Chaos Germinates Art: Cai Guo-Qiang

Cai Guo Qiang was born in Quanzhou, Fujian Province of China in the year 1957. Cai Guo-Qiang gained an exposure to Traditional Chinese art forms and Western literature as an effect of his father’s job, who was a traditional painter and a calligrapher, and worked in a bookstore. Cai grew up in the period, which was under social tensions of the Cultural Revolution, as a teenager, Cai himself participated in the parades and various demonstrations. His memories and experiences of the various forms of explosions, such as fireworks of celebration and cannon balls, made a deep impact on his creative streak and imagination. Creating the artworks by gunpowder explosions became his signature style. It can be said that he was, in a way trying to depict the good and the bad ways in which gunpowder can be used, through his art.

“The Spring and Fall of a Small Town” and “Real Kung Fu of Shaolin” were the two martial art movies that Cai acted in the late teens and early twenties. Cai, fascinated by the effect of Western art forms and the modernity of it, enrolled into the Shanghai Theatre Academy to study stage design from 1981 to 1985. The knowledge he acquired from this gave him an understanding of the various elements and practices of the stage as well as a sense of teamwork, spatial arrangements and the importance of interactivity.

Apart from the experimentation and use of gunpowder to create his artworks, Cai worked with stick-figure as well as abstract patterns with oil during the period of the New wave of 1985, after which Cai moved to Japan when the movement gained momentum during 1986.


The theme and the subject of Cai Guo Quiang’s works draw from an array of various traditions, mainly the eastern tradition; symbols, narratives and things such as science, Chinese medicines, plants and animals, fengshui, shanshui paintings, portraiture and most importantly, fireworks. Cai draws the content of his art from the contemporary social issues, eastern philosophy and from the Maoist sentiments, that are depicted with the help of gunpowder drawings that portrays the tenet of Mao Zedong “destroy nothing, create nothing.”

When Cai has to work on a specific site, he often alludes to the history and the culture of that specific region or place where the work is to be presented. Cai, in the context of the history of Chinese contemporary art has a “”critically” important role, since he was among the first few artists who contributed by initiating the discussion of the Chinese art.

“Projects for Extraterrestrials”

With the advent of the 90s, Cai started the “Projects for Extraterrestrials”. Cai worked on the project using humongous trails and rows of flaring gunpowder spanning over huge surfaces and landscapes. These projects have been usually site-specific and were performed in various countries and locations across the world. As the name, “Project to Extend the Great Wall of China by 10,000 Meters: Project for Extraterrestrials No. 10” (1993) indicates, the project involved the use of 6 miles long fuse of gunpowder, which was stretched afar the western end of the Great Wall whence the Gobi Desert started. After ignition of the fuse it burned for 15 minutes, which created a pattern akin to a dragon, which is the symbol of ancient mythological and imperial heritage of China. The inspiration behind the title of the series’ roots from Cai’s belief in the creation of beauty and joy with the help of a earthly conflict, such as the “material fuel” to gain a higher perspective through the celebration of pure energy.

Gunpowder works

Cai wanted to break the monotony of the social climate, as well as the traditional artistic practices in China, which were more controlled and suppressed expressions of art, this he achieved with the help of gunpowder to generate spontaneity. During his stay in Japan from 1986 to 1995, Cai extensively experimented the properties of gunpowder in his artworks, which eventually prepped him to explore massive explosives and the inception of the “explosion events”. As a result of an artistic exchange between the United States and the Asian countries, promoted by an international organization called the Asian Cultural Council based in New York, Cai moved to New York in 1995.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Siddiqua Fatimah

History of Kokeshi Wooden Dolls from Japan

Little is known of the early history of Kokeshi Japanese Wooden Dolls. One school of thought believes that Kokeshi dolls have their origins in the practice of spiritualist religion. Wooden dolls were thought to contain the spiritual essence of the dead and were often made for honorary remembrance.

The modern history of Japanese Kokeshi dolls began in the latter part of the Edo Era (1603-1867). Originating in the Tohiku region of northern Japan, famous for it’s hot springs and rejuvenating spa waters, Kokeshi Dolls acted as an important source of extra income for local artisans known as Kijiya (which means woodworker in Japanese), who specialised in wood work and the production of household utensils such as trays and wooden bowls. In severe winters these Kijiya craftsmen began making “Kokeshi Dolls” to sell as souvenirs to visitors who frequented the local hot springs. The dolls acted not only as souvenirs but also as massage tools used by the bathers to tap their shoulders whilst enjoying the warming benefits of the hot springs.

