Some artists paint what they see; I paint what I sense. My canvases are quiet instruments tuned to calm, clarity, and renewal. I make them to be lived with - to steady a room, soften conversation, and remind the heart of its own light. My practice has grown slowly, shaped by landscapes, languages, and the patient discipline of attention. It has also been shaped by the people who choose to live with my work - collectors, seekers, and friends who feel the gentle voltage of a painting and welcome it into their homes.

I was born in the Far East of Russia, where forests, rivers, and vast skies taught me to notice presence where others saw only matter. Years later I made my life in Israel, and the desert light, the sea, and the stones of ancient places deepened my conversation with colour and form. Today I work from my studio in Rishon LeZion, creating spiritual paintings, guiding meditations, and holding space for healing. My path has always been a dialogue with light - visual, emotional, and spiritual - and every brushstroke carries that conversation forward.

Artist Statement

I paint to reveal what is already present: the quiet brightness within people and places. Colour is the language of feeling; geometry is the language of order. When they meet, a canvas becomes a room you can enter. I hope each painting steadies the heart, invites breath, and affirms the gentleness that survives beneath the noise of daily life.

Roots, Journey, and Becoming

My story begins in a northern climate of long winters and miraculous springs. As a child, I learned that images could carry intent - a drawing could comfort, a colour could change the energy in a room. Those early recognitions never left me. When I later moved to Israel, the change of land and language felt like a rite of passage - an initiation into a wider conversation with the sacred qualities of light. In this new environment, I built an inner “home”: a place of stillness I could return to before touching a brush.

From that stillness, a method emerged: I arrive, breathe, set an intention, prepare the surface, let the first true colour appear, then build the painting layer by layer until the image and intention resonate. Over time, this became a ritual. It is not mystical pageantry, but a practical way to quiet the noise and let the work speak honestly.

My life holds many roles - painter, meditation guide, energy worker, tattoo talismanist - yet the red thread is simple: I am here to host light. Whether I am glazing a canvas or holding a client in stillness, I am doing the same work with different tools - making space for coherence, balance, and kindness.

Visual Language and Motifs

My paintings carry my voice, yet they are open enough to hold your story. Certain motifs return because they speak to experiences I trust. Luminous fields and soft halos give the feeling that the canvas itself glows. Circles, ellipses, spirals, and subtle grids bring harmony; the circle, endless and complete, often anchors a composition like a heartbeat. Birds appear for freedom and perspective, whales for deep-time wisdom, butterflies for gentle transformation, and celestial bodies to remind us of cycles of expansion and rest. Arches, doorways, and horizon lines invite presence, the feeling of standing at the edge of a new chapter. Abstract seas, skies, and mountains act as internal geographies, giving the eye a place to rest and the nervous system permission to exhale.

The Spirituality of the Work

People often ask what makes a painting “spiritual,” especially when the forms are minimal or abstract. For me, it comes from intention and presence. Every painting begins with a purpose - clarity, renewal, courage, gratitude - held in my mind and heart as I work. My rhythm is quiet and meditative, informed by breath and attention. I adjust the composition by feel, softening corners or warming spaces if the energy shifts. Ultimately, a painting is complete when it changes the room, when it asks nothing of you and yet offers something vital in return.

Materials and Craft

I work with gallery-wrapped canvas or sealed wood panels, using professional acrylics and oils. Acrylics allow luminous glazing; oils allow me to linger in delicate transitions. Each surface is prepared with warm or cool toned gesso, creating a subtle bias before the first stroke. I build translucent veils over days or weeks, allowing the work to emerge gradually, in dialogue with light. Soft edges invite rest, while geometric forms provide a sense of structure. I protect the finished surface with satin or matte varnish, and often choose minimalist float frames that companion the painting without competing with it. In all this, I want the work to breathe and endure, revealing subtle notes in the changing light of a day.

Collections & Selected Works

My work is organized into families - series that return to a question from different angles. Portals of Light explore elliptical halos and luminous gradients that feel like abstract gateways. Guardians feature symbolic animals and archetypal presences, often marking transitions - a child’s arrival, a new home, the start of a practice. Elemental Prayers explore earth, air, fire, and water, harmonizing spaces in pairs or quartets. Solar and Lunar works balance outward energy with inward reflection: Solar pieces brighten shared spaces, Lunar ones soften bedrooms and therapy rooms. My gallery includes intimate works and large canvases - quiet horizons, visionary eyes, mythic creatures. Each painting has its own presence, yet together they form a single, evolving field.

Living with the Work

Placement matters, because the paintings are subtle companions. I like to see them where people naturally pause - opposite a favourite chair, near a desk, beside a bed, at the threshold of a home. Light matters too: indirect natural light reveals the shifting colours, while harsh sun can overwhelm. Large works anchor generous rooms; medium ones support bedrooms or studies; pairs create breathing space in halls. I care for them gently, dusting with a soft cloth, keeping the environment stable, and letting the paintings speak for themselves.

My name is Jazz Thorn Christiansen. I am an expressionist painter, singer-songwriter, ecstatic conscious dance facilitator, and holistic healer. My work is rooted in spirituality, intuitive awareness and emotional depth, exploring themes of solitude, Nature, cultural appreciation, the sacred feminine, and the dynamic interplay between the physical and energetic realms. Through colour, sound, movement and imagery, I seek to express the unseen – the subconscious, the super-conscious and the otherworldly.

I am a healer by nature and an artist by purpose. My life has been shaped by profound challenges and equally powerful spiritual insights. Through years of energy work attuned in Reiki healing degrees, the Eternal Rays energy system, and other intuitive practices, I have learned to open channels, deepen my senses, and work from a place of inner guidance and so creativity is a channel something that comes through a dialogue with the unseen, the intuitive, the divine.

This intuitive guidance is always available, a steam of which I tap not only in my day to day life but in creating such as in my Shamanic medicine drum commissions. Before painting, I sit quietly with the hide knowing the animal once lived, breathed, and still holds a thread of consciousness. In that stillness, I connect with the spirit of the drum itself. Only when I feel its presence do I begin to see the image that wants to come through. Each painting becomes a conduit, a living gateway for journeying into other worlds through rhythm and ceremony.

In 2023, I received a vision In dream-sleep, without warning, I found myself standing with an Aboriginal woman before the sacred site of Uluru. The image was so vivid that the moment I awoke, I could still feel her presence as clearly as sunlight. That same day, I painted the vision exactly as it was given to me.

What followed was an unexpected journey of grief and awakening. Through my research, I learned of the unimaginable suffering Aboriginal women have faced for centuries—and still face today. Despite their strength and unbreakable community spirit, they remain among the most victimised women in the world, failed repeatedly by the very systems meant to protect them.

Moved by this truth, I created a second painting—an offering of honour to all the women lost to violence, those who were never given the protection they deserved. In this artwork, I envisioned the women who remain dancing upon their ancestral land, carrying the memories of their grandmothers, mothers, aunties, sisters, and daughters. It stands as a tribute to their grief, their unbroken resilience, and their eternal bond with one another. As an artist, it is both a privilege and a profound responsibility to bring forward work that holds such depth, remembrance, and reverence.

My belief is that Art is important because it speaks to parts of us that words alone cannot reach and that Art is a language of the soul, expressing emotion, intuition, and spiritual truth in ways that logic cannot. Through colour, symbol, form, and rhythm, art conveys what is felt rather than what is said. Creating or experiencing art can be incredibly healing helping to release emotion, transform trauma, and reconnect us to our inner self-giving shape to what we carry inside, allowing it to move, change, and integrate.

I have accessed memories from past life experiences that, when they surfaced, offered profound understanding of who I am today. Each memory, each vision, and each act of creation has been part of a larger tapestry, guiding me toward my purpose as both healer and artist.

These experiences have guided me toward a deep understanding of self, an unexplainable inner knowing, and a connection to a greater universal intelligence. I have come to see that every stage of life the good, the bad and the ugly is essential for spiritual evolution and personal truth.

