Episode Transcript
[00:00:00] Speaker A: Foreign.
[00:00:18] Speaker B: Well, hello everybody. Welcome to another episode of the Healer's Corner. Tonight we have JD Arici of Infinite Creations with us.
We get to have him in person, so hopefully you can hear both of us. Okay, sharing one mic.
But jd, you, you kind of introduced the whole concept of spirit art to the whole Goddess elite family.
What exactly is spirit art?
[00:00:44] Speaker A: In essence, another name for it is intuitive art. But I kind of use both loosely. Like intuitive drawing.
It's kind of like, you know, if a reader uses cards, they grab the cards, they see what's in the cards, they know certain things, they feel certain things.
It's kind of like that way is in the drawings, but they happen like, like in process.
So some people describe it as like, it's like having a tarot card drawn for you. Except maybe not as fine too.
Yeah, because I, I do a write up that summarizes the message that I'm getting with the drawing or the, the main point that's trying to come across.
When we chat, we elaborate if needed. But I, I find a lot of the time, especially in the past few years, people read the write up and they, they understand and that's, that's it.
But sometimes we'll, we'll have a conversation about a little bit more elaborate.
Sometimes metaphors don't land quite the way I wanted to.
So it's the idea across. My goal in it is to find what's most needed for that person, what they need to understand.
That could be a life lesson, a soul lesson.
It can vary quite a bit.
Don't generally work as a medium of any kind. It's not something I ever practice, but on occasion people have told me that loved ones showed up in the drawings, which is typically what spirit drawing is referred to. I just kind of use the name because it was close enough and it was a little more known.
[00:02:45] Speaker B: Now, was there a certain experience in life that kind of led you down this path?
[00:02:49] Speaker A: Oh, okay.
This show is only what, an hour?
I used to jokingly call myself spirit spoiled brat.
I mean some people can have like an obvious epiphany moment or just where, you know, everything's falling into place.
I had many of them to the point where like my stubbornness was not going to stop me.
It still trips me up, but it doesn't stop like well, but let's see. How can I summarize this? I've been trying to summarize it for years. Long story short, I was looking for something more in my life than what my day job was. I moved new area, didn't know anybody wound up getting involved in a spiritualist church, which mediumship is part of their service and healing also.
And I just kind of dove in and got involved with the church and took every class that I could. And, you know, once people found out that I was an artist, I kind of got nudged to, you know, do artwork. And I always just chalked it up to they're being supportive, you know, or whenever I did something and everyone liked it, or most people, they. I thought they were just being supportive. Like, I would take everything with a huge grain of salt.
But, like, when I first wound up at that church, the funny thing is, the way I found out about it is I went for a reading the day before I went for the first time, the reader, who is the one who told me about the church.
So I go to the church the next morning for the service, and there was a guest speaker that day. So it wasn't even like the regular pastor speaking. You know, Duke up first. He was a guest speaker, and he. Part of the message service.
When. The day before, when I was talking to the. The woman at the fair, I. I said, I kind of know how this works because I had a little bit dabbled before.
I said, but I'm looking for an answer to a yes or no question, which. I hate those questions. So, you know, we talked about it, we discussed it, we elaborated, whatever.
But anyway, so I go to the church the next day, guest speaker, not even the regular person, and we get the message part of the service. And he's like, can I bring you a message? And I said, yeah. He said, the answer.
The answer to the question you've been posing to the universe is yes.
And my jaw dropped. I was just like. I was ridiculous about what I was asking. And I got a dead straight.
So I was like, okay, I'm where I'm supposed to be.
And just kind of pursued it from there.
From. From that. I just continued based on feedback.
I did do some healing classes.
I did get my Reiki certifications.
And honestly, my attunement in Reiki was probably what opened the floodgates the most. That was where I noticed just like a jump from one point to another.
I think that's. That can be like, of course that's. That's a great way for that to happen, but I think it can happen many other ways. It's just when you experience something that opens your mind in another way, you know, it's hard to. You don't want to race that. You know, it's. It's still going to be a part of your processing.
[00:06:11] Speaker B: Some good explanation, but do you find that you're using Reiki while you're doing your artwork?
