Windows into eternity Painting

Short notes on how it all began and the peculiarities of non-linear art: I am lying in my bed and watch a big square painting appear on the ceiling. It is summer 2011 and my inner voice has been giving me the more and more urgent advice to paint for two years. I was more than reluctant. From time to time I would half-heartedly paint for an hour or two and leave it at that. In hindsight I must confess that I was scared by the seriousness of my calling. I had changed my profession a couple of times and since 1995 I had been freelancing as a dramaturge and writing screenplays. Only nine years ago I very powerful spiritual awakening had turned my life upside down. I had began to assist people by using my intuitive abilities and my inner vision. The last thing I wanted was a new big change. And here I am, sober and wide awake, looking at an abstract painting on the ceiling where there shouldn’t be one. I cannot remember how long I stared at the painting. Without the shadow of a doubt I know: I must paint this. Up to today I have not painted the exact same painting I saw, but when I painted „The Key“ (see front page) I felt I was getting closer. During the following years my paintings would often be accompanied by intense visions, until they got less and less and currently are not necessary for my inspiration. As I began to experiment anew with paint and canvas, an inner voice said very sternly: You must give importance to every single stroke. This is possibly the most important advice I got so far concerning my art. It solves a lot of problems before they arise. Very soon I realised that I have almost no influence on the choice of colors for a painting - I see them with my inner eyes. Immediately I know whether I have them ready on my shelf, can mix them or need to get them. Once I am in the process of painting, I am in a field with no thought. It is only when my brush touches the canvas that I know whether I will be making a fine line of an inch length, a circle as big as the canvas or a whole colorfield. That is the reason why I use just one brush - hopefully neither too small nor too big - because it is the only way for me to keep in the flow. If I try to move in a way that does not interpret the preceding impulse correctly, my arm freezes in front of the canvas. In this case I need to step back a little and start anew.