There have been times when life responsibilities took me away from creating art, raising children, pursuing education, developing a holistic practice and simply surviving. Yet I have reached a point where I can no longer compromise my creative drive. Art, in all its forms – painting, dance, music, film, photography and poetry – is essential to my wellbeing. When I am not creating, my energy becomes fragmented. Creation is my medicine.

I began formal art training in 2002 at South Devon College, studying painting, silkscreen printing, black and white photography, digital applications and sculpture. I was deeply influenced by artists such as Goya, Francis Bacon, Frida Kahlo, Cindy Sherman, Gordon Parks and Jean-Michel Basquiat. I went on to complete a Foundation Degree in Visual Studies before continuing my studies in visual communication at The London School of Communication.

Motherhood later guided me into the world of holistic health and natural medicine. I trained in aromatherapy, massage, reflexology, anatomy and physiology, along with advanced energy work including Reiki Master level and the Eternal Rays Energy system. In 2012 I experienced a profound spiritual awakening which further shaped my art and purpose. After leaving an abusive marriage, I embraced my strength as a single mother and warrioress healer in service to others.

In 2015, my desire to paint returned strongly alongside the growth of my holistic practice, OMSHA Studio. I also met my creative partner, and together we formed the band KAMDARA. We released our album Zen Garden in 2017, with our single Moonchild receiving airplay on BBC Introducing. Music, dance, painting, film and creative exploration now exist side by side in my life and work.

Another significant influence on my creative journey is my father, Richard Thorn, an accomplished watercolour artist and musician, whose guidance and presence have shaped my artistic spirit from a young age.

My soul purpose is to express my authentic self through creative and healing modalities. I believe art is a powerful portal for self-realisation, transformation and empowerment. My intention is to move the observer, listener and participant into deeper awareness of their own truth. This is not always comfortable or beautiful in the traditional sense – it is raw, honest and real.

The world needs authenticity now more than ever. As the old paradigm dissolves and a new way of being emerges, I stand devoted to raising consciousness, invoking healing and reminding others of the power that already resides within them. As empathic creators, we are not commodities of society – we are medicine for the future.

I often say that my life has unfolded in layers - some tender, some chaotic, some luminous, all of them woven together by a spiritual thread I didn’t know was there when I was young. Looking back across the inner landscapes I’ve travelled - Deaf identity, mental-health struggles, visionary experiences, shamanic initiation, yoga, Ayurveda, art - I see now that my creativity has always been less a hobby and more a lifeline. A way of making sense of the worlds I walk between. A way of speaking when spoken language felt too limited or too loud or entirely unreachable.

The Deaf World as My First Spiritual Territory

Before I ever learned the language of spirit guides, plant allies, or dream-visions, I learned the language of silence. Or, more accurately, the language that grows inside silence. Being part of the Deaf world shaped my sensitivity, not just toward communication, but toward energy itself. When sound is less dominant, you start to feel life differently: through vibration, through subtle shifts in atmosphere, through the way a person’s presence enters a room before their voice does.

I didn’t realise it at the time, but this kind of sensing is profoundly shamanic.

As a child, I often retreated into inner worlds - not because the outer world rejected me, but because I felt something ancient stirring behind everyday life. I could feel the emotional weather of a person before I understood their words. I could sense when a place was holding grief or when an animal was curious or when a tree felt “awake.” These weren’t fantastical ideas to me. They were simply reality.

What I didn’t yet understand was that this way of moving through the world would later become the foundation of my spiritual practice.

Mental Health as a Portal, Not a Poison

My journey through mental-health struggles cracked something open in me. I won’t romanticise it - there were days when the world felt like mist and I was losing my grasp on myself. But there were also moments of profound revelation, when the boundary between inner and outer reality thinned and I saw glimpses of something larger guiding me.

Years later, I would learn that many shamans, mystics, and spiritual practitioners describe similar thresholds - what some traditions call a “shamanic sickness” or “calling illness.” At the time, though, it simply felt like falling apart.

But falling apart was what allowed me to fall inward.

It was during this period that I began experiencing visions - other-reality scenes, encounters with presences that didn’t feel like hallucinations but like teachers. They came with instructions: “Listen deeper.” “Walk slowly.” “Follow the thread.” They didn’t heal me instantly, but they offered direction when I needed it.

It was these experiences, woven through the Deaf world’s silence and my own internal storms, that prepared me for what came next: my shamanic initiation.

The Night the Spirits Called My Name

My initiation did not come with drums or ceremonies or mentors. It came alone, at night, in the middle of a period of deep transformation. I experienced what felt like a spiritual rupture - a tearing of the veil between my human self and something vast, ancient, and unyielding.

I encountered what I can only describe as ancestral forces, and they were not gentle. They demanded honesty. They demanded surrender. They demanded that I stop hiding from my gifts.

I felt stripped, undone, emptied, and then rebuilt. Not into someone new, but into someone I had always been.

When it was over, the message was clear: You are a shamanic warrior.

A warrior not in the sense of violence or conquest, but in the sense of courage. Someone who confronts the shadow - my own and that of the world. Someone who walks between realities and returns with medicine. Someone who must learn to hold power responsibly, humbly, and in devotion to healing.

The Path of the Yogic Heart

In the aftermath of this initiation, I found myself drawn to yoga - not as Western fitness culture portrays it, but as a spiritual discipline. I became a devoted practitioner, studying the Yoga Sutras not just as philosophy but as a way of living.

The sutras became my compass. The yamas and niyamas offered grounding ethics. Meditation offered clarity. Asana offered a way of communing with my body after years of feeling fractured from it. Pranayama became a bridge between the worlds I navigated internally and the physical reality I walked through daily.

Yoga softened the fire of my shamanic warrior path without extinguishing it. It taught me compassion alongside courage, discernment alongside intensity, surrender alongside strength.

Ayurveda: Learning the Language of the Body and the Earth

My journey eventually guided me toward Ayurveda, where I am now deep in study. Ayurveda feels like an earthly companion to my shamanic and yogic practices - a system that understands the body as an ecosystem and the spirit as a subtle force shaped by daily living. It teaches that healing is not an event but a lifestyle, a relationship, a conversation with nature itself.

Through Ayurveda, I’ve begun to understand my body’s rhythms and misalignments. I’m learning to treat myself with gentleness, nourishment, and ritual rather than constant spiritual pressure. Ayurveda has become another layer of my creative and spiritual practice, influencing the way I move, breathe, and create art.

Art as Invocation: Poetry, Nude Landscapes, and Surreal Nature

Creativity has always been my bridge between worlds. My poetry emerges from the same place my visions do - those liminal spaces where emotion, spirit, and observation merge. I write to give shape to the ineffable, to translate what I experience with senses that don’t always fit neatly into spoken words.

Photography became another spiritual language for me. My creative edits - nudes woven into surreal landscapes, bodies merging with stones, skies, branches, and rivers - are attempts to express what it feels like to exist between realms.

The nude, for me, is not erotic but essential. It is vulnerability, truth, the soul without costume. When I place the nude body within nature or surreal elements, I’m telling the story of how spirit inhabits form, how energy flows through flesh, how the human and the earthly are not separate.

These images are my visual prayers.

Walking Forward: Aspirations on the Shamanic-Creative Path

My future aspirations are simple but not small. I want to continue weaving together the threads of shamanism, yoga, Ayurveda, and art into something that feels like service. I want to create work - poetry, photography, teachings - that honours the Deaf world, honours mental-health journeys, honours the unseen realms, honours the body and the earth.

I hope to one day guide others through their own spiritual awakenings, not as a guru, but as a companion. A fellow traveler. A bridge-walker.

Most of all, I hope to keep living with integrity - to embody the shamanic warrior with humility, to practice yoga with sincerity, to study Ayurveda with devotion, and to create art that reflects the fullness of my lived experience.

Because ultimately, my journey is not about transcending reality but embracing all of it - every realm, every shadow, every silence, every vision - and learning to walk with purpose, beauty, and truth.

