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Blessed Muladhara root chakra mandala


The Muladhara chakra is often referred to as the root chakra because it is located at the root of your spine. It is also the root of the sacred chakra tree of Kundalini. The word chakra means “wheel”, and it is thought to be like a circuit in the spiritual wiring we possess. Just as the seven Kundalini chakra corespond with our spinal cord, there are several “lesser” chakras that occur in conjunction with our nervous system throughout our bodies. Just as the spinal chord is the most important nerve we have so are the seven chakras associated with it. Activating them is one way to achieve enlightenment.

This is because Kundalini is the name for the latent energy that lays dormant within us which corresponds with Shakti, the creative force of the universe. When we complete the circuit of Kundalini from Muladhara to Sahasrara, or crown chakra, we connect this inner energy with the outer energy of Shakti, thus becoming one with the primal creative force. This is the purpose for which we were born.

The Muladhara is where to start. It is here that the dormant Kundalini serpent is coiled waiting to be awakened. Once awakened, the sacred Kundalini uncoils and travel up through the remaining chakras. The Muladhara chakra is therefore very important, for without activating it, the remaining chakras Can do nothing for us.

To activate this sacred chakra, and thus awaken Kundalini, we must focus our attention on it as we meditate each day.

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Abstract Monotypes

I create layered, abstract Monotypes in search of spiritual expression without the filter of Representative language. Monotypes are original one of a kind art work. Each piece is unique. They are acrylic paint on acid free papers. Each print is 8.5×11 to order, click on the piece you want, and message me with the name of the piece (i.e. “monotype #3”). I will email you an invoice via paypal, and ship you the piece upon receipt of payment.

 

$30 plus shipping each

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Marina

 

Marina was born on the night of a surging storm. The clouds hid the moon, but the sky was lit intermittently by blue crackling lightning. It  was neither cold nor warm. The whole of the sky was filled with dark, thundering clouds, rolling in the wind. These things didn’t frighten the newborn Marina; she was a raindrop. The whole world was rain.
For a time, the wind blew Marina in the clouds where she was born. In the diffused electric light of the lightning behind the clouds, she could see the other baby raindrops whirling around in the high winds of the sky, playing in the clouds.
Marina played in the clouds, too. Weightless and small, she flew around and around, whirling and dancing in the safety of the clouds. Sometimes the wind would slow down, and marina would fall, laughing gleefully almost to the bottom of the clouds, but then she would catch another gust of wind and go soaring back up into the clouds.

When the lightning lit up the clouds, you could see marina, clear, and round, and pure, spinning up into the highest part of the clouds, only to be lost in the millions of baby raindrops swirling in the sky.
Once the wind blew Marina above the clouds where the moon shown its cool, distant light over the surface of the clouds, stretching as far as the eye could see. The clouds glowed in the moonlight, and swirled and danced in the wind. Marina realized the clouds were made of tiny dancing baby raindrops, and that she made up a very small part of clouds. She never wanted to leave.
Marina danced among the clouds, and began to grow. Tiny bits of mist through which she danced became part of her.
As morning came, marina began to fall beneath the clouds. The cool grey clouds began to blur. All around marina, there were millions of other raindrops all falling through the endless sky. She became friends with many of the raindrops around her. Some became part of her life.
The storm began to grow cold. The rain cascaded into a wind that was getting bitter from blowing for so long in the distance, lightning was shattering ice.
Marina’s heart was born. It solidified into crystal ice. Marina took shape as only marina ever would. She sprang out in six directions at once. All around her, rain was blossoming into snow.
Marina swirled, and danced, and floated and, fell. all with vigor new to her. For the first time she looked where she was. Marina sparkled in the diffused morning light in an endless sky of glittering snow.
Far above were the distant massive storm clouds of her birth. Far below she could see glittering blue. Marina wondered what future awaited her in the vast blue expanse.
Marina saw a brilliant light at the end of the vast expanse of clouds. The sun was breaking through the grey above. Great shining streaks of light poured through the sky. Marina felt the glorious warmth of the sunlight and melted back into a clear shining raindrop.
Marina and her friends basked in gleaming morning sunlight. She could see light pouring through her and her friends creating an arcing rainbow that stretched to the sparkling sea below.
Marina and her friends wondered about the sea and what it held for them. Marina seemed to have an inner feeling that the sea was good, almost like a memory.
Quite unexpectedly, marina came upon the sea as she plummeted into the vast unknown; she realized that she had been here before. She became the sea. Once a drop of water enters the ocean it is no longer a drop of water but part of the greater whole. Marina felt her self lap on distant shores; she welcomed the rain that swelled the ocean. Marina had come home.
Far away, in the sky a tiny bit of mist becomes a  swirling baby raindrop, dancing in the clouds.