[00:06:18] Speaker A: No, I, I, well, that's kind of what I was getting at. It's not ne I don't think it was necessarily because it was Reiki. I, I, I think it was great and I had some great experience using Reiki, but I think it could have been any modality, any, any process. To put myself in that kind of state is kind of the idea. And then once I experienced that, I just kind of tried to live there.
You know, it's, it's a come and go thing, but when I'm working, it's kind of, it's like doing anything. You kind of just, this is what you're doing right now. And as much as I can be scatterbrained and adhd out the from here to nowhere, when I'm there I'm focused and that's all I do.
But at the same time I'm not concentrating. I'm not like, I don't have that look on my face like, you know, how am I going to do this?
It's, it's more free flowing and getting in that state I found very healing and of course helping other people heal through deeper understanding about circumstances, situations is just, I mean, that's a great feeling.
The feedback that I get has, has always kept me going.
[00:07:27] Speaker B: Now, do you find that doing the spirit art, like, how is that different than just regular art? Be it how you feel when you're doing it or.
[00:07:37] Speaker A: Well, that gets into, well, okay, my philosophy is that creativity and intuition are the same thing. That's just, I look at it, I think like you'll hear a lot of people say, oh, I can't draw a straight line with a, with a ruler.
I think people's, and I go through this quite a bit in the class because it's one of the hurdles that we try and get over. People have an idea about what is a good artist or what is good art when they're little based on how real it looks these days, I think it's gotten better about stuff like that. It's not as bad, but not as limited. But like when, you know, when we were growing up, it's like the kid in the class that drew the most realistic thing or had the most detail was the artist. And usually you get you in a class, you know, like a class in them, you know, grade school and those were, they were the artists and everyone else just kind of Takes a step back with the rare occasion of someone who still perseveres, even when they're not deemed the artist right away, which those people I really admire. So from a young age, it's. It's based on this realism idea, the skill of I. Of looking at something and drawing it, you know, to. Photorealism is a skill, but it can be learned.
It's the cre. The creative aspect of it, which makes it hard.
And I think everybody has that. I think it's just people, like, if they followed what they really wanted to do and not, like, it's a conscious thought that they, oh, I want to do this. But, like, if they just kind of move into it and experimented with it, they probably wouldn't accept it as art at first. And I. I've seen this for a lot of people, like, you know, and. And I'm victim. But, you know, I subject myself to it sometimes too. That kind of thing where it's like, oh, that looks horrible. Other people love it.
So it's. You know, art, of course, is subjective, but I. I don't see a line where the same kind of alignment and vibe that comes through when I'm creating art different than when I'm intuitively getting something.
It's just like.
It's like when you have a good idea pop in your head out of nowhere, especially if it's not. If it's something you're not thinking about and all of a sudden, bing, it clicks.
I think we've all had some type of experience with that. I think it's the same idea. It's just a matter of opening, expanding what you're open to as far as what's possible for you to accomplish or to do.
[00:10:17] Speaker B: Now, have you found you've got a favorite medium?
[00:10:19] Speaker A: Yes. Most of the work I do is in charcoal because it's on location and it's quick, it's simple, it's a little more. It's probably the more spontaneous. So it tends to be a little bit more reading of like, kind of current things going on. With that said, I don't limit it to current things only because I want people to look at it with fresh eyes every time they look at it. And if they see something different in it six months from now, then absolutely, that was it communicating. Because to me, it's. And it's energy just like anything else.
So I were in a lot of charcoal.
What's I started in is chalk pastels, which I still do. Not as much. They're obviously much more time consuming, more Supplies, it's more involved. I really don't do it on location. And the reason I started with chalk is because when I dove into doing this and after I had all these experiences that I was like, you know, I got a message in a guided meditation after I just lost my job and one of my spirit guides, if you want to call it that, showed up out of nowhere and I said, what do I do?
And she pointed to an easel. And I like, in meditation, in my head, I rolled my eyes.
I was like, yeah, whatever.
[00:11:44] Speaker B: Yeah, I wouldn't see that for you. You wrote. Not even a little bit.
[00:11:48] Speaker A: I decided to dive into it. But when I done art before, I was obsessed with trying to do things realistic. But there's a problem with that for me is it takes a lot of time and a lot of focus. It's a lot of work.
When I'm doing spirit drawing, it's really not work.
It's not at all. Because you're just in a free. Free flow state.
I'd imagine it's like what surfing is without the sharks.