My journey as a digital artist began with a fascination for computers, imaging technology, and their potential to create visuals and digital art. My first use of computers dates back to 1984, when I programmed a Commodore 64 to render my first name, AGIS, using colour-changing sprites that danced across the screen before settling into formation. My first attempt at computer graphics was an experiment in turning a black-and-white photograph of a woman into a full-colour image — a moment that sparked a lifelong exploration of how creativity and technology might interweave.

From these humble beginnings grew an evolving passion: to use digital art not merely to replicate reality, but to reinterpret it — to provoke emotion, stir thought, and explore the unseen.

In Blazing Minds, I merge artificial intelligence — powered by machine learning and neural networks — with art, poetry, philosophy, and psychology. Each letter I write and every work I create is crafted to expand perspectives and provide a quiet space for reflection.

In a world increasingly shaped by technology, my art becomes a dialogue between ancient and modern, instinct and precision, the human and the machine. This dialogue is shaped by my journey across cultures and disciplines — from traditional graphic design to NFTs and generative systems, and from solitary practice to collaborations with fellow artists exploring how art and technology together can reveal new ways of seeing.

Early Influences and Career Journey

Raised in Greece, I was surrounded by a culture rich in arts and philosophy. The teachings of Socrates, Plato, and the Stoics deeply shaped my worldview and continue to influence my artistic practice.

My journey started in 1994 when I began formal studies in Computer Graphics and later in Visual Communication Design. I was fascinated by the idea that images could convey ideas and evoke emotions, much like the dialogues and metaphors of the ancients once did.

In the early 2000s, I travelled to London to study visual effects and animation for film and television. There, I encountered new visual languages, tools, and disciplines that expanded my concept of what digital art could be.

Professionally, I worked across publishing, advertising, and information technology, learning to craft stories, communicate visually, and navigate creative challenges. Yet, as much as I loved the technical aspects of my work, I felt a growing need to express something deeper — to speak not only through design but to speak to the soul, to engage with questions of identity, resilience, and inner transformation.

This need eventually led me to the creation of Blazing Minds, an ongoing series of art letters that explore the human condition and allow me to connect with others — and with my own inner self — on a more profound level.

The Birth of Blazing Minds: Art as a Tool for Self-Discovery

In Blazing Minds, I explore the convergence of art, technology, psychology, and philosophy. My letters and artworks invite people to pause — to observe not only the world, but their own internal landscapes.

The themes in my work include transformation, resilience, and the duality of light and shadow within us all. My aim is to provoke and ignite curiosity; to open a window through which one might glimpse something previously hidden.

The art I create is vibrant, sometimes abstract, and always layered with meaning. In A Total Eclipse, for example, inspired by Socratic wisdom, the celestial image of an eclipse becomes a metaphor for perspective — for those moments when obscurity gives way to illumination, and we begin to see anew.

Artificial intelligence allows me to expand my artistic practice. It enables me to move beyond the boundaries of established art forms and push past the limits of conventional tools to create something unique and immersive.

Integrating AI Technology into Art: A Contemplative Approach

The integration of artificial intelligence into my work is intentional. It reflects my interest in the convergence of psychology, technology, and artistic flow.

I view artificial intelligence as a collaborative tool — a mechanism to enhance my creative vision and visual language. This technology challenges me to reframe my approach to art and consider possibilities that extend beyond my hand. Although my process is still grounded in human experience and emotion, when technology is used thoughtfully, it becomes a medium for deeper emotional and intellectual engagement.

To strengthen this foundation, I am currently undertaking the Computer Science 50 course at Harvard University — equipping myself with technical fluency that will continue to expand the boundaries of my artistic practice.

I understand that some may be sceptical of artificial intelligence’s role in art, particularly within spiritual and artistic communities where tradition holds significant value. My intention is not to disrupt but to enhance — to introduce a fresh perspective that honours our soul’s journey. I believe that when used thoughtfully, artificial intelligence can inspire not detachment but awakening. It can be a catalyst for spiritual exploration, self-empowerment, and development, and prompt deeper questions not only into the nature of art but also into what it means to feel, to perceive, and to be human.

Art as a Path to Spirituality and Self-Empowerment

At its heart, my work is about the human spirit — our capacity for self-awareness, transformation, and growth. For me, spirituality is not a belief system, but a way of seeing — the pursuit of truth and self-knowledge.

This is why much of my work revolves around themes of enlightenment and self-discovery. I see art as a mirror; one that reflects parts of ourselves we may not easily see, asking us to confront our inner truths and evolve.

In my upcoming publication, The Blazing Minds Art Book, I will be sharing both visual work and personal reflections. This book is for the curious, the seekers, the non-conforming — those who see art not as decoration, but as disruption: a journey rather than a destination.

Looking Ahead: A Collaboration with the Spiritual Arts Foundation

I am honoured by the opportunity to collaborate with the Spiritual Arts Foundation, an organisation that values the intersection of spirituality and creativity. Through this collaboration, I hope to share my work with an audience that appreciates art not just as an aesthetic experience but as a tool for growth and introspection.

The Foundation’s new Articles section presents a wonderful platform for dialogue, and I am eager to contribute pieces that delve into topics like creativity, psychology, and the spiritual journey within art. I aim to engage readers in conversations that challenge them to think, reflect, and explore the infinite possibilities within themselves.

Closing Thoughts

Socrates once said, “There is only one good, knowledge, and one evil, ignorance.” This principle sits at the heart of my work.

To create is to search. To look beneath the surface. To illuminate not only what is, but what might be. Art, in its highest form, is a practice of revelation.

Through my work in Blazing Minds, I hope to encourage others to explore the unknown, to turn inward, and to see art not only with their eyes, but with their being.

Let us walk the path together.

Agis

Born and raised in China, Asia, I am HikkiTen - a Street Artist, Sculptor, Videographer, and Place-maker. I have created large-format murals and installations across four continents and over 20 countries. The festivals I initiated and co-organized in Europe brought life to cities that were often overlooked or abandoned.

Yet none of these “achievements” brought true fulfilment to my heart. My personal artistic journey oscillated between painting my darkest realizations - frustration captured on canvas—and producing commissioned commercial murals for businesses.

Life took a profound turn during Covid in 2020. After a traumatic event, I found myself in a shelter in Colorado, USA. I spent a sleepless week consumed by blame and anger toward the person who pushed me down the stairs. During that time, I listened to podcasts by Dr. Daniel Siegel and other neuroscientists. One morning, in a state between sleep and wakefulness, I envisioned a water world. The violent experience I had endured transformed into a waterfall, revealing the fragile foundation beneath it. In that moment, I realized that behind every violent person lies a weak, vulnerable, traumatized, and manipulated being. Choosing to forgive brought inner peace - and, finally, a restful night’s sleep.

Upon returning to China, I became deeply curious about the workings of the brain and the mysteries of life. I asked myself: What is the true purpose of my life on Earth? Why am I often angry? Why do unfortunate events happen to me? Why do I feel so lost? Despite reading countless neuroscience books, the answers remained elusive. In the end, I decided to save for a trip to South America, to meet shamans and experience ayahuasca.

Spiritual Evolution

In March 2022, I met Daniel. Our marriage delayed the South America trip. To escape Covid restrictions, we moved to his home country, Portugal. There, I discovered a new world - one filled with spiritual healers and rich religious traditions. I met two mentors and asked the question that had long weighed on me: “What is the true purpose of my life on Earth?”

I will never forget their answer:

"We are here to experience, to enjoy, to evolve, and eventually, to become creators ourselves."

For the first time, my heart was filled with excitement, joy, and bliss. Every cell in my body seemed to light up. Deep within, I knew this answer was true.

In Portugal, I also met a spiritual artist who taught me to create art only with the highest vibrational energy. Around the same time, I discovered Dr. Joe Dispenza and the practices of heart-brain coherence. I began meditating in a way that resonated deeply with me. Gradually, I returned to the sleep-awake state I now understand as the Alpha and Theta brainwave state. Visual sequences began appearing more consistently during meditation.

A New Purpose in Life

In December 2023, I joined a one-month prayer session with my husband to honour the deeds of Jesus before Christmas. I could not understand the prayers - they were in Portuguese - but I simply focused on being present.