 

Own your copy here.
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Monotypes.

Lately I have been doing a lot of monotype prints. I purchased a gelli plate a while back and I’m trying to get the hang of it. I’ve taken about four semesters of printing when I was in college; one in J.C. was an introduction: letterpress, offset, relief, serigraph, that sort of thing. Then, at Art Center I took printmaking twice and a class focused on letterpress. The into at J.C. was focused on preparing us for working with presses in publishing; strictly commercial stuff. It was the late ‘80s and the same teacher also taught desktop publishing. There were several presses in the shop and I remember the offset press the most. It’s called that because the plate is forward reading, and when inked it transfers its image to a roller which is what comes into contact with the paper. I also had to create a color separation of an image by hand. I picked a picture of a friend of mine. We cut out cyan, magenta, yellow and black transparent acetate images and when they were laid on top of each other they made a full color picture. Mine came out pretty good.

The letterpress class was a logical extension of this. We set type by hand. I made a book of my poetry, illustrated by linoleum block prints I made for them. I bought bookbinding materials including hardcover bookcloth that I got from a special store in L.A. and bound several copies for people for Christmas that year. I was really proud of them. It was a lot of work. Like many professionally handmade things, they come out looking like they were made by a machine and people never realize how much effort went into making them.

The printmaking class was about the art of printmaking. Stone Lithography, etching, drypoint, aquatint, things of this nature. I loved it. I wrote a short story for a friend whose father had died, as a way of trying to comfort her. I illustrated it and gave it to her as an unbound folio. That was the second semester. The first semester was the stone lithography (which was pretty hard, no pun intended. I don’t know how Mucha did mulitcolored prints, but that was the process in those days. I did aquatints of the holy grail, and some other things that were of no consequence. For the illustrated story the second semester, more aquatints (the story was Marina about the life of a raindrop and aquatint was perfect) the text was a photo etching of plate made from high quality prints onto acetate.
Since then, linoleum prints have become a part of my regular artmaking process, I haven’t done etching since school because it requires a press (I use a rolling pin for the lino prints) and acid baths and resin and I don’t have the space for that right now. This gelli plate doesn’t require a press either and I thought I knew enough about printmaking to give it a go. It’s soft, so it’s easy to print on and then can be cleaned and used over and over again. Because it’s soft, you can’t use hard tools to scribe, but there are plenty of soft tools to use nowadays.

Most of my prints are fairly abstract, which is ok with me because I love abstract art. You can use any kind of paint or ink and most of the info I’ve seen suggests acrylics because it’s fast drying and can be cleaned up with soap and water, and then is permanent when dry. I like Golden Open the best because it dries slower allowing for more clean up time. However, most of the acrylics I have are not Open, because for painting with acrylics, I prefer creating several layers very fast. This is also why the gelli plate is good for acrylics. It’s very hard to get a good monotype from one layer, but several can create really interesting textures.
I usually run sets. I do several prints with the same base color, then by the time I’m done, the first print is dry and ready for the second layer, and they I run through layer after layer until I have several prints that have been through the same process. The prints are all original however as any image has to be created from scratch and the plate is inked each time. It’s a learning process for sure. My latest batch is a group of winter nocturnes that look kind of like Rothko’s and that’s ok with me.