[00:12:11] Speaker B: Do you find that there are guides, be it yours or your clients, that are kind of helping you channel the artwork?
[00:12:18] Speaker A: It's kind of become.
It's all blended.
[00:12:24] Speaker C: Co creation.
[00:12:26] Speaker A: No, there's a word for it. I can't think of it.
[00:12:29] Speaker C: Okay.
[00:12:30] Speaker A: Where everything just blended together.
[00:12:33] Speaker B: So it could be guys, it could be pat ancestors.
[00:12:37] Speaker A: I really got away from defining things.
What I found for myself is that putting a label on something gives its boundaries, which sometimes is needed, but in general is. Is restrictive.
And part of the way I. I kind of learned that is one.
I was always an outside the lines person to some extent.
And the more I opened up to it, the more like the best things I've ever done, I think were mistakes. Like I didn't intend to do it. It kind of worked out that way. So I found that being more free flowing and what happens is when you kind of just tap the energy like that, I don't think there's really a differentiate. It's not a difference between this or that or it just doesn't have those kind of things. It's more like just colors blending. And I just vibe because I know.
[00:13:33] Speaker B: You say you don't consider yourself a channeler or anything like that, but. And I've always said, in a way.
[00:13:38] Speaker A: You are just channeler. I would agree with more than anything.
Yeah. Next question.
[00:13:49] Speaker B: Maria, you got any questions while I scroll through your list of notes?
[00:13:53] Speaker C: Ma', Am, My list?
My. My. My book, my booklet. When you say get there, what do you mean by get there?
[00:14:01] Speaker A: You.
[00:14:01] Speaker C: You ground yourself? You did some kind of meditation?
[00:14:06] Speaker A: No, I'm too lazy.
[00:14:08] Speaker B: I like, I like.
[00:14:13] Speaker A: Okay, so. And this is my experience. Everyone's experience could be different, but I believe it's possible for everyone. It's just a matter of kind of what you've gravitated towards, what feels comfortable again, not, not big with the rules. So basically when I'm going to do a drawing for someone, I write their name on the paper. To me, that's what I call my statement of intent. This is me putting out to the universe. This is what I'm doing right now. Let's get to work. And then I let it go and just work. I just, you know, basically the technique wise, it's holding the chalk very loosely.
The second most difficult thing to get past in the workshop.
[00:14:53] Speaker B: Yeah, it's not gripping.
[00:14:53] Speaker A: You got to get away from that. And keeping a really loose wrist, like you know, even sometimes just knocking the chalk around on the paper will give you more because it's not restricted.
You're not trying to control it. And that's why I, I gravitate towards more free form with everything like getting there is just like.
It's not a process to me, it's a choice, if that makes sense. I think that's probably the best way to put it.
So like the idea being that you can step into like an energy or a state where you can just flow just by choosing it.
And the more you do that, the easier it happens.
It's not as much of you have to do these three things or those four things. And some people, that works well, the structure works well for beginning.
That never worked well for me. I, I just didn't think it was. It didn't feel necessary. But then again, things always kind of came easy in that sense for me. So I don't want to, you know, poo poo anyone else's experience or anyone else's process because we're obviously all different. But I, I think everyone could get to that point. But there's plenty of times where I'll have TV on while I'm doing drawings. Just distract my conscious mind so the rest of me can flip flow because I'm not thinking about it, what I'm doing.
So in that sense, I guess it would be along the lines of channeling. But I think anyone can do it.
[00:16:29] Speaker B: Now you've said before classes that you almost prefer somebody not to have artistic background and ability.
[00:16:36] Speaker A: Yeah, it's, it tends to be Easier without people who don't like. It's someone with some art experience that are usually have the hardest time getting over some of those hurdles because they're trying to draw as they know they can as opposed to just freeforming.
And like I can draw certain things just out of my head intentionally, but they're nowhere near like content wise what comes up in the drawings. That's why I love when something comes through in a drawing and it's really clear that it's just not something I'd ever draw or even know how to.
And I mean that by like, like once in a while.
One time I had an elephant come through just so clear and it's not something ever drawn before. And if I try and sit down and draw an elephant, it's going to look way more amateur, like grammar school amateur because I don't know the details because I haven't processed it in that sense. But that's doing it with intention, doing it free form. The chalk kind of just takes to the paper and you see what's there, which is literally the whole process. It's that simple. Some people need it to be a little bit more structured, a few more steps involved to just for themselves to take it seriously, for lack of a better term.