The Kokeshi dolls were very simple in design, originally made on hand-powered lathes. Traditional Kokeshi dolls had common characteristics that consisted of a basic cylindrical limbless body and a round head. Though the first dolls might have been unpainted, today most Kokeshi are painted in bright floral designs, kimonos, and other traditional patterns. Colors used were red, yellow and purple. As all the dolls are hand painted, no two faces are alike. This is perhaps the greatest charm of the Kokeshi. Some dolls are whimsical, happy and smiling, while others are serious.

Soon their popularity spread throughout Japan and they became favoured as wooden toys for those unable to afford porcelain dolls. In addition the simple rounded shapes of the dolls lent themselves as early teething rings for young babies.

Kokeshi dolls traditionally represented young girls and they quickly became popular for their depiction of feminine beauty. In addition their simple charm and association with childhood meant that they were often given as gifts when a child was born, as birthday presents or as symbols of remembrance when a child died. In addition Kokeshi Japanese Wooden Dolls were popular with the children of farmers as it was widely thought that they would promise a good harvest, as it was believed that it would create a positive impression on the gods if children played with the dolls.

The woods used for Kokeshi vary. Cherry is distinguished by its darkness. Mizuko or dogwood is softer and used extensively. Itaya-kaede, a Japanese maple is also used. The wood is left outdoors to season for one to five years before it can be used to make a doll. Today, Kokeshi is recognized as one of the traditional folk arts of Japan.

Despite their common features two schools of design exist, Traditional Kokeshi and Creative Kokeshi.

Traditional Kokeshi are for the main part still only produced in the six prefectures of the Tohoku region. The twelve schools of design here all exhibit distinctive features that allow experts to tell exactly where they have been produced and often by whom.

Creative Kokeshi do not follow the traditional designs originating from the Tohoku region and instead have an unstructured inspiration which is completely free in terms of shape and painting, the only traditional constraint being their manufacture by means of the lathe. Unlike traditional kokeshi, they do not display any of their distinctive local colour nor the techniques that had been passed down through the generations. They simply represent the creative thought and ability of the craftsman.

Traditional and Creative crafted dolls have become a cause for celebration in Tohoku and across Japan. Every year, in early September, people gather in Naruko Onsen where craftsmen from across the nation gather to honor Kokeshi in a competition where the number one prize is an award from the Prime Minister.

There are many different styles of Kokeshi, but there is one philosophy that all Kokeshi dolls share, and that is the pursuit of beauty and artistry through simplicity. This philosophy is extolled at the website:

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Ivor Conway

Should Your Child Attend Art School?

Why send your child to Art School?

Should your child take an art class? Any educator will tell you yes! Finding the right art school can encourage many other skills in your child besides learning how to draw.

What a Art School can do for your child:

· Teach cognitive skills. Art classes use many different mediums, from painting and drawing to scissors, glue and sculpture giving little hands a chance to explore!

· Encourage self-expression. A shy or timid child may find art classes to be the one place they can truly express themselves. A Singapore art school should be staffed with helpful and caring teachers, who will understand your child and tailor the program for them.

· Build confidence. There is no right or wrong in creative art and a timid child can quickly learn that their creation has as much value in the class as any one else’s.

· Group classes teach leadership and teamwork skills. Having to work together on an art project stimulates these important life skills in a fun way.

· Completing projects in art classes. This encourages the child to follow through and gives them a feeling of accomplishment and success.

· Art is a global language. The right art school will expand your child’s horizon’s introducing them to art from cultures around the world

· Teach children to see the world around them. Learning the fundamentals of art can show a child how to see their everyday world in a new and beautiful way, from the different colors they learn to how shadow and light create shapes.

