had my daughter, Kiersten, born in 1958 in Syracuse. And I dragged her with me everywhere all of the time, so she had an early education going to museums, galleries and concerts. After the divorce, I moved to Berkeley. The next few years were dramatic with marriage, divorce, and moves. My spiritual conflicts which started as a 15-year-old with my need to find God having lost that faith that was my very essence of my life, culminated. The ground fell out from underneath me. I lived too much the Sturm und Drang. English doesn’t have the word, so that’s the German word for it meaning ‘storm and turmoil.’ Ha ha! That certainly was it.”

“Finally, those years ended when I was 25.  My mother wanted to go back to Europe and she wanted me and Kiersten to accompany her. For six months I had been living close to Guadalajara in Mexico which was a wonderful period. (If I hadn’t gone with my mother I might still be in Mexico.) My original plan was to stay for a year somewhere, maybe Spain or Greece or Italy. I was getting child-support for Kiersten so I felt like I was relatively safe and stable. Besides, I was selling my work at this little gallery in New York.”

“So, we came to Spain and it was absolutely wonderful. The man who wanted to marry me from the beginning, he was an architect named Helmut, came over to Spain to meet me and within a short time it was very clear that, this time I couldn’t get away from him.”

CLS: “How had you met him previously?”

MP: “We had studied together previously at USC, University of Southern California. And I was with him at that time but I decided that I was much more in love with the other man who I did marry who would be Kiersten‘s father. Anyway, seven years later we reconnected in Spain and it was quite clear that this time, I could not escape the net. I was 25, I decided that I would go to Germany and we would get married. We lived outside of Munich for 14 years.”

CLS: “They must’ve had a pretty amazing art scene there through the 60s.”

MP: “They did have an amazing art scene there. There was certainly a lot going on. But my path, by this time, was emerging in a different trajectory. I was definitely merging my quest for God and the divine with my art. More and more. And I began to find the answers I was looking for due to a meeting with a wonderful man who became kind of a teacher/mentor to me almost immediately after I arrived in Germany. I began to study esoteric Christianity and very soon after that, Hinduism and Buddhism. I began to meditate and it was almost like it was the most natural thing in the world for me to just sit. And then things begin to happen very quickly. Once I was set on the path things began to move.”

“My art began to develop very rapidly. I had the experience of seeing every object in space is being integral with the space around it. My paintings began to merge everything into a unified field. And I had no idea, at that time, yet, that somebody, called Franz Marc had already done that in 1910. No wonder people kept telling me that my paintings reminded them so much of Franz Marc. Anyway, my work very soon began to really be an expression of the spiritual quest. And it has been ever since. But it’s much more than a quest, it has been, ah...”

CLS “The way, the dharma...?”

MP: “Exactly! The way. It was definitely that. Always that. It had such an evolutionary process that, ultimately what began to reveal itself was the dimensions of consciousness, the dimensions of creation and reality that you know from my paintings of the last several years. Now we’re pretty much up-to-date.”

CLS: “Are we? Really? You were only 25! Ha ha!”

MP: “Ha ha! Oh, my God! There’s so much! I had my second daughter when I was with Helmut in Germany and I had my third daughter, Miriam, who is seven years younger.

CLS: “How did your life as a mother work with your spiritual life and painting?”

MP: “Dramatically, I would say, dramatically. I was one of these obsessed painters. I was obsessed from the time I was six. Art, for me, was my first and foremost focus in life. And my family was always second. Obviously, I did everything that I had to do but my real inner focus and my outer focus was the art. Which went hand-in-hand with the spiritual because it was one. It was one from the time I was eight”

“My painting is my practice. It’s also what Sri Aurobindo calls ‘the ascent.’ It’s the ascent in consciousness. So it’s like a ladder. It’s a practice that has also been my biggest teacher. Because everything was being revealed in the art that I needed to understand and to paint and practice. There was God and there was the art and my husband used to always complain, ‘Yeah, and we are number three.’ Ha ha!”

CLS: “I’m sure that had its own set of spiritual teachings; the navigating through the requirements of family, being in the body while devoted to your creative, spiritual realization.”

MP: “Very challenging. And added to that, was the fact that my marriage to Helmut was not an ideal marriage. It was a really difficult relationship. Our values were just different. He wanted fame and success and prestige and I just wanted to be a great painter, a great spiritual realizer. That’s it. I wasn’t after money. I wasn’t after fame. Knowing that I’m doing something which is of service to humanity, not just for myself. I would never have continued with this kind of passion if I was just doing something to amuse myself.”

CLS: “But was the outward success happening anyway?”

MP: “It was happening anyway in the sense that by the time I was 25, I had another gallery in New York. This was a very good gallery and they took everything I made. I sold a lot. But when I was 32, I had this really powerful calling experience. By that time, I had become a full-blown Christian mystic. I had continual mystic experiences, continual cosmic experiences of Christ and various dimensions of creation. My mentor of that time period was a marvelous Mother Superior of the Dominican convent outside of Munich where I spent a lot of time in retreat. She became my spiritual mother. She was an amazing being who completely understood me and my wanderings and my struggles both as a spiritual seeker as well as a painter. And as a mother and family person.”