[00:18:07] Speaker B: Have you had any students like have an aha moment or like a emotional. Like this is what I've been looking to do.
[00:18:19] Speaker A: I think I've had a few of those, A few in all different directions. Some were, you know, there's been an occasion where it was a more traumatic thing, where it was the act of putting the chalk on the paper was brought up trauma. I did what I could to, to try and help that person with it. But it was obviously a much bigger thing than I was going to do in a, you know, couple hour class. I've had some people do it. I've had a lot of people surprised with what they were capable of.
The other big part of the workshop is the brainstorming to do true brainstorming. You're just literally just throwing out every thought you can have.
So when I'm looking at something in the drawing, there's like all the basic questions to ask. Like many faces show up and scientifically I know that we're geared to, to recognize faces, we're geared to see faces and everything because it's literally us. I forget there's a word for it. I can't remember what it is ever.
But I look at those faces and I say, well, what is this fate? What's the expression on it? What direction is it looking? What is, what is the experience that it's showing?
And that plays into the meaning.
The position in the drawing is the probably the only structure I kind of follow.
Where it's showing up in the drawing has different meanings for me. And you could set that up however you wanted. Like in my drawing, if it's towards the left, it's past. If it's towards the right, it's future. Obviously the middle is present.
But I'm sure if I grew up where they don't write from or read from left to right, then it would be different, you know, so like none of those rules, I think are more than just the way I do it.
[00:20:14] Speaker B: Now I know one of Maria's questions. It's like, what can people expect? And it's kind of funny because when I have the time to really talk about you to clients, I. I explained to them, you know, you're gonna sit down with him, you're gonna give your name at most and if you want to talk to him, you're going to talk about the most non personal things out there.
[00:20:39] Speaker A: I don't even, I don't even want.
[00:20:40] Speaker B: That anymore, you know, so it's like because you don't want to have any, you want to just channel straight from Spirit Universe Guide. You don't want to be accidentally or subliminal, like geared towards something.
[00:20:54] Speaker A: Yes. I'm good at reading people to a point energetically, but also to a point mentally so. And I think everyone is. I think it's. You learn that in, you know, just through your life. And I don't want anything to.
It's not that I necessarily think it would ultimately affect the drawing or what I'm seeing in the drawing though that potential is there. But what it does is that I have to weed out that. Well, that's. Is that why I'm seeing that, you know, a little more challenging. So, you know, I do a lot of drawings remotely where I never meet the person.
I just get a name. And honestly, I don't think the name is even that important at this point. You know, it's just when you choose to do something, you just step into that energy.
And again, like I said, when you do it enough, it doesn't need to be a process. It doesn't need to be, you know, an elaborate ritual beforehand unless that's required for you. Unless you need that.
And people do for all different reasons. Yeah. So like when I sit, when I sit with someone at like a show, I just take their name and I Used to, you know, I used to chat with people because I'm very social, especially at a show.
And then that kind of draws things out and makes things take too long. And then I would let people chat. Now I just ask them to be quiet.
I. You know, and also the thing is, if they're engaged in a conversation, they're not relaxed. So it's a little bit more conducive if they're kind of in an open state, at least for the understanding.
[00:22:35] Speaker B: It's like a meditative state while you're.
[00:22:37] Speaker A: Yeah, just relax, I think, is sufficient. It just helps because, you know, it's kind of like a clean slate. When they experience the drawing or what I'm saying about the drawing, can they.
[00:22:48] Speaker B: Like, set the intention? Like, I want the artwork to wrap around my career where my immediate well.
[00:22:55] Speaker A: Being, where I would encourage that, but I would keep expectations in check. The reason being at face value, if, you know, what I do is not going to turn over a skeptic. I'm half skeptic myself.
[00:23:17] Speaker B: I think that's healthy, though.
[00:23:19] Speaker A: Yeah.
[00:23:19] Speaker C: Yeah.
[00:23:20] Speaker A: What I focus on, like, my intent behind the drawing is, is to get to, like, the gears that are making the situation happen.
And we tend to work in patterns. So the relationship issue is the same as the work issue or is the same as, you know, the last relationship issue you tend. It just tends to be repetitive.
And it's also. When you're in a certain state of mind, things are. You're gonna. Between what you project and what paths you take versus the ones you don't are all influenced by where your head's at.
So what I focus on is like, the key aspects.
So to a layperson, it could seem really vague.
To someone who's any kind of way, shape or form on a path of discovery or spiritual understanding, they see what I'm talking about. They identify it with what's going on up.
Some people just aren't good at that. Like, you know, and. And we all do it, I guess, to. To an extent. Like, how many times have you had to tell a friend over and over and over and over and over, and they still don't listen. So what I focus, like. Like, okay, so let's say, you know, it's a. It's a work dynamic, and I wouldn't even put it that specific, but it's like a dynamic, a power dynamic, you know, where someone's, like, walking all over you or taking advantage of you or doesn't appreciate you. All of these things that can apply to your relationship. That can apply to a whole bunch of situations. So I don't need to know all the personal business that this situation entails.
It's more like, like, here's the key pieces of what's going on and here's the pattern or, or like how to solve it.
And because what happens is we get caught up in the situation and the aspect of the relationship. How you define yourself, how you define them, how you define you together, what your friends are gonna think, all these other things come into play. But when you break it down into, I am doing this, I'm thinking this. How is that working for me? Me, you know, that kind of thing. And what I found is the further you go and the further you go, it's like everything kind of has the same message, but they're, they're more detailed per, per person. And sometimes things will, things will come through stronger that I'll emphasize than others. And a lot of times what I'll do is when there's a message like that, after the person reads it, I'll. I'll make sure they understand and sometimes rephrase it. And that rephrasing sometimes is the way, you know, ultimately clicks because maybe the way I put it initially didn't. They didn't. They didn't see it that way.
So it's just a matter of like changing the scenery.
But it's background, it's not the core element. So, yeah, I mean, you know, everything being energy, everything is connected.
And we have the ability to tap into any of it, all of it, at our choosing. It's just being able to believe that. And not just in a sense of faith, but in the sense of acceptance.
There's a difference.
And that's kind of also what I try and get people. I also don't point at things in my drawings and put a definition to them. And the reason for that is I'm going to give someone a message that I'm getting.
So maybe that's because that's the part they need to hear that I'm going to be able to pick up on.
And if they went to someone else, they might get a little something different. So maybe some totally different. Often I'll have someone do a drawing. Some, like, unless someone's. I've drawn for someone before, usually at like a fair, I'm not the first stop. They go to someone for a reading and I might be the second, sometimes last.
So.
And I'll do the drawing and I do the write up and I'm, you know, don't talk to Them whatsoever. And they're like, yeah, that's what they just said.
Which is, again, validation for what I'm doing.
[00:27:37] Speaker B: But making sure spirit's finally making sure they hear the message. Yeah, because you've repeated it now also on paper.
[00:27:46] Speaker A: We all have our own library in our heads.
And so it'll trigger thoughts or memories or things in my head differently than it would you by seeing the same thing.
So I put. I translate the message as I take it in into a form. But if I explained it word for word, how I saw wouldn't land, because it's not.
And that's why I say it speaks to the dynamic of the situation more. It. Like what I like to call the.
The mind, body, spirit.
It's kind of like syncing up.
Like, you could be in one direction, spiritually, a semi similar direction, mentally, emotionally. And then in your physical world, you're totally off in another direction. You're obviously not aligned.
When that happens, they're basically energies fighting into different directions and different effects based on. On what part of you that is.
So the thing about alignment is I. I've had enough times where I. I was aligned, but it wasn't like I meditated for three days and, you know, did all this and that.
Whatever. It's not. It's not that it's in a moment because it just. It's like a bolt of lightning. It just.
You're just synced up and you do something automatically without knowing it that was necessary.
That could be anything from the words you use in a conversation to, like, what's a good example? Like, you know, catching something before it breaks. You know, like, it could be something stupid. It could be something really significant.
I've had moments where I've experienced that I think more. Most of us have. And I just think it's a matter of recognizing that in a more open sense. Like the idea that when you get all three parts, you know, those three parts of you as a whole in sync, you're capable of so much more than you ever believe.
I'm not saying it's easy.
Certainly a work in progress here.
I was just telling me, listen, for a while, especially doing this kind of work, I was mostly in. In my head and in the energy and not paying so much attention to my body. And this past year has kind of the. The final clue by four.
[00:30:22] Speaker B: So you've been made to pay attention now.
[00:30:24] Speaker A: Yeah, Ignoring it would be more ridiculous than ever.
So. Yeah. So I hope that that makes sense.
[00:30:33] Speaker B: To some people now. Maria, did you have any questions that have popped up while JD's been explaining.
[00:30:42] Speaker C: Yes, I think I understand now because I didn't understand before when you said. Because I did have a couple drawings that you did for me, and I didn't understand it before that, you know, because when I said, looked at the drawings, I go, oh, it changed. It changed. Now I.
I saw a connection between the drawing that you did at that moment to my energy, and my energy is always shifting, flowing, changing. So is that how the. It. It may be a drawing that was done at that period, at that time, but since it's connected to my energy and my energy is always flowing, changing, switching, and expanding, that's how the message could be different. It could be the same painting that you did, like, six months ago.
[00:31:32] Speaker A: Yeah.
[00:31:33] Speaker C: Because of. It's connected to me. I. It will give me a different type of message.
So it becomes a very personal, personal painting. I'm looking at it in a very scientific energy.
I call it energy scientist, scientific way of seeing it.
Now I understand because I couldn't understand how the energy shifted.
[00:31:53] Speaker A: Yeah. And that's kind of.
[00:31:55] Speaker C: It's a connection.
[00:31:57] Speaker A: Yeah, it's. It's the idea. And that's why, like, if I told someone what I explained to people, if I point at the drawing and say this thing here, that's this blah, blah, blah, look at it, they're going to think about what I said. They're not gonna just look at it. And when you look at it with fresh eyes and you don't have any identified pieces in it, then you're gonna. If it's very open to seeing a whole nother message. Sometimes over time, as things change, what you could at the very least is your perception has changed. But also, I think, you know, it's.
It's chalk on paper, but it's ultimately energy that's there or the idea that's energy.
[00:32:48] Speaker B: Oh, yeah, yeah.
[00:32:50] Speaker A: So we can speak to you differently. It's kind of like, you know, you can look. It's like gazing or scrying. It's, it's, it's.
It kind of only makes it at the.
It helps you make connections in your head to get an understanding.
[00:33:08] Speaker C: Yeah. Not like I said, now I get it. I understand it because I didn't understand it before, but I have looked at the, the paint drawings that you have created, and I said, oh, I don't think this is what he said.
I get it.
[00:33:24] Speaker B: Now I have here, like, a drawing that JD did with me or for me, and it's dramatically different from the very first One, and I lost the first one in a fire, so I can't show the comparison.
But the fact that even now looking at it, and I haven't really look. Looked at this in many, many months, seeing yet all new different faces, meanings, you know, over and.
[00:33:54] Speaker A: And over.
[00:33:56] Speaker B: And that's kind of cool that something on paper can keep delivering time after time.
I've had this one probably, what, like, two, three years now, I think, and it's quite fun at times just to sit down and see what is new that you've never noticed before and, you know, what that message could mean now and why it didn't show itself when you first get it.
[00:34:25] Speaker A: Or why you didn't see it. Yeah, yeah. Or why you didn't see an aspect of it.
[00:34:29] Speaker B: Yeah, I think it's. It's kind of like one of my favorite ones to get. Because, again, it's something you don't have to sit there and try to remember. Like, what did the reader say two years ago about something? It's like you can literally look at it and go, oh, well, right now.
[00:34:45] Speaker A: Right. And you could. Even the things that I wrote and not. Don't send the grammar, please, after me. Free flow process.
[00:34:52] Speaker B: I have a complaint, sir. I have no written thing on the back of mine.
I'm gonna make you re. Re Exam.
Maria, how many drawings have you gotten from J.D. you mentioned, like, two. Was it two? Maybe three?
[00:35:10] Speaker C: Two, two.
Yeah.
[00:35:12] Speaker B: Now, are they, like, dramatically different type of messages? So, like, in the energy that you have now, will you get two different readings? Looking at it now?
[00:35:22] Speaker C: Mm. Actually, I pull one of them out. It's actually in the bedroom right now. I can't get it, but I pulled one of them out last night, and I looked at it, and I said, he did give me a message in the back of that.
I said, well, that doesn't make sense now, because this is not, you know, so now I understand because of the energy connection to. To the paper. My energy's there. You connected it to the paper, and it makes it more personal.
But, yeah, I did look at it last night, and I was like, this is not what he said in the back.
[00:36:02] Speaker A: I'll tell people all the time is like, you know, whether you, you know, put it on your altar or hang it on the wall or stuff it in a drawer, and it comes out three years now.
What you see then, and to see it, like, have a whole nother message and see something different is, like, confirmation on that is just.
It's awesome. Like, it's just so valid.
And that's that, you know, like, everything I do is based on feedback I've gotten.
You know, I have my own impressions of what I do and how I do it and also that stuff. But it, the feedback really is. Is a fuel for me because I will second guess every step of the way until I step into kind of free flow.
[00:36:51] Speaker B: Have you had any, like, past life stuff come up for people in a drawing or soul contract?
[00:37:01] Speaker A: There's been indication or like, I'll mention it more casually. Like, this is kind of like a long term thing and, you know, the patterns that we get into sometimes go back lifetimes.
So yeah, it comes up. But like, I'm not gonna sit here and say you were this person in your past life. Like, it's not. It doesn't work that way. Way.
If that answers.
[00:37:34] Speaker B: Yeah, yeah, I was sitting here.
Think of how to phrase the question.
I know I've had to explain to people that in your spirit art, you are not necessarily drawing their spirit guides.
[00:37:49] Speaker A: No.
[00:37:49] Speaker B: Or, you know, it is channeled messages in artwork.
[00:37:54] Speaker A: All right, I'm going to tell you a funny story.
It's an experience story and I'm going to be honest, so don't burn me for it.
When I first started doing this, like, it shows. I was all up for doing the drawing. I didn't have anything to say about it.
So I wound up doing this, you know, relatively small show.
It was a good way, but my friend had an in to get me in, so I did it. And it's funny, at one point I did take a spirit drawing class up at Lilydale.
Woman by the name of Bonnie White does great work. She's more. She's like a medium. Like, she does like the whole, like legit in that sense. I do what I do. I. I would call different, but there's so much similarities in some ways.
Anyway, I had taken the workshop with her, just, you know, I wanted to make it official when I was guided to do this and she was there.
So, you know, spirit drawing is not as common as like a reader and, or a medium.
And I'm at this relatively small show with someone who's been doing it for years and is like super, you know, got her thing down and is the one I took a class with.
But I'm just, you know, giving it a shot following what I was guided to do. So I do. Okay, so a woman sits down. At the time, I had no intention of doing interpretation.
I had. I didn't know what I was just going to do. Drawing here, you Go and let people perceive it how they wanted to. Which, hey, that's kind of what art is. Anyway.
So, anyway, all right, this is a full mission ago.
I did this drawing. It was a very distinct face and I didn't know who it was.
And it was just some general scenery in the background, but it was like most of the picture was his face.
And I handed her to the drawing and she looked at me and I'm like, oh, I gotta say something.
And I had no idea.
So I tried filling in and, you know, just like, trying to. I. I had no idea. I was flailing.
And then she goes, no, I know exactly who that is.
And it was her ex husband who had passed away, and I had no idea.
And I thought I was, you know, I. I went from. And it's kind of like a. A good story in. In faith or trust or whatever.
I stepped out, way out of my comfort zone and it worked out. And I was like, okay. And that all happened because along the way, I kept getting signals.
[00:41:06] Speaker B: Do you do any sort of protection before doing a session with the client?
[00:41:13] Speaker A: Do I know that's because I'm me that, like, you know, egotistically.
I just know what I need to do.
I don't.
When I do, like, the workshops, I kind of set it up as a. Whatever process you do, do it for me. There is none.
[00:41:47] Speaker B: Well, thanks for joining us.
[00:41:48] Speaker A: Thanks for having me. Yeah.
[00:41:53] Speaker B: Maria. As we wrap up.
[00:41:56] Speaker C: No, no.
[00:41:57] Speaker B: All right, guys, well, thanks for hanging out with us, talking about some spirit art and all the fun that can be had in artwork and messy art.
Next week, seven o' clock live. If you would like to join us and ask questions for our next topic. So we hope to see you then.
Bye, guys.
Bye.
It.
