Hilma af Klint (1862-1944) was a Swedish artist, known for her large-sized abstract paintings and botanical drawings, and as being among the first abstract artists of the world, some of her works predating Kandinsky. These works also involved illustration, geometry, and color theory. she incorporated Art Deco as well as mechanical designs.
"Hilma spent summers with her family at their farm Hammora on the island of Adelsö in Lake Mälaren and later lived on the coast.
In these idyllic surroundings Hilma came into contact with nature at an early stage in her life and this deep association with natural forms was to be an inspiration in her work. From her father she adopted an interest in mathematics." [1]
In 1880 her younger sister Hermina died and it was at this time that the spiritual dimension of her life began to develop. She lived most of her life without much notoriety producing her works in seclusion and publishing/selling mostly her conventional landscape style paintings. She participated in a group known as the Five, doing seances, channeling, automatic drawing and writing, also developing a "new system of mystical thought in the form of messages from higher spirits". She lived along Sweden's coast and upon an island in Lake Malaren where she enjoyed nature.
Of her work, she wrote: “The experiments I have conducted … that were to awaken humanity when they were cast upon the world were pioneering endeavors. Though they travel through much dirt they will yet retain their purity.” Though she decided to refrain from sharing any of these particular works until 20 years after her death, when she felt the world was ready.
"Af Klint, an occultist, was crystal clear about her intentions: her paintings were crucially important documents of, and portals to, another plane communicated to her by spirits, not an artistic program of nonobjectivity. She compulsively recorded and annotated the work in notebooks (more than 26,000 pages worth) to ensure it would be read in exactly the right way after she was gone. (In 1932, she decided the world was unready for her message and marked in her notes those paintings that were not to be seen until twenty years after her death.)"[2]
"In addition to painting, af Klint spent the last decades of her life pursuing her spiritual journey. Her search for a home for the paintings led as far as Dornach, Switzerland, where she hoped Rudolf Steiner, the philosopher and founder of anthroposophy — with which Hilma became associated with for several years — might want them for his new spiritual center. At one point she even planned to build “the temple” she referenced in “The Paintings for the Temple” series on an island off southern Sweden. When no solution was found she asked her nephew to give the world time to catch up." [3]
BLIND ERV SESSION
Viewer: John Adams
Monitor: Thion
In this session we hit upon many of these details, including location, feelings of what appeared to be depression, art, and the aspects of botany, science, mechanics. We even seem to connect with her in the beyond, gaining some perspective on her purpose in this life.
Some key imagery and phrases:
Female, not very old, not very young, brunette, curly hair, slender arms. Nature, body of water, beach, rockiness, peninsulas, feels like an island, no tropical, grass, dunes, dark horizon, dusk, clouds, orange sunset, rocks, rolling hills along a coast. Someone standing on a rock. Within the last 100 years. 18th century designs. Living alone, loneliness, despair, heaviness in the chest, journey, seeking, reaching for something (symbolically a green gemstone, love/wisdom), monarchy or royalty (ref. the "af" in her name), crafts/artistry, mechanical designs, science, prestige.
Man in the mask, something mechanical perhaps, mountain, hillsides, foliage, slightly dark out.
At the higher self level:
more powerful, perceptive, piercing, marvel super hero like (female), with solidly colored eyes, hair waving.
Purpose:
To explore sadness and loneliness, to experience in general, an environment with stone steps lit up or illuminated by light green/blue color, illumination, or an extra magical quality, glowing, like a glowing liquid. Did not resolve loneliness in this lifetime. A struggle or search indicated by dim green light. Extending dunes or sand representing a search or path.
How this search manifests:
Mechanical images, armature, not gears, but technology of the 1800's, maybe indicating a focus on that, or that over other things.
Other subjects:
Not a bright energy center but rather smaller and green. Maybe an issue there or blockage. There might be a younger male figure, possibly a son. Someone she was, is, or will be caring for (reference her nephew Erik af Klint, who she cared deeply for and to whom she left her works and estate). Someone she loves. But no one else per se.
Focus related to science, plants, almost like in a greenhouse, like a hobby.
Other people interacting indoors, inside a room or place. These people have dark orange silhouettes, possibly at an energetic level. Purpose of interaction: Casual, learning, interacting with people, listening, sign language or gestures, possibly analysis (channeling and automatic writing or drawing? seances?). Something casual and jovial, a casual environment. A building, home, or commercial building.
Her part in this interaction: everything melds together: the color of dark green, plant life, a room or place, interacting with people or studying, and being happy about that. More or less a casual gathering.
Rails, dim lights, multiple levels, stairs, tight nit, spanish flavor design, crafts, artistry, a central area, geometric shapes, elongated triangular shapes/designs, three dimensional, like black gemstones or onyx, like a piece of art, almost architectural.
I see a big eye darting around, looking at this, looking at that. Maybe it is exploratory, analyzing, examining, looking, learning.
A female walking, indoors, cavernous-like, I see these black gemstones or coal, sophisticated, calmly looking, not very emotional, touching a fingertip on top of it and looking.
(End of session)
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