One night, as I sat with my eyes closed, visions suddenly appeared. I saw myself and my husband from above, then left Earth entirely, entering a swirl of light. My heart raced with awe as I embraced these extraordinary visions. I travelled into infinite space, where two colossal beings observed me from every angle. Their beauty took my breath away, compelling me to paint them. Tears of joy streamed down my face as I sketched. These became my first two spiritual paintings: Pure Love (the Creator) and Lord Maitreya. Later, I learned that such vivid visions - often accompanied by sound and scent - occur when the brain is in a Gamma wave state.

Since 2024, I create only the art that emerges from these spontaneous visions during meditation and prayer. Today, I have a unique artistic voice, with sketchbooks piled with visions waiting to be realized. I give thanks daily - to life, to all those who have crossed my path, to those who taught, healed, or collaborated with me, and to my true love, who stands by my side through turbulent times. I create art infused only with the highest vibrations: love, light, peace, inspiration, truth, empowerment, and other sacred energies.

Creative Process: 1. Meditation

I combine techniques learned from Dr. Joe Dispenza and my mentors, using guided meditation or Zen music to enter a trance-like state. I begin with slow, deep breathing, focusing on the heart, envisioning it glowing and expanding into infinite space. I cultivate positive feelings and fill my heart with divine energy. Gradually, I dissolve into “nobody, nowhere, no time, with nothing.” Then, as pure consciousness, I expand into “everyone, everywhere, every time, everything.” Visions typically emerge from this state. For me, visuals dominate; sounds and smells appear occasionally.

These visions are never static - they come as fast-moving sequences, constantly shifting, multi-dimensional, and contextual. Some artworks require multiple meditation sessions to capture more detail.

2. Sketching

3. Execution
Bringing these visions to life is challenging. Translating complex, multi-dimensional experiences onto a two-dimensional canvas or sculpture requires trial, error, re-planning, and redesigning.

My subjects often include higher intelligences, light beings, alien worlds, multi-dimensional spaces, underwater realms, and other cosmic landscapes.

When I hold a brush or spray can, I strive to relive the vision, channelling infinite energy through my body and hands, surrendering to the higher intelligence guiding the creation, and co-creating the art in every moment.

All my life I’ve been creative and musical in many ways, loving the mystical, nature and animals. I can’t remember not drawing. I grew up always creating music or art, just like other family members in my ‘family tree’; fantasy artists, illustrators, sculptors and musicians (Celtic music). Though I’ve always followed my own artistic and spiritual path, I also find a lot of inspiration in magical places in nature. I’ve got family and friends living in Dartmoor (UK) where the veil to other realms in the woods is very thin and I love visiting! Fantasy art, the love for depicting animals in spiritual artwork and making Celtic music is spread through my family. I am Marjolein (say Mary o-lane) born in ’76 based in The Netherlands, Amersfoort where I live with my husband, my son and ragdoll cat Simba.

Spirituality and the mystical
As a child I was highly sensitive and quite psychic (which wasn’t recognized as such at school). Growing up being too aware of bad energy dynamics, my youth didn’t feel easy. Often when I got overwhelmed I withdrew and connected to animals. Here I found I communicated with them on heart level. Drawing animals was a logical way to connect to my inner feelings, higher self and trying to find inner peace. Creativity was also a way for me to connect with others ‘safely’, because I knew I had talent and enough self esteem to share this true part of me. By willingly giving free drawings to others I hoped to stay friends with them. Doing commissions from the age of 6, it felt natural to me to attune to what ‘the other’ was looking for, so I could ‘make them happy’ by drawing that for them. I was a typical ‘free’ child, who didn’t understand why rules where there. Feeling suppressed by them, I stated never wanted to work from 9-5. I just didn’t get that system. This created the foundation of my arts, choosing this as a profession I’ve now been living for 25 years full-time (since 1999) independently!

How my art academy trauma helped me spiritually grow:
My dad taught me to let images ‘appear’ on paper. Starting in an abstract way, I learned to listen and see what wants to come through, but also to be selective in that process. Focussing only on ‘good’ vibes. He’s a marvellous watercolour artist having painted soul portraits of many people and the angelic kingdom. This technique awakened me at a very young age to think and feel into a zero-point, which is still helpful to this day in creating my spiritual artwork!

I was very young finishing high school (15 turning 16). First I studied to become an art teacher to learn the profession in Amsterdam. During my studies we travelled several times to learn the history of arts and architecture and discover art materials in a playful way by doodling on sight. Visiting art museums in Venice and later in Egypt made a deep impression on me, to follow the mystical (unknown) and angelic art I was drawn to.

After that I went to the Royal Art academy in The Hague, to dive deeper into my inspiration. I didn’t find that until after I graduated there in 1999. My teachers didn’t understand my inspiration at all and dimmed me (by contract!) to create only what they approved of. Looking back this was a traumatic experience, which took me over 10 years to recover from. It made me physically so ill, that I went down the rabbit hole. It became a spiritual quest needing alternative healing and reading every book out there on mindfulness, new age, spirituality, divine energies and God. Looking back, this decade helped me to become a healer myself. In my arts a good teacher and coach. Recognizing creative blocks of other artists and helping them to unblock them. Via guiding instead of criticizing! It’s so important as an artist to embrace your own unique divine creativity! I believe art is a soul expression.

From realistic to spiritual animal Art
Once I discovered Celtic music in 1996, a sense of belonging opened up. I started painting the ‘Celtic way’ in my English nature artwork. Painting Celtic power symbols underneath ancient trees, waterfalls, stone circles and animal paintings. During that decade I went through serious physical challenges, in which my spiritual awareness grew quickly. Due to endless searching for answers that doctors couldn’t give me. I dove deep into healthy living, the body-mind connection, meditation, taking many spiritual courses, communication with animals, healing with crystals, shamanistic singing and animal messages, and researching the question: why are we here in the first place!

When I was asked to perform my arts on Dutch tv live by painting animals on the spot, my career exploded. Fully booked for 3 years with commissions became my norm in my pet portraiture. I had at least 10 exhibitions a year in galleries showing my mystical landscapes and wildlife art. I worked so hard! Customers seemed to find me so easily (no social media back then). Even the Sultan of Oman commissioned me for an artwork for his then new palace. I had this massive urge to share my creative joy, resulting in writing articles about my painting techniques for 15 years for international magazines, two books on how to paint animals and giving many workshops.

Though my series of ‘spiritual animals’ I kept to myself. Purely for protection giving it space to develop. Also to prevent retraumatizing, since hearing the critical voices of my art teachers in my head for many years.

Starting to bloom!
In 2018 everything came together when Hay House saw one of my large spiritual wolf paintings. I was commissioned to illustrate the “Archangel Animal oracle deck” for Diana Cooper, Hay House UK. They gave me full space and confidence in the project. I bloomed! I felt artistically so free, it helped me to work very swift and confident. The “Magic of the Unicorns Oracle deck” followed quickly after. Attuning to such high frequencies changed my life. I was giving physical healings to people and animals, and even during my travels I often ‘had to’ clear a place, ley line or any other mystical attunement. I’ve been learning so much by connecting with the elemental kingdom, angels and even dragons. It flows naturally through me. And I love doing it all. Whether it is through my art or giving healing to someone, my aim is to contribute to help people open up their higher heart to treat animals better, mother Earth and themselves. We need to remember that Love is all there is. I hope my art does that for many throughout the world.

Service work, healing the heart art
Connecting to the animal kingdom via meditation (even for commissioned art) has been my absolute training to learn how to capture the soul energy of animals. Calling in the (over)soul of an animal is where I get the most information from, which continues flowing through during painting. For me portraits feels like coaching people, helping pet owners in their grief process (deceased pets portraiture) by guiding them through memories and choosing the best ‘sphere’ I need to capture in a painting. This way the pet can come through clearly. This feels as a spiritual service: divine light shining through, the energy is there. My art is like a ‘rainbow bridge’. I often hear ‘I am not gone, I’m still here!’ during painting. A message I like to give through via my art. People often don’t realize that strong emotions of missing a pet can actually block their heart connection to hear and feel them around! I learned that my portraits help them process emotions and reconnect with them. Sometimes even unconsciously. Since recent years I’m asked to give distant animal healings more often or channel their wisdom to help.