“I had a marvelous mentor, Gunthe Scharnowski, the whole time I was in Germany who was my lifesaver. He was an art collector, and art connoisseur and a scholar and he was my best critic. Whenever I did anything I would always ask him to come and look. He was also an Aurobindian. By this time I was Catholic, Christian, I had a deep, close connection with Christ but also, philosophically, I was an Aurobindian as I am to this day. Scharnowski really took good care of me. He took me by the collar and challenged me to the utmost. It was he who actually started me on the glaze technique. Up until then I was experimenting with all kinds of weird technical experiments trying to get the maximum luminosity and transparency. And then he said, ‘Look, if you really want real luminosity in art you have to use this glaze technique of the old masters. And you have to study it.’ In those days, there was actually no literature on this technique. About that time, a Viennese  artist that was had to taught himself this renaissance glaze technique and it actually began to be more known. I worked on it for the next four years; four years of failures in which my paintings were either too dry or too fat and I could not get it right. I couldn’t find the recipe. Until finally, a friend gave me a recipe saying, ‘Try this one. I think this might work.’ And by God, it worked. That is what gave me the breakthrough. And from that moment on I only did this painting. That’s 45 years of doing this painting. To master it is a pretty lengthy and difficult path. But I loved it and I absolutely love this technique. I don’t see any other technique to compare with it.”

“I continued on this path being a mother, wife, painter and spiritual seeker for as long as I could, but it just really couldn’t work. It all came to a clash, finally, such that Helmut and I had to get a divorce. I moved to a beautiful village in Tuscany, Italy in 1977 and I spent the next seven years there with my youngest daughter, Miriam. That has always been my artistic soul home. And it still is. It’s where my soul feels most at home. We have a family home there now as a result of my having spent so many years there. And that was one of the most paradisiacal, beautiful and peaceful places. It was a time in my life where I could actually immerse myself almost entirely in just art and in the beauty and the quiet of this beautiful place. So, when I came to Italy, my mentor was Italy itself. It was the villages, it was the people, it was the vineyards, the olive groves and of course the museums. All those museums and all those churches and all those magnificent frescoes. I was really in paradise.”

“Miriam loved it there and she had a fantastic life in a gorgeous house which I bought. She had such an idyllic childhood. We lived there very happily until something quite dramatic happened. I reconnected with Burt  Wadman who I have known since we were both in our early 20s. He was my brother‘s best friend at the University of Colorado since the early 60s. Every time I came to visit my parents in Denver, we saw each other because we had really become close friends. Then he came to Tuscany with my brother and two other friends to visit. We reconnected, and we realized that there was so much that we shared on a much deeper level than just friends. He was on his devoted and very dedicated spiritual path as a serious Buddhist practitioner. So, we joined our lives and I moved to Boulder to be with him. We ran a Buddhist retreat center in Estes Park for eight years together. We were spiritual allies in the deepest way. He’s really the only real partner I’ve had in my life. Talk about karmic connection, he and I were divorced from our partners on the same day, on the same month, one year apart.”

CLS: “So, you left Tuscany. Where are you ready to do that?”

MP: “No, not really. And I said that I could never leave Tuscany completely so we kept the house and I spent two or three months there every year. Meanwhile, we lived in Estes Park trying to renovate this old chalet and make it into a decent retreat facility. It was very challenging.” 

“At one point, Burt felt he was not making any headway in his spiritual life and he joined Andrew Cohen’s spiritual community. He left us to join the community, with my support, until I realized what this actually meant. I was devastated by this move. He moved to California, then the organization moved to Massachusetts and he moved with them. Burt became their primary architect and was with this organization for 13 years, 1993 –2006. And that’s the only way he could do it, there was no other way for him to do it seriously.”

“And then I decided that I was free and I could live the way that I wanted to live. And I wasn’t going to be a part of any community. The Estes Park place was sold and I began to look for my next move. I went to Scotland, I thought maybe I would live on the Isle of Skye which really attracted me. Of course, it did but the climate definitely did not. I spent the next eight years between Italy and India and Crestone, Colorado. In India, I lived in Auroville for several months out of the year because that’s what really drew me to India. And the rest of the time I lived in Crestone and in my gorgeous place in Tuscany. So, I had a fantastic life. I was painting, teaching; I did a lot of teaching in those years, and quite a bit of exhibiting of smaller works especially in Auroville and Italy.”

“I had already come to Crestone but when I met Seyril, the founder of the Sri Aurobindo Learning Center, I absolutely fell in love. She was one of the founding members of the earliest spiritual communities in Crestone. By the time I came here in 1995, she and I had this instant, immediate relationship that convinced me to come here. It wasn’t the mountains, it wasn’t the scenery; I much preferred the oceans to the mountains at that point. So, here I was sent to Crestone thinking I would never stay here and then I met her and she introduced me to Hanna Strong who is one of her close friends and between these two women I said, ‘Oh, my God! Where else would I go?’ So, I had a great life between the three places.“

CLS: “Meanwhile, did you and Burt stay in touch?”

