Hilma af Klint, Group X, No. 1, Altarpiece, 1915. Hilma af Klint Foundation, Stockholm, Sweden.
As artists and lightworkers, we work with vibration to tap into the underlying unity of all things. Energy expresses in ways that are beyond the inherent separation we experience in form and matter. The vibration of love, for example, transcends race, religion, and politics. Eastern philosophies consider this energy to be a divine presence that can be identified in all beings, an inner life force that facilitates growth, movement, and expansion. In Taoist philosophy, this force is called the wu wei, or effortless action, and it’s the most delicious feeling that can come forth in art-making. It’s as though the artist’s conscious ego personality takes a step back and allows this creative life force energy to move through their human vessel unobstructed, creating a work of art that defies all effort and control. The artist is delighted and often mystified by what’s produced, perhaps exceeding all expectations and intentions for the work, discovering new avenues of expression that previously seemed inaccessible. There’s an inner realization that in these highly creative moments, we’re tapping into and collaborating with unseen dimensions of energy that we experience as vibration. Contemporary spiritual and artistic circles often refer to this experience as channeling.
Hilma Af Klint (1862-1944), a Swedish artist more recently recognized as an important pioneer of abstract art, created her symbolic visionary works even before Wassily Kandinsky who was historically credited with producing the first works of abstraction in Europe. She unabashedly named her source of inspiration as coming from spiritualist activities and mediumship she regularly practiced with her circle of friends called The Five. She stated that her series of large scale symbolic Altarpieces, recently exhibited at the Guggenheim Museum, was in fact commissioned by a group of “High Masters” channeled by The Five at their meetings. With the High Masters’ invitation, she abandoned representation for good and spent eight years creating 193 otherworldly paintings to fill a spiral temple, an exhibition space which would not be built in her time. Believing she was destined to be understood and appreciated in times to come, af Klint prohibited any public display of her work until twenty years after her death. In 2019, her prophetic vision was wonderfully enacted when her paintings were viewed along the winding, ascending walls of the Solomon R. Guggenheim Museum in New York.
These paintings speak in a very different language than previous more representational works. They’re an explosive collection of botanical forms, geometrical shapes, swirling loops, all familiar now to our modern minds. Microscopic images of cells, subatomic particles, and DNA appear enlarged before our eyes and we can step into the molecular structure of the universe, immersing ourselves in the vibration and visual rhapsody of these works. Viewers are swept into a transcendent dimension that is “always present, detached from time, and constantly communicating messages to and from our reality in an endless spiral of connection.”
Installation View of Hilma af Klint: Paintings for the Future, 2018–19. Solomon R. Guggenheim Museum, New York. From left: Group X, No. 2, Altarpiece, 1915; Group X, No. 3, Altarpiece, 1915; Group X, No. 1, Altarpiece, 1915.
Installation View of Hilma af Klint: Paintings for the Future, 2018-19. Solomon R. Guggenheim Museum, New York.
Cymatics is a relatively new field in modern science dedicated to the study of visual representations created through vibration. Research in cymatics vividly demonstrates how sound frequencies influence matter and molecular structure. The CymoScope invented by John Stuart Reid is an image generating instrument that reveals the intricate geometric patterns that emerge when water is infused with sound frequencies. When we consider that our human bodies are predominantly composed of water, we can see how sound baths, a now popular practice of immersing oneself in the sacred vibrations of mantras, crystal singing bowls, and gongs, can affect our inner field, mental state, and physical well-being. Gazing at the geometric patterns visually produced can create meditative and altered states of consciousness.
In his groundbreaking study Water Sound Images: The Creative Music of the Universe, Alexander Lauterwasser presents a magical photo series of water irradiated with music from the East and West that includes Tibetan monks chanting, Sufi poetry and composers from Bach to Stockhausen. These images are stunningly compared with patterns in nature and sacred geometry depicted in ancient art forms produced in eastern religions and earth-based indigenous cultures. Lauterwasser refers to the primordial sound of the universe, the cooperation of vibrating sound and shining light, as a totally fluid state that gradually emerges as a clearly shaped, solid form of existence in which life forms increasingly complexify and differentiate from one another. It is within that fluid and sublime state of frequency and light, the moments before matter solidifies and morphs into a new expression, that miracles occur.
Alexander Lauterwasser, Water Sound Images, 2002.
Lightworkers and wayshowers are now abundantly sharing information and practices for the activation of the Light Body, an illumination process where the human body evolves from carbon-based 2 strand DNA to plasma-activated 12 strand crystalline DNA. This is done through photonic light, or waves of crystalline plasma, delivered to the Earth through solar flares and atmospheric phenomenon such as the Aurora Borealis. As we prepare our physical bodies to receive and contain more light, the necessary purging of emotional density and separation consciousness occurs. We become sensitive to these waves of light coursing through our bodies as tingling sensations, meridian connections, and internal physical changes such as the pineal gland decalcifying to activate our vision, or the spleen and liver coming online to upgrade the blood stream. When the crystalline DNA codes activate within our cells, we become aware of ourselves as Source and a multi-dimensional presence in the universe with the capacity to vibrate in more expanded dimensions that encompass the ascended Gaia, the stars, the cosmos and all of creation.
Fascinating new forms of art created by lightworker artists have come forth to offer visual support that not only deliver light codes, but also serve to soothe and balance the sometimes physically uncomfortable ascension symptoms. This format is especially well received and effective in reaching a wide audience of seekers on social media platforms such as Facebook and Instagram. Joanne Tracey of Your Frequency Matters has produced a powerful body of work that she generously shares on social media. Her extraordinary images capture plasma waves and solar frequencies that generate complex color patterns, orbs and even what appear to be merkaba or sacred geometry indicating intergalactic communication emanating through potent beams of light. Tracey is adamant that the unusual effects in the photos are not produced by filters or photo editing apps, just love.
Image by Joanne Tracey via Your Frequency Matters Facebook group https://www.facebook.com/369joannetracey
In viewing these images, captured as the sun shines brilliantly through Tracey’s window onto to her own ritual space and altar, an energy vortex receiving, processing and generating crystalline plasma, one can only be reminded of Hilma af Klint’s spiral temple and futurist painting Altarpiece hanging on the walls of major museums around the world.
Hilma af Klint and Piet Mondrian: Forms of Life opens at the Tate Modern in London on April 20 and will be on view through September 3, 2023.
I’ll be writing more about visionary modern artists, contemporary light-encoded works and immersive installations in future blog posts. If you enjoyed this article, please share with your friends and subscribe to Gaia Art Bar!
 Krazinski, Jennifer. 2019. “Hilma af Klint, Solomon R. Guggenheim Museum, New York.” Art Forum. January 2019. https://www.artforum.com/print/reviews/201901/hilma-af-klint-78017
 O’Sheilds, Kathryn. 2022. “Channeling Spirits with Abstract Artist Hilma af Klint.” The Austin Séance. February 25, 2022. https://austinseance.com/2022/02/25/guest-post-channeling-spirits-with-abstract-artist-hilma-af-klint/
Alexander Lauterwasser. Water Sound Images:The Creative Music of the Universe, trans.Guter Maria Zielke (Eliot, ME: Macromedia Publishing, 2006), 16.