‘Cosmic Rainbow Sacred Geometry’ – Francesca Love Artist
FORMS (I): Forms are incredibly fascinating to me; they have been so for as long as I can remember. My fascination with human forms has mostly taken on the study of human language, possibly the most widely used (and well-known) example of tangibly structured form. What is a form? Form is documented metaphysical dicta. To use more layman’s terms, we can think of a FORM as a fixed structure that abides by generally accepted sets of rules regarding usage, shape, and application as used by human beings in particular circumstances. In that regard, Language, and more specifically, speech and grammar as subsumed under it, is the perfect example of a FORM. Throughout the history of its evolution as mankind itself has evolved, language has also paradoxically come to represent the fluidity, as well as the spontaneous or malleable nature of mankind. I am so interested in FORMS, less for FORMS sake, but actually, because of the fact that they serve as the most accessible windows into precisely that which is FORMLESS. That which seemingly can be labelled as a structure, a set of rules, or a category — complete and self-sufficient in its definition – gives us an easy gateway into the interconnectedness of everything. Through deep, conscious, meaningful engagement with form, be it through language, labels, sub-cultures, groups, categories, we appreciate them enthusiastically, but we also appreciate how transitory they are in their distinction. We see that it is the energy behind all that we are and all that we do that is the most meaningful; the value that we place on that which we place our focus. That is so true and apparent whenever we engage in anything that brings us passion; be it sports, art, music, school, work, academia, social bonding, architecture, service to others, as well as inner work. I love Forms; moreso, I love the Light and the cosmic web that FORMS, serving as the particular gateway that they do, allow me to appreciate. ♥
FORMS (II.0) – Symbols, Pictograms, and Personal Guides or Harbingers. To recap, a FORM is a structure with a readily identifiable pattern and set of associations, as ascribed by human usage (or, conversely, if you are in a big mind / heart phase, both usage ascribed to /by/ man and usage ascribed /to/ man as two sides of the same coin). FORMS are powerful because they give us windows into the infinite stream of oscillating energy that underlies all material existence, through the bodily sense / dream body triggering potential they help activate within us when we become conscious of their presence and associations. Today, I want to discuss Symbols and Pictograms. A Symbol might be as materially abstract as in the realisation that, after some trial or experience in which the path seemed uncertain, a set of universal impeti – your personal constellation of one particular episode of your life’s process – lead you to exactly the place you needed to be for your personal evolution. However, symbols are all around us and visible to each and every one of us on this conscious plane, and it is so powerful to be aware of their presence and of the self-empowering meanings that they can help trigger within us. Some great examples of FORMS in Symbolic form are Trees in Winter State; for me, Trees in Winter State signify the denuded nature of the universal double helix that is inherent to all organisms, be they fauna / flora / mammal. I love to meditate on them, even when outside temperatures are par freezing, because the bodily senses lead to amazing breakthroughs and a realisation of bodily energy conduits that may have been occluded to my awareness previously. They help me develop more compassion and empathy. Crossing over into the empathetic state has been one of the most powerful meditative and human experiences I have ever experienced through empowering use of Symbolic FORMS. Through tree forms, through Animalistic / Animistic forms I have felt the power of not merely being a listener, but actively sharing – continuing through the listening process – in the energetic flow of joys and tribulations that are imparted to me. Really embodying them in the listening process. We transcend the sympathetic state there and then, as glorious a virtue as sympathy is because we step into the shared collective unconscious set of emotions, thoughts, joys, and traumas shared by all human beings. We may call this empathy; insofar as we deem the terminology to be important; we become awakened to human instrumentality. And through Human Instrumentality we help achieve more balance for ourselves and those we love.
Artist: Huda Hashim (Sudan)
FORMS (11.5): Symbols and Pictograms. Symbols are all around us. They are in trees, in architecture, in nature, in facial expressions, in the clothes that people wear, in the colour schemes of items and designs that we see around town, and in written / pictorial form, too. A Symbol can be defined as a FORM we perceive that triggers within us certain associations, feelings, memories, or thought processes. They can therefore vary quite widely depending on who is perceiving them. Symbols are so powerful, because they have the potential to shape the very fabric of our perception; in that sense, they represent a water-like concept that is fluid and adaptable depending on the bodily senses we allow to emerge from perceiving them. It can be helpful to be aware of our waking universe as a field of symbols of varying shapes, colour schemes, textures, patterns and designs. Language plays an important factor in embodying symbolic significance; certain words and collocations can trigger an entire narrative of your imagination. It can come out spilling like waves! It is just phenomenal. To cite a personal example, when I was a child, seeing the term ‘World’ collocate around town on shop names with various descriptors, (like ‘Book World’, or ‘Calendar World’) transformed these physical spaces and their vicinities, for me, into themed loci in which you can frolic, play, work, study, investigate, and more, all to your heart’s content. They implied a distinct ‘theme’ through which an entire parallel universe was imbued. For example, in Book World, public water fountains, buses, trains, old disused warehouses, and underground bicycle subways would all be fashioned out of old books. Calendar World was similar, except wider, and flatter, and with more of an emphasis on numerical division. And the people would have been anthropomorphic representations of the same. In Eastern countries, such the Middle-East or Far East, pictograms and their varying calligraphic representations can depict powerful triggers if we allow them. Entire new ways of being, personal attitudes, and states of being can emerge forth. The Chinese and Japanese traditional alphabets (they share common etymological and pictorial roots) are composed of thousands of stroke patterns, lines, curves, character covers, squares, dashes, running the gamut to the denuded and bare-bones to phenomenally intricate and dense. I have been working with these a lot recently, as a matter of fact, and each new character that I learn opens up a new bodily sense and wave of associations; another portal into the complexities of the cosmos! It is particularly fascinating to me, because sometimes such pictograms with linguistic functions are direct pictorial representations of their meanings, but this is not necessarily always the case. And even when they are, this by no means delineates their potential to open up a limitless field of inspiration and imagination as to what concepts, things, people, or animals they might come to represent! If everything is inter-connected, and FORMS (as well as Symbols and Pictograms subsumed under them and intrinsic to them) are portals into the interconnectedness of all life and existence, then pictograms, being FORMS in their own right, can help us achieve unity within ourselves and others. It is only a case of awakening to their presence. Everything that ever was will continue to be, and FORMS are no exception. I love FORMS, I love their shapes, their structure, but most of all, I love the access they yield to endlessly playful and malleable states of being in the world, where honestly, nothing is truly fixed or set-in-stone, despite the outward appearance of the FORM in question. Love FORMS, love the world around you, but love yourselves first and foremost!