Creative process
When I start I need to get myself in a no-nonsense state: sit, attune, and start. I love combining symbols and themes from the collective energy that is ‘in the air’ at that time. Something I trained doing when working on the oracle decks. Creating an energy transformation on canvas. When I choose a subject, things start to present themselves. My subject seems everywhere all of a sudden! Though I find creating spiritual arts does require responsibility. You can’t let ‘anything’ appear on canvas. There’s much of the unseen that not supportive. I never understand why an artist would create unsettling or even dark portals on canvas. Unfortunately it happens a lot. Learning how to attune properly is a very important step in this and obvious energy protection. I do need the energy to be clear. I use meditation, Solfeggio frequencies, singing bowls, decrees and beautiful angelic music to attune. Once I start I work very quickly. I’m a sprinter, but afterwards I need to ground and unplug to recover.

Spiritual or fantasy?
After creating almost 3 decades of attuned art, I can honestly say the spiritual energy in my art is real. It is although a downgraded version of the limitless inspiration given by God. Paint and canvas can’t capture all expansiveness of energy, right? Through the years many people, even people who don’t like this type of art, have burst into tears when being in presence of a painting of mine. So what’s happening there? I believe that an x-factor is necessary. A bridge, a transformation needs to take place during creativity. That’s our role as artists, being a translator. I like the image of me -as an artist- being some kind of butterfly catcher. Capturing divine Golden nuggets. I love to see myself as an ambassador for the animals, to bring spiritual messages through. Aiming to awaken people that animals are sentient beings like us.

Energy becoming visible
My psychic abilities have grown a lot. I always see little flashy lights around my hands, and sometimes oval pulsing orbs of one super bright colour flashing somewhere in my studio or around people. When I’m working on portraits I often sense the soul of the pet around and sometimes seeing the deceased pet in the corner of my eye walking by or hearing it on the stairs. I have to discern the messages that come through during painting, as I can easily pick up emotions from my customers too. Or astral entities via emotions of others that can hop on for some energy drainage. I had to train myself to focus on the animals or specific divine energies only. That continues to this day, as the energy shifts globally alter too. When working on larger spiritual paintings I sense (arch)angels, guiding my hands and what colours to pick. They can be specific! Also in nature I pick up on the presence of elementals. In Wales (UK) I saw two of them with my physical, eyes and even by sound. That was amazing! Mostly, in special powerful places like the chalice wells in Glastonbury, I sense them or feeling them stroking my clothes or hair. Knowing they are there. It’s a high pitch filled with love. Sometimes even giggles. Or ‘wondering’, I sense that they often question why we humans do the things we do. Altering the energy to a bit more serious. I like to send silently send love, gratefulness or colours to them.

How has your art and the creative process been healing for your life? 
It’s very healing to paint. It heightens my energy always. Paintings are a reflection of who I am and my connection to the divine. Sometimes I have more energy after painting a whole day! Especially when painting unicorns. It can be very confronting and tiring too though, when working on an oracle deck. Imagine what life throws in your lap when you work on a theme like ‘stand in your power’ or paint the card ‘caring community’. Spiritual knowledge is always tested. My art is helping me on my ascension journey. I’m curious what the next 25+ years will bring!

Future
It’s summer 2024 when writing this. A new Golden Age is in process. The ‘sober and earthy’ artist in me is worried of the continuation of art business in general, due to the release of A.I. and government restricitions to living independently as a small business owner. The spiritual artist in me is constantly trying to remind me to focus on the positive, grounding in the light via my art. Clearing as much personal shadows as possible withIN me. This (im) balance seems a never ending play! We, as artists, have to fight for our artistic freedom when required.

Two anchor points are my ongoing two series of ‘I Am’ and ‘Illumined’ paintings. I create them as Healing Art. With codes, symbols and symbolism that goes beyond my (en)vision. Designed by attuning to the I AM consciousness, to God, the archangels and higher elemental and animal kingdoms. Activating rays of light, Christ light and consciousness in every painting. Some of these paintings take over 2 years to complete. At the moment I am creating an oracle deck of these works with channelled messages of the animals. Aiming to find the right publisher for that. The pet portraits and other commissioned animal art will continue to help healing hearts and I'd love to create a (spiritual art) book in the near future. Though painting the natural world has so much beauty, it will remain a jump between realism and spirituality I think. You can’t beat the bad haircut of a marabou, that’s just too funny. That should be painted realistic! Also, I’d love to paint more elementals like fairies, dragons, deva’s in their natural element. Creating spiritual children's books, illustrations and working on larger pieces to nourish my own soul.

Greetings, friends! My name is Aloel Cristal, and I am, tentatively speaking, a healer and creator, focusing at present on visual arts with the intention of evolving my artistic potential to its fullest.

I have been born into my family as a 3d generation of medical doctors on my maternal side, and later, after relocating to Canada became a naturopathic doctor, focusing on vibrational healing.

I have been drawing and painting since early childhood, sometimes using doors or walls as drawing surfaces and my fingers as brushes for oil paints :). I have been aware of seeing different faces or other shapes in random patterns everywhere, which as I was told recently, is very characteristic for artists.

When I was 4 years old my family moved from Latvia, where I was born, to Moscow, where I was growing up and basically surviving on a daily basis in a rather harsh societal environment, never feeling like I belonged, on many levels. I tried to adapt unconsciously, like children do, and at times it felt like I was being accepted by other children or later on, the society in general, but eventually it became clear that trying to conform does not work for me. I refused to continue moulding myself into the “standard”, “acceptable” or “normal”.

When great societal shifts began and so much hidden came to the surface and to my awareness, I felt totally clear that I simply cannot continue living this common lie, pretending, playing a required role in this destructive mass theatrical show…

I left the country where I was growing up in the midst of a huge political turmoil with my little daughter and my parents and we settled in Toronto, Canada. There I became a Naturopathic Doctor, having discovered a totally new universe of medical knowledge, completely different from the medicine I knew and practiced, and which made so much more sense! Learning it was like coming home, remembering a long forgotten knowledge.

Around the time I was admitted into the Naturopathic College I became severely ill as the result of all previous stresses, including immigration and all the “fun” associated with it. The timing was absolutely perfect, and I avoided potential disability by learning all I could about healing on many levels and applying this knowledge to my own process. In my naturopathic practice I concentrated on addressing the true causality of dis-ease in my patients, helping them see how they inadvertently created their own problems with health or life in general. As I was working on myself, cleansing, meditating, doing energy work, journalling etc., my clairvoyant and other abilities became more evident, assisting me tremendously in my work with the patients.

Since studying at the Naturopathic College and especially when my awareness began to increase more and more as I began to practice, I remember being preoccupied with two questions: why people get ill; and how to protect myself from other people’s energies, as I acutely sensed their disbalances and always felt drained and unwell after seeing patients. The first theme remained for years to be answered multiple times, each time at a new level of understanding.

The second theme served as a beautiful incentive for inner searching and eventually led me to esoterica and metaphysics, studying as much as I could ancient esoteric religions, theosophical knowledge, modern spiritual teachings, energy medicine, vibrational healing, alternative diagnostic techniques etc. Eventually I left it all behind and realised that all these teachings served simply as remembrance points and in truth all the knowledge exists eternally within me. All I need to do is to create optimal conditions for this knowledge to come to my awareness. Thus I gradually created my own understanding and ways for continuous expansion of my consciousness.

At the same time I continued being creative - painting, drawing, working with fibres and clay making pottery. I seemed to be going through cycles where I would feel like painting and I would create a few works in a short period of time working very fast, as if exhaling something from the depth of my being. Most of these paintings live now in the homes of my friends and family as well as some people who felt connected to them. Then I would concentrate on sewing or felting, or making beautiful pottery. If for some reason I could not be creative for a while I would feel suffocated. Creativity to me is an expression and a manifestation of my connection to the Soul. Without this connection life would be unbearable…

My life has been quite challenging in many aspects, but one main thing remained unscattered - this deep inner knowing of which direction to choose next, grounded in the deepest Trust for support and guidance that come from within. I never truly connected with the way humans live here on this planet, it never made sense to me. I always felt like an outsider, a true foreigner, observing surroundings with detached amusement or, more often, annoyance.

After I began truly awakening after the age of 30 it all gradually became clear. I have realized that I am an eternal light being going through this particular human experience here on this holographic planet in this particular holographic body writing just another story for the Creation in general. I have recollected a lot of my previous experiences and reconnected with some of my Star families. I received my true ("spiritual") name around the age of 45. This is the name I have now, slightly adapted for the human ear. I chose to stay unseen to the Socium in general, quietly going through my own transformational processes and preferring to work one on one with those few humans who are brought into my awareness for assistance, mostly healing, inner growth and expansion of consciousness.

After retiring from my practice I moved to Bulgaria to live in a remote tiny ecovillage. Being surrounded with Nature helps to reconnect within on even deeper levels. Almost every drawing or painting is a meditation practice in a way, - me flowing intuitively in the mystical flow of creativity. I know that this creative impulse comes from the Soul, and I see my main task in not standing in its way but rather assisting it in expressing its potential. In order to do that I need to be in a very balanced, harmonious and happy state when I approach a painting or drawing. Every time I pick up a brush or some other tool I feel like stepping onto a magical path, leading indefinitely deeper and deeper, into a multidimensional realm of my True Being. In that realm there is no separation, no division, no polarity games, no drama, - just wholeness, unity, harmony and peace representative of the new incoming high frequency energies. These are all aspects of the beginning of a new Cosmic cycle, a new era…

My love for art and drawing has existed since I was a child. I was a lonely child surrounded by many adults and, to distract myself, I spent most of my time drawing.

My drawings were rarely just scribbles; they ended up becoming characters and scenes in a story that kept me company throughout the day.

My family didn't encourage me much, even though I always expressed my love for art, because for them it was important to study hard and have a serious career to survive in the world.

So as I grew up, I put the pencil and paper aside while I studied to get into a good university.

Which led me to go to college at the age of 16 and graduate in architecture in 2019. Even though I had chosen a profession that could express some of my love for drawing, I felt trapped in the rigidity of conventional education, which obeyed the market, and of architectural computer programs in which we were forced to reproduce more of the same.

I was almost graduating and spiralling into a state of depression when, in a last-ditch attempt to discover what I loved, I sought refuge in alternative architecture and began studying things like earth building, permaculture, conscious design, and natural geometries.

During the pandemic in 2020, I studied everything I could about alternative knowledge and sacred geometries. I took a Reiki course as a way to help me with my healing journey and emotional processes. I started meditating every day and stopped eating meat.

At that time, I had a transcendental experience during one of my daily meditations, when I heard the name “starseed” and saw for a few seconds a cosmic tree that was throwing seeds towards Earth.

As the pandemic passed, I immersed myself in spiritual knowledge and alternative living, and eventually sought a practical experience in which I could live in my daily life the entire Universe that I was discovering.

In 2021, I backpacked through several Brazilian states, visiting alternative and sustainable communities.

It was in some of these communities that I had the opportunity to drink ayahuasca in a ceremony with indigenous people from the Brazilian Amazon.

After my first experience with ayahuasca tea, I had a major turning point that changed my inner self and my entire way of seeing reality.

I continued traveling to several more communities for approximately 6 months and consecrating ayahuasca monthly.

Plant Medicine taught me more about myself, my Soul and cosmic history, and showed me how, based on my own experience, I could also pass this knowledge on to others.

I left architecture aside because I realized that I chose this profession more as an attempt to fit into society than to express who I really was.

At the end of 2021, while I was still traveling, I started to provide services as an energy therapist. At first, I imagined that I was doing something similar to Reiki, but just like in my ayahuasca ceremonies, my cosmic family would introduce themselves, and eventually, the cosmic family of the person I was treating.

Over time, I began to channel the guidance and star family of my patients, and soon after, I would access the Akashic records. My services became increasingly full of visions, in which I had to both describe and explain the meaning of these visions to the person I was treating.

They included descriptions of star guides, such as their world and the way they lived, other lives of these people, on Earth or beyond, as well as symbols, which I later discovered were light codes, which activated specific energies in the field of my patients.

The first 6 months were a great process of discovering what I was doing and how I could put this service into the world. Architecture school had traumatized me somewhat in terms of drawing, and since I graduated I had stopped using pencil and paper, until I heard very clearly from my guidance in one of the ceremonies I participated in: “You need to start drawing again.” And I knew exactly what I needed to draw.

I first started putting on paper my own visions from personal meditations, symbols I received, information from my own Higher Self and Akashic, and I realized how putting them on paper made me more aware of that information, and new informations that complemented the previous one began to emerge.

Until August 2022, I began offering, along with my energy therapy,  the “Arts of the Soul” channelled art that initially portrayed what I saw in my patients’ energy fields during therapy.

Over time, the art stopped representing only the therapy sessions and brought even more information and messages about their experiences and Soul stories. Today, in June 2025, there have been 77 Soul Arts channelled, all hand-drawn, painted in watercolour, acrylic paint, and more recently digital painting.

I hope to soon extend the channelled art not only to personal orders, but also to the co-creation of oracles and art books that can inspire and remind people all over the world.

I also have a great love for the world of illustrations and children’s stories and would love to create books that inspire children to meditate, connect with their guides, and express more of their unique energy and creativity.

I have a passion for all things creative, channelling creative energy in order to manifest thought provoking abstract artwork.  I consider myself an international artist having exhibited my work all over Europe in cities including Amsterdam, Zurich, Berlin, Paris, London and Monaco.

In the past, I was represented by a New York art gallery and have also had my work showcased in Miami.  Currently I am represented across the USA by an arts organisation. 

My passion for art began at an early age and has continued throughout my adult life, it is all I want to do.

The aptitude for creative vision has never left me and is continuously evolving and my personal Spiritual journey has been the momentum and driving force behind my artwork.   However, things changed when my life was in turmoil back in the summer of 2018.  That was a turning point for me, not only personally but also for my art.  At that time, I stated out load “there has to be a better way”.   And lo and behold my prayers were answered when a Spiritual text called “A Course in Miracles” came into my life and changed things forever. 

A Course in Miracles (also referred to as ACIM) is a 1976 book by Helen Schuman. The underlying premise is that the greatest "miracle" is the act of simply gaining a full "awareness of love's presence" in a person's life. Schuman said that the book had been dictated to her, word for word, via a process of "inner dictation" from Jesus Christ.  However, this text is not based on the conventional christian teachings.   I had grown up very powerfully indoctrinated into catholicism so when ACIM mentioned God I was immediately triggered.  I had never really associated God and Jesus with Spiritualism, or the New Age movement and I certainly never considered myself religious and still do not to this day. 

However, after studying the book ACIM (that I believe Spirit sent me) almost daily since 2018, I understand it has nothing to do with the teachings in the bible or anything religious, even though it is said to be the voice of Jesus himself and, yes does mention God.  My relationship with Jesus and God previous to studying ACIM and during my catholic upbringing was a not a good one. 

They talked of sin and punishment, and I never resonated and still do not, with that thought process or the teachings in the Christian bible.  ACIM has taught me the truth and that truth is that we are all eternal beings, no sin, no punishment and love is who we are.  By definition there can be no sin or punishment in love.   

Recently I have worked on a series of paintings based on this Spiritual text. Having already completed three paintings named ACIM 1, 2 and 3 that were on exhibition in London in July 2024, I know that this series will be a lifelong project as will my study of ACIM.  In these works, I have manifested the vibrations that the text radiates that is said to change the way the Western indoctrinated mind functions in an ego-based dualistic playground. 

I have a fascination with the mind.  One of my other most recent works named “Confliction” is inspired by the decision processes that are undertaken in the mind which create an internal mental battle between peace and suffering. This painting was also inspired by the book “A Course in Miracles”.  The painting conveys the belief that in the indoctrinated mind the influences of fear can be overpowering if they are allowed to take control and are given strength by one's belief in them.

Fears, however, are merely thoughts and are not real. The minds natural state is one of peace and this can be achieved when negative thoughts are evicted from the thinking process, hence leaving only peace. I believe happiness is one's natural state.

When I look at a painting that I have finished, I have no idea how I did it and I wouldn’t be able to repaint it, I have no idea where it came from. I have the sense that it has come from something apart from me.
- Gino Parisi

Whilst predominantly using acrylic, I am not limited to this medium and often will use a combination of acrylic, pastel and chalk in many of my paintings.  However, it has not always been this way; at the start of my artistic journey my preferred medium was charcoal and hence this can still be found in many of my works today.  

With no preconception of what will flow onto the canvas, I allow my connection with the creative Source or Sprit, to inspire and lead my work.  I enter into a different state of being and allow my creative and intuitive mind to expand beyond our idea of reality to a place where creative energy flows through me and onto the canvas.   I believe that this process is a form of channelling Spirit, not with words but with painting and the messages in my art are unique to each viewer.

My paintings are atmospheric and full of colour.  I wish my art to draw a viewer into to an engaging and enchanted place where the mind is allowed to be imaginative and inspirational.  It is in this peaceful place the viewer can step into, enabling them to explore the energetic and spiritual vibrations emitting from what they are viewing.  They are encouraged to be imaginative and creative by what they see.

When viewing my work, the observer not only uses their sight in the process but also their feelings are engaged and drawn in by the energy that is radiating from the artwork.  In my series of works inspired by ACIM, I have collaged pages of the book onto the paintings.  The book itself is said be of a high vibration and hence the pages emit this.   This energy remains with the observer long after viewing the artwork, benefiting their experience and allowing them to take continued inspiration from it.   I believe that this is all the work of Spirit, I am merely the conduit. 

My name is Lady Luna Star, and I am a psychic artist devoted to creating spiritually guided works of art that serve as portals of healing, insight, and transformation. Each piece I create is more than a visual—it is a message, a mirror, a thread between the seen and unseen. My work blends traditional painting, digital art, and automatic drawing to give form to energies, emotions, and visions from beyond the veil.

But my path here was anything but smooth.

For years, I struggled to bring my art into the world. I failed university—twice. Not because I lacked talent or desire, but because I never quite fit into the mold of conventional systems. My creativity didn’t thrive in rigid structures. It wanted to flow, not conform. Then came my time as a Twitch streamer. I poured everything into that chapter, building a community, showing up day after day, pushing through exhaustion. I applied for Twitch Partner status seven times—seven times I was denied. Each “no” chipped away at me.

The hardest part wasn’t the rejection. It was the slow, painful unraveling of something I had built with my whole heart. I lost countless community members along the way. Burnout consumed me. I couldn’t keep pushing. My spirit was screaming for space, for stillness, for a different kind of life.

So I let it all go.

I left the platform. I left the country. I started from scratch in a place where nobody knew me, with no safety net but my own intuition. It was terrifying—and it was the most honest decision I’ve ever made. In that silence, I remembered who I was before the noise. I reconnected with the spiritual gifts I had kept tucked away. And I began to paint—not just for beauty, but for truth.

Now, my art is created through ritual, reverence, and deep listening. I begin each piece in sacred stillness. I meditate. I connect with Spirit—guides, ancestors, or energetic currents. Sometimes I tune into a client’s frequency and allow messages to flow. Other times, I let universal themes guide me. The hand moves before the mind understands. That’s especially true in my automatic drawings, where shapes and symbols emerge from pure intuition.

In my traditional and digital paintings, I often start with a single color vibration or spiritual theme. My tools vary—brushes, fingertips, even unconventional objects—but each stroke is intentional. Each piece is an offering. My studio is my sanctuary: I cleanse it energetically before working, surround myself with crystals, incense, and soft music, and treat the creative process as a form of channeling.

I don’t just make art. I bring through visions.

Why? Because this is how I survive. This is how I serve. Spirit and art saved me when I was at my lowest, and now I offer that light to others. We live in a world where many feel unseen, disconnected, or spiritually lost. My creations are beacons for those wandering in the dark. They are mirrors for the soul, encoded with messages of remembrance and resilience.

When someone tells me, “This piece feels like it was made just for me,” or “Your painting helped me through grief,” I know I’m doing what I was born to do. Those moments of recognition—soul to soul—are why I keep going, even when the road is uncertain.

I offer original paintings, prints, and deeply personal commission work. For my commissioned pieces, I channel images based on the client's energy, often revealing spirit guides, emotional landscapes, or symbols for their current spiritual journey. These artworks become sacred tools—kept on altars, used in rituals, or held close as reminders of the unseen support around them.

I also create video content to bring my art to life. My mystical slideshows feature my work paired with music and soft text overlays—gentle transmissions meant to soothe and awaken. The style is dreamy, intentional, and deeply personal, ending with a final slide that reaffirms the painting’s message or theme.

The visual language of Lady Luna Star is mystical yet minimal. I use clean fonts to let the artwork speak, and I gravitate toward rich purples and indigos—the hues of intuition, mystery, and the divine feminine. My online home is a space where visitors can explore my gallery, learn about my process, and commission their own soulful artwork.

I’m not here because it was easy. I’m here because I refused to give up.

Through heartbreak, burnout, and the collapse of everything I thought I was building—I chose to begin again. And in that beginning, I found my truth. I found Spirit. I found art as a form of healing, and a lifeline to others who need to remember that beauty and guidance still exist, even in the darkest times.

If my art calls to you, there is a reason. Spirit has a way of guiding us where we are meant to be. Whether you are seeking insight, comfort, or simply beauty that speaks to your soul, you are welcome here. This is more than art. It is a conversation between realms, and I am honoured to be the vessel.

Ruth White, affectionately known as Cookie, has lived a life rich in creativity, spirituality, and personal transformation. Her journey began in the fashion world, where she trained at the London College of Fashion from the age of fifteen. By seventeen, she was already working as a designer and pattern cutter, making a name for herself in the fashion industry. Despite her success in this field, her life soon took a different path as she began to explore the world of the psychic, spiritual, and metaphysical.

Her interest in the mystical arts began when she was just nineteen years old, when she first discovered palmistry. Ruth vividly recalls sitting on a beach, surrounded by young people eagerly waiting for her to read their palms. This marked the beginning of her lifelong journey into the world of astrology, psychic abilities, and spiritual exploration. Soon after, Ruth taught herself astrology with the help of Linda Goodman’s Sun Signs and Parker’s Astrology, diving deeper into the intricacies of the zodiac and the influence of the stars.

Ruth’s growing curiosity led her to become involved in the Harrow Astrological and Psychic Society, a local group that quickly became a central part of her life. As the program arranger for the group, she became closely connected with various branches of psychic and spiritual subjects, learning from many different teachers and mentors. These early experiences marked the beginning of a lifelong passion for all things metaphysical.

Alongside her exploration of spirituality, Ruth began participating in psychic fairs. Traveling locally and sometimes farther afield with her husband, Geoff, she would provide readings for a variety of people. Although she enjoyed offering her insights, Ruth found that the work could be draining, and eventually, after several years, she decided to take a step back from the fairs. She later pursued formal training at the College of Psychic Studies in Queensberry Place, South Kensington, where she spent a couple of years honing her psychic abilities. This period of study was concurrent with her career as a couturiere, where she designed exquisite ball gowns for special occasions, often creating them in her home workshop.

In her later years, Ruth discovered a new creative outlet: painting. Though she had always dabbled in illustration, creating sketches for fashion advertisements and designing dresses for her clients, it was only in the past fifteen years that she began to take painting seriously. Her artistic journey took off when she joined the Harrow Art Society, where she eventually became the administrator and exhibition organizer. It was here that Ruth began to channel her spirituality directly into her art, believing that her higher self guided her in her creative endeavours.

