I’ve discovered that I can’t control anything. But it’s amazing how adept I am at creating illusions in my mind that I can control things. Sometimes I use that creativity to do art, and I become an “artist.” Being an artist is easy because everyone is already an artist, although they may not be an artist in an area they’d like to be. Often people think they can control the area in which they’re going to be creative.

Just like the Light, creativity is everywhere, and to bring it forward you just let go. There is abundance of everything, including creativity, and scarcity is an illusion, just like control. The more you control, the further you get from creativity, so the scarcer it seems, and the more you block the Light from coming through. When you let go, the Light comes through again.

Somebody asked me to create artwork that would be used as a backdrop for the Conference of Soul Transcendence events at the Westlake Village Four Seasons, July 2 – 7. I tried a few things and they were OK. I knew I wanted to use horizontal spiral forms and made a few attempts. J-R has represented the planes of consciousness below Soul as spiral forms, and I wanted to depict what’s above and beyond those levels. At first what I had above the spirals was diffuse and formless. Jsu Garcia, looked at it and thought there was something better that I could do. I put it in the light, and I got up the next morning in SE’s and saw a basic form of what went above and beyond the spirals. I played around on the computer and the artwork happened.

Working with MSIA is great because you get all kinds of extra help. Spirit has a job to do and you just participate. It’s a flow rather than an effort. But because there’s no control in it, it looks like it’s too easy, like it’s “too good to be true”–which is a funny statement because goodness and truth are the same thing. Actually it’s so good that it’s true. Or so true that it’s good. Would some good art have happened if I hadn’t been working on it with J-R, with MSIA, at the Mandeville property? Of course—creativity is everywhere. Would it have come through as fast or as clearly? I don’t know. I do know that spiritual energy concentrates in certain areas just because they are clear, and that clarity enables the Light to come through more smoothly, more fully, with a delight and a quickening that turns work into a harmonious flow. I’ve found that because of J-R’s spiritual connection, things he’s involved in take on an easy, light quality and there is an inner guidance that comes forward that’s so strong that it overwhelms negativity in its path. It’s like an extra boost of energy. My own obstacles are still there, but they’re easier to overcome, and I’ll take all the help I can get. And those words don’t capture it. It’s smooth and easy, but it’s also like a powerful tornado—but a benign tornado. How about an “easy, effortless tornado of light?” Actually the backdrop artwork captures it better than the words.

I enjoy creating on the computer because it’s painting with light. Instead of laying down opaque pigments, you’re laying down light. You can set it up so that the more layers you create, the more light there is; whereas with material things like paint it’s the opposite—the more paint you lay down, the more opaque it becomes. On the computer you’re actually creating light forms on an illuminated screen. You let the Light come through. The only problem with this is that when you bring that art form into the physical world, there are colors and lighting effects that are difficult to translate into the world of solidity.

It’s especially difficult to print out some of these light forms using normal printing techniques. So we hired people who paint scenic backdrops for TV and movies. They projected the computer image onto a 36 x 13 foot canvas and traced the form, and then painted it using airbrushing techniques. They worked on it over a few weeks.

Translating the world of light into the world of solid form is a delicate process, because just a little bit of solid form can block out the light. Very small amounts of color can make big changes, so painting this artwork was a more nuanced process than painting trees or buildings. The painter and I discovered that as we went along. He’d make what looked like a small change and we would walk to the back of the room to observe from a distance, and find out the effect it had was huge. I told him that now he must know what Monet (who was one the first artists who “painted with light”) felt like.

The artwork gives me a sense of going above and beyond the lower realms, into levels above Soul. Or Soul Transcendence. Maybe it will do the same thing for you when you come to Conference, or maybe it won’t and you’ll create your own image of Soul Transcendence.

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