MY PAINTING & NON-ORDINARY STATES OF CONSCIOUSNESS
During the COVID pandemic, I discovered my love for painting through an online course, Meditative Paint to Heal Your Life ( DailyOM -see website - https://courses.dailyom.com/enrollments ). This creative approach evolved into what I call “process painting,” a method where the painter does not pre-plan the final outcome—and nothing is a mistake. That idea was liberating. Even if I spilled paint, I embraced it as part of the journey. There are no mistakes became a mantra, helping to undo the rigid right/wrong thinking ingrained in my early education, where errors were marked in red ink.
Process painting naturally complemented the evolution of my breathwork mandalas, providing another pathway to explore non-ordinary states of consciousness. During the pandemic, I practiced breathwork alone at home, which gave me the freedom to experiment with metallic paint and glitter—illuminating the Divine visional imagery depicted on my mandalas in all its brilliance. Over time, metallic paint became a signature element in my work.
I love the mystery of painting, never knowing what will emerge as I bring color to canvas. It feels as though I’m painting energy rather than objects. Each piece below has gone through multiple iterations, evolving organically. I never set out to depict something specific—like a bird—but as the painting takes shape, figures and forms reveal themselves.
I wonder what Rorschach would see in the process iterations as my paintings progressed. See for yourself—examples of two progressions are after the galleries below.
(If you’s like to have one of these paintings at home or to give as a gift, copies are available for purchase in the SCY Shop.)
Below, you can explore two full progressions, from the first brushstroke to the final painting. My process begins with identifying an element that draws me in—I enhance it or build around it. If nothing stands out, I apply white paint freely over the existing forms, then resume with colors..
In the first example, the third iteration revealed a shape resembling a hooded head, which ultimately became the face atop the totem. In the second example, nothing immediately caught my attention. By the fifth sitting, I introduced white lines, then filled them with color. Still searching, I began adding white circles—and suddenly, I saw the “bee.”
THIS BECOMES:
THIS BECOMES: