Each flower holds
a distinct positive energy pattern that corresponds to a specific physical,
mental, emotional or spiritual imbalance. With the sun
method of preparation, the flower transfers an etheric imprint; nothing
that can be seen under a regular microscope. The sun, upon striking the
water, melds into the water the life force of the flower, and this is
transferred to people when they assimilate these vibrational essences.
As a source of balance and well-being, flower
essences help us identify, understand and transform the emotional
blocks, limiting mental attitudes or the patterns of behavior which are
responsible for much of our distress and disease and which hinder our
full development or potential. Flower essences are a vibrational therapy
representing the life force shaped into a particular pattern, so they
are an educational principle that attunes people to their natural harmonics
Edward Bach was an English physician who lived in the early 20th
research and life have inspired many people. With his genius and deep
humanity he reintroduced the very ancient system of using flower essences
conscious growth. My love of nature has brought me to study and appreciate
work. Many others use and produce flower essences world wide. These
essences have nothing
to do with fragrance. It is energy and vibration, which is how we
Snap Dragon with
Snap Dragon with
absorb or reflect light of certain frequencies in a way that
is particular to it. The light reflected results
in the color we see. The paradox of color is that,
while it exists only in light, light itself seems colorless
to the human eye. All objects that appear to have
color are merely reflectors or transmitters of that color in the light that illuminates them.
are especially sensitive to color reflection as witnessed
by their many hues and vibrant displays. When
the energy of flowers is fused with water to make
an essence, it releases its ethereal patterning and shares
it secrets for our health, spiritual well being…and
for instruction through watercolor painting.
with flower essences for my own well being, it was
suggested that I try using the essence with my watercolor pigment.
I had been doing watercolor painting with tap water for ten years
by that time. The results of sketches using flower esssences were
very positive. There was a difference in how the watercolor pigment
vibrated on the paper. I have used a dozen or more varieties to
date with marked results.
Chamomile with tap water
Chamomile with essence water
This concept is
not really as farfetched as one may think; it is energy and vibration
which is how we see color.
triggers the functional activity of the eye. As a form of radiant energy
traveling at 186,000 miles per second, light illuminates the way, making
sight possible. When you think of light you can also think of color. For
light, the kind our eyes are sensitive to, has a frequency of about
600 trillion waves striking your eyeballs every second.
Afternoon on the Island of La Grande Jatte, is a good example of the
idea of color and vibrational qualities. The artist realized, after studying
the theories of Helmholtz
and the colors
of the spectrum, that by painting little dots of primary colors, very
closely together, the vibration of these colors would meld or juxtapose
together when viewing them from a distance, into what would appear to
be new colors. This concept was developed in the 1880's. Seurat's method,
is related to development of modern four-color
printing in which tiny dots of cyan, magenta, yellow, and black ink
are printed together in various amounts on white paper to achieve the
effect of full color. It works like an optical illusion to vibrate the
blending of those four colors into new colors.
Essences with Watercolors:
essence mixed with the watercolor pigment and water presents
its own vibrational challenges as you apply it to the paper.
For example, the California Poppy was so active and electric
it was hard to see the work I was doing because of a kind of
electric glare that was feeding back. Heather was very resistive
and willful wanting to take on its won personality on the paper.
Considering the properties they each represent it was a match
but still somewhat surprising to experience. This only encouraged
my interest more. As I have developed this theory, I have been
matching California Far North Coast Landscapes with the proper
vibrational essence to enhance its being.
The two paintings you see here are of the Simpson Pulp Mill
in Eureka, California. The one below was done using tap
water. The one on the right was done using heather essence.
some of the stories of my experiences using watercolors and flower
essences. It is an interesting experiment to take a moment to look
at each accompanying painting before reading about its making and
the essence that was used.
was no hesitation on Easter Morning when I climbed Trinidad Head to
paint. I knew this special place was a point of departure for my new
theory and work. The Trinidad area had been inhabited by Indians for
of years before the Spanish erected their cross claiming Trinidad
in 1775. There is a very strong grandmother connection with this powerful
and this outcropping in the Pacific Ocean. A 500 year old bay laurel
tree reside on the bluff over
looking the original Indian Village.
with the Bay Laurel essence is like a good, long, meditation. It takes
you to places you are connected to on the inner planes. It is the light
navigator that helps you to know your direction. It lights the path with
radiant light of your god presence.
This essence is
no shrinking violet or wallflower. It puts it out there, right now and
goes straight for the top. I had to cool it down, on occasion, to get
any subtle color at all.
pigment would not
travel very far on the paper which had been soaked with the essence of forget-me-not.
The pigments stood fast under the pressure of the brush. When I thought
I was done with the image, the forget-me-not essence "called"
me back again and again to add detail and observe more. Finally, it was
done but I will never forget being called back to finish, again and again.
used the Forget-Me-Not essence for the tribute to Julia Butterfly's
save the Ancient Redwoods. This essence is used for stimulating mental
and insight. It is also helpful to overcome feelings of abandonment
the loss of a loved one. It strengthens bonds between mothers and
I was very impatient with the watercolor I did using the forget- me
- not. I
wanted to be done and move on to the next one but the forget - me
essences would have none of that. It was clear from the beginning
It prevailed no
matter how careful I was to protect the light. It wanted to express it's
mudfulness. The dense, thickness of the leaf and the sucking of the nutrients
of the watery earth impacted me as I painted. I felt humbled before it.
However, the painting did settle down to a very soft, pixie
dust- like, cotton candy that I had suspected all along but was hidden in
the mud. Now it comes through in a cloud like glow. Soft, but dense like
a mushroom, which grows near the mud.
a surprise the Lotus Blossom was to work with. I really thought it
going to be very light, airy and fairy - like. I expected cotton candy
with rose haze highlights, because that is how the Lotus blossom smells.
got was the reality of the Lotus: MUD. Wonderful, rich, deep, soulful
hardly fazed the
pigment. That is why this particular depiction is so vibrant compared
to some of the softer essence images. I took risks with water that I never
took before, just to test it. Beautiful color mixes can be made with trillium
essence as it is steadfast. Deeply rich colors express themselves, much
to my delight.
vibrational essence was made under a full moon during the Hale Bop
Comet. On the paper, it was very focused and the pigments did not
you use watercolor pigment with tap water, moving the pigment and
diluting it is
how you get the varying tones of the different colors. Even adding
revealed another of it's secrets. SAND! It is like sand! It is porous
like sand and dries out extremely quick and hard. I was amazed when I
looked at my palette, after not have painted for a few days. It was very,
very dry. Here on the North Coast, we have serious mold/dampness problems.
Nothing dries out. It is also like sand when it is wet. It is not very
moveable. It became grainy when it dried on my watercolor paper. I will
admit I helped it by using pigments that lend themselves that way, but
only after this essence showed me it's propensity for the effect.
flower essences gave me a way to express myself in watercolor that I could
not obtain or achieve with tap water. The neutrality of the tap water
made it an excellent conductor but for that very same reason it constricts
also. With tap water's neutrality, I always had to take the lead. Flower
essences open up the gateway to a myriad of expressions through their
vibrational qualities. It is like going into uncharted waters on a guided
voyage of discovery. Because it is subtle, this work is instinctual, quiet
and profound. You must be willing to trust so the flower essence can instruct
about it's etheric patterning. This was one of my biggest challenges with
the essence work.