Ruth’s paintings reflect her deep spiritual beliefs. She often experiences moments of inspiration in the middle of the night, when ideas come to her in a rush, sometimes dictated by an inner voice that she has learned to trust. While Ruth initially argued with this voice, over time, she realized it was always right, and she now embraces the guidance it provides. This intuitive approach to creativity has led Ruth to create works that are deeply connected to her spiritual journey. Many of her paintings are inspired by animals, a theme she developed after a life-changing trip to Swaziland, South Africa, in 2013. During a memorable art safari, Ruth had the opportunity to observe and paint wildlife in its natural habitat. Giraffes, lions, rhinos, and birds all found their way onto her canvas, and these experiences now fill the walls of her home.

As a designer, Ruth also incorporates her spirituality into her work. When creating dresses for special occasions, she describes the process as “psychic dressmaking.” She listens to the energy of her clients, forming an image of them in their dress before she even begins to sketch. This unique approach, which blends psychic insight with design, is a reflection of Ruth’s deep belief in the interconnectedness of mind, body, and spirit.

Ruth’s psychic abilities have led her to a variety of unusual and intriguing experiences. She was once invited by Lady Elizabeth Anson, the Queen’s cousin and a well-known party planner, to read the palms of her office staff. This led to an invitation to a highly exclusive event – the wedding of John Paul Getty III and Gisela Zacher in 1974. The event, held at Getty’s picturesque home in Wormsley, Buckinghamshire, was attended by many celebrities, and Ruth had the opportunity to read the palms of the Getty family, though the rainy weather prevented her from reading many of the other guests.

Over the years, Ruth has continued to explore her spiritual and artistic interests. She began designing her own range of astrological birthday cards in 2017, incorporating her watercolors and Sharpie pen drawings into unique, personalized designs. Ruth’s artistic process is deeply influenced by her spirituality. She paints in her small conservatory, often listening to music that sets the mood for her work and lighting incense to help focus her energy. This ritualistic approach to art-making allows her to connect with her higher self and create pieces that are aligned with her intuition and spiritual beliefs.

When faced with important decisions, Ruth often turns to the tarot for guidance. She has found the tarot to be an invaluable tool, one that provides clarity and direction when needed most. Her connection to the mystical world extends beyond the tarot and into the realm of dreams. Ruth has experienced predictive dreams throughout her life, some of which were featured in a book titled The Hidden Power of Dreams by Dr. Robin Royston, where her name was changed to Rachel. These dreams have only strengthened her belief in the interconnectedness of all things and the power of intuition.

Ruth’s son, Clifford White, has followed in her footsteps, becoming a musician and composer deeply involved in New Age spirituality and metaphysical subjects. They often have long discussions about astrology, spirituality, and the mysteries of the universe.

Today, Ruth White is focused on sharing her artistic work with a wider audience. She is in the process of setting up an online shop where she will offer prints of her animal paintings and other artwork.

The original grace is not defined by the golden ratio, or aesthetic curves available in nature. It is the grace in perception, in religion-related imagination, in the human subconscious trapped in modern society, separated from the source; causing the commonly assumed religious images to be often rigid and inflexible. That original grace is the dance of the soul. Wisdom and divinity lie within and beyond the graphic expression of religious symbols.

Religions together with their symbolic images, for Tâm Thị Minh Lê, are within prayers, and outside pages of prayer books, in her colourful strokes, like sharply moving lines of prayers cutting into the air. It is the levitation; dreams wrapped in prayers. They are thrown out at high speed of imagination, of sound, of light, of faith in miracles, clinging to the vast consciousness of the humane faith’s picture. Like letters on remained sandstone slabs of ancient civilizations, drifting on sandy shores. Each letter, each human’s head, each mind, shows us the World in each of our living cells, and each part of us in the World.

The nature of Buddhism in Tâm’s paintings lies in wild and primitive pieces of colours, harmoniously sinking into the magical primary surface of the Earth, evoking budding primeval forests, in the arising time of Shakyamuni Buddha, when His mother, the first monks and philosophers walked on empty sand slopes without a single person in sight; and also contrasting at the same time, with a bit of refinement and modernity in the polar pair of colours, evoking the concept of masculinity – femininity of the modern time.

The colour pieces are as sweet as primordial femininity, pure blue as the sky, not to mention the rational arrangement of shades from heavy to light, from thin to dense, from soaringly high to blazing deep. The random shapes of letter blocks create the optical illusion of the eyes, purposefully located in meaningful positions, suggesting an arrangement, an impact of the Creator’s hand from above, beyond the boundaries of all ordinary perspectives, in the repetitive realm of the Samsara.

The mystic nature that humanity has already forgotten is shown even more clearly in the next painting – the Cross on the black background. According to the author’s narrative, it is a symbol of God’s miracle for underdeveloped lands, specifically the colonies. Carrying within her a hidden part of Vietnam as her homeland, which was once a French colony in the North, and an American-occupied land in the South – her association with God are not just bright images of the Cross where luxury or comfort is common, but the brightest light, the greatest happiness and salvation of poor children and people in the colonies. In places considered the edges of the world, with the common voice marginalized in the whole picture of contemporary art, the Cross image appears, messianic and at the same time implicitly contradictory on the hidden memories’ foundation of history: people in the name of enlightenment and civilization, holding Crosses in their hands, carried out repressions, wars and exploitation.

That black background can only be lit up, repelled, by a Cross in the most awakened imagination, reaching closest to the primordial idol of God. It is a Cross without the elaborated and sophisticated carvings commonly seen in formal ceremonies; it is a rustic Cross with countless brilliant colours of vibrant tropical countries. It is the Cross that witnessed the joy, tears, laughter, and even blood of souls and bodies, old and young, falling in the darkness, their hands reaching out to God. Souls flew up, bright flames of falling bombs and whizzing bullets – Tâm witnessed, endured, remained silence, prayed, and even fiercely fought and healed all of them. The Witness and Saviour – Jesus – within her is One, incarnates, embodies, patiently and courageously radiates the Light of the Kingdom of Heaven, to places beyond the civilized social norms, but the vivid presence of that background brings a deep and chilling epic quality.

Contrary to the popular imagination of a Saviour’s image in a human form, with a bright and radiant face; the Light in Tâm Thị Minh Lê’s paintings evokes God as an image of a male brimming with primitiveness, with one of the highest expressions of power lying in the naked display of the body including the genitalia – something that is not inherently considered sacred in common culture.

But let’s ask ourselves: how many people are honest enough to truly appreciate all the human body parts as if they were God’s creation, let them be, express them, and be naturally confident about them? If it is not an expression of love, faith, gratitude and courage for God, then what is it? Isn’t it a form of expression of strength? How many people can realize the spiritual power and divinity in mating and reproductive activities, which are the peak of inner healing, of merged universal force in the form of energy integration, of oneness, of complete self-acceptance, confidence, love and understanding, and the following process to apply it to the other? The genitalia in this case is merely a mean of union with the Divine, and the Divine expression, being brought closer to us, in an earthly image.

The Saviour most likely took an appearance like ours, so that He could become closer to us, understand us, and save our intrinsically mortal and heavy bodies.

To conclude, I would like to quote the name of one of my favourite book entitled “All the rivers flow”. We are always in a dynamic state of the flow of time, constantly moving forward to new directions and distant lands, but we forget that when reaching the sea, in order not to be dissolved, we need to remember the Source. It is not a place filled with bright urban lights with vanity, fancy elaborate beauty – it is the energy mass of a giant rough primitive biological body, in Love and Truth sparklingly illuminated by the ultimate Light of God.

As a long-time spiritual researcher and practitioner, Tâm Thị Minh Lê with her colourful imagination and dreamy perspective with the breath of Oriental meditation brings us to religious images outside the norms, unlimited in space and time, thereby she expands the outlook on the spiritual world, contributing a path to find the sacredness – primality in the origin. These connections are the forgotten values that bring unexpected happiness in a contemporary society that praises progressiveness and fragility.