MP: “We kept in touch to some extent because all the children loved each other, his children and mine. But neither one of us thought that we would ever get back together again. And I was so happy in my life that it never really even occurred to me that I would even want anyone else, ever. Then, after 13 years, Burt realized that he was not going anywhere anymore in that community and that he really needed to pursue his architecture. So, he left the community. I visited him in Lenox, Massachusetts a few times and we just automatically re-connected because we had so much commonality but we definitely did not have Andrew Cohen in common because I was very critical of him. After about two years of being on the fringes and coming to terms with his new life, we got closer and closer and I asked him to design a house for me. The result is this one in Crestone. It became a house for both of us. Burt really put his whole vision and all his skills into it and he said, ‘To heck with architecture anywhere else! I’m just coming to Crestone and I am going to stay here and I’m going to do what I want to do right here.’ So that was just beautiful. This is the ninth year being here and the seventh year in the house Burt designed and built. We are absolutely loving it here and really our relationship is just wonderful. Now, Burt’s spiritual path is his architecture and in the service that he is giving to the community.”

CLS: “When did you meet Sharon and what was the effect on you?”

MP: “Well, that was great! Sharon began giving her satsangs around 10 years ago in Crestone. I went to many of the very first ones. By this time, I was deeply involved in non-dual teachings. I had been reading Nisargadatta and it had become almost like my Bible for at least 20 years. I had spent time in the Ramana ashram. Sharon was lovely. I thought immediately, ‘She’s going to be a really good teacher. But she’s going to have to have some years of learning to trust herself.’ So, I came occasionally, every few months or whenever I was in town. There were quite a number of us. I noticed the effect that she was increasingly having on people. She was really having an impact on a wonderful group of people who were really changing. I often thought, ‘Why is Sharon not being more aggressive with people? When she realizes that they need to be shaken a little bit, why doesn’t she give them a quick shake? Or use a bat!’ I spoke to her about this at times and she said, ‘You know, it’s just not my way. I can’t do that. It’s just not who I am.’ Then, in time, I noticed, my Goddess, her technique is working! She doesn’t need a bat. She doesn’t need shaking. She does it in her own way and it’s happening! And so, I grew more and more convinced and closer and closer to her and finally we became really close and really good friends. And I must say that I have the utmost, respect for her. Reverence! She is a very highly skilled teacher.”

“So, that’s how we met and we’ve been doing retreats together for years. I definitely consider myself a very devoted member of her sangha in whatever form it is. Always. She speaks the truth. She does it in a very beautiful way.”

CLS: “And there’s the transmission. Just direct. Like your paintings!”

MP: “Oh yes! That’s right. Oh, absolutely. It’s in her presence, there’s a huge transmission. That’s just who she is. As she embodies the truth, she also transmits the truth. Inadvertently, almost. Sharon is also very skilled in her formulations. Which she wasn’t in the beginning. Every retreat is the best! The most recent one is always the best. I’m dying to go to the one at the Zen Center again. It will be an important one.”

CLS: “How is your work getting out there now and what are some new developments?”

MP: “What has happened recently is quite extraordinary. The collaboration with James O’Dea has been going on for about five years. We had a book signing in New York recently, and someone approached me and asked me if I would allow the images from the book to be used for choreography for a dance in NYC. She is a Brazilian woman named Mariam Barbosa who used to be a Martha Graham dancer. She is putting together the most remarkable performance. My paintings will be projected onto her, onto her partner, the floor, the dancers. The paintings and the poetry will be illuminated through the projector. And spoken. It’s quite exciting! She has invited me to attend the same performance outdoors in Tuscany on June 22. Next, she would like to bring my newest set of paintings into another performance. Bringing the paintings into dance form like this brings them alive and is very exciting.”

“There was a Chinese group that was here in Crestone and they are going to buy a series of six full-size prints of my work. (I do not sell my works except in the context of the series in which they were created.) They want me to come to China. So, there is a lot of motion and movement to bring them out into the world. But I’m not doing anything about it because this is the divine’s work and the divine’s process. The divine is going to do what it wants to.”

“What it all comes back to us this experience I had when I was 32. I was in retreat in the convent of the Mother Superior and I had what I call my calling vision. I was asked whether I would be willing to work for the divine; or do I want to just follow the normal artistic career. I was free to make the choice. The voice said, ‘But you know if you work for Me, you have to understand that you will never be rich and famous but you will always be looked after.’ And of course, what better employer could I have! Ha ha! From that moment on I was only dedicated to work for the divine and that’s how it’s been.”

“These new paintings are particularly relevant because this one, Simultaneity of Time and Space, is from a completely different level of consciousness. I had the experience of simultaneity and now I have to put it into some kind of framework. The energy from that dimension is so different from any of the other paintings. This is why my blood pressure went up. So evidently there’s some reconfiguration in the very molecules. So, something is happening and I have to give it a little bit of time. I’m convinced that what is happening is this new awareness of time-space is breaking through our consciousness field. It’s happening to a lot of people simultaneously. And it’s going to change our world view. Dramatically. Just like perspective changed our worldview five hundred years ago.”

Starry Summers