Art is one of the earliest forms of human expression. Enrolling your child in an Art School will encourage your child’s natural ability and can only help in other subjects, such as math and science, where creative thinking is also needed to succeed.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Jealina Chiang

Japanese Samurai Swords – A Brief History (I)

The first proofs of the existence of samurai swords in Japan date from 240 BC, during the Yayoi period, when the queen Himeko sent a tribute to the Chinese dynasty Wei, two swords. In the same time, in 280 BC, they imported numerous iron swords from China. It is supposed that the art of forging the steel came immediately after that from China, through Korea, but the details are still unknown.

In the 5th century the first samurai katana sword appeared on a major scale. They were straight and they were called chokuto. The method of hardening the steel, very specific in Japan, as far as the manufacturing of the swords is concerned, was used for the first time in the 6th century. The period of the straight swords lasted until the beginning of the Heian period (the 8th century), when the fighting style changed, and the fight on horseback became predominant. In order to cope the use of swords with horse riding, they became curve, longer, having a single blade, too, being called tachi. Between chokuto and tachi there are more intermediary styles, the most popular being kogarasumaru (short sword, having two sharp edges) and kenukigatatachi. The term Nipponto or Nihonto (which means “Japanese sword”) refers to curve swords.

Heian period, which is considered the starting point of the history of Japanese swords, is characterized by the fact that many ideologies were imported from China and they were modified so that they become Japanese. Most of the things which we consider nowadays specific to Japan, appeared during this period. During this period, too, appeared the idea of manufacturing swords by smithing, so that the outer surface was rough and the core was soft.

The folded steel samurai swords manufactured and used during this period belong to the class tachi. In the same time, during this period occurred the habit of signing on the sword blades, therefore probably, the oldest tachi sword bears the signature of its manufacturer: Sanjo Munechika, and the oldest Japanese sword which was signed, and which also bears the date of its manufacturing, was made by Namihira Yukimasa.

The defeat of the Taira clan by Minamoto no Yoritomo was the event which marks the beginning of the period Kamakura, but in the same time, it is the event which marks the taking over of the power by the samurai warrior class. It is said that this is the golden period of the Japanese swords, and they became better and better from all the points of view, including the aesthetic one. A characteristic of the swords belonging to that period is the width of the blade – bigger that in the previous period, a small difference between the width of the blade at its base and at its end, and the shape of its end, which most of the times belonged to the ikubi type(which means ,,bull nape”).

Towards the end of the Kamakura period, two Mongol invasions took place (1274 and 1281). The discovery of new samurai weapons, technologies and strategies, proved some weak points of the tachi swords, for example the fact that the end of the blade could be easily broken and it couldn’t be repaired. These experiences accumulated during the battles, affected the future design of the swords.

When the power of the Kamakura shogunate dropped down, the imperial court took the leadership over again, but for a short time – at the beginning of the Muromachi period.

This period is characterized by an almost continuous war. The historic conditions determined in this case the growing in importance of the foot soldier, and in the same time the occurrence of long swords, for both hands, used for powerful, devastating strikes.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Dave Lorrez

How to Care For Your Watercolor Painting

So you just purchased a new beautiful watercolor painting, now what? There are really just a few important things to know about your watercolor painting in order to keep it bright, vibrant, and unblemished.

1. Get your painting framed with a glass protective panel. This is important, a regular frame with no glass will leave your watercolor vulnerable to dust, smudges, water damage etc. Did you know that watercolor can reconstitute itself when water is added? That means the paint can shift, lift, drip etc. A glass front will protect against water damage. It will also keep the dust off. You can’t just dust a watercolor painting as the paper is sensitive to marks and is a delicate surface. A well framed piece will also help keep out insects that can damage the paper. It is very difficult to repair a damaged watercolor painting, so keep it protected.

2. Avoid direct sunlight. Watercolor paintings are sensitive to sunlight. The colors can fade, and the paper can become brittle. I remember when I was working as an exhibit designer for the Hallie Ford Museum. I went to pick up a collection of Hudson River School paintings from a private collector’s house. The owner had a number of beautiful oil paintings, but his pride and joy was a vibrant watercolor painting. He kept a sheet of paper draped over the painting at all times and only lifted it when people wanted to see the piece. Okay, that’s a little extreme, but you do need to be careful of light. The recommended level of light for displaying watercolors in museums is 50 LUX, and it is only recommended for short periods of display. You can measure the light levels with a simple camera meter. However, I simply recommend keeping your painting out of direct sunlight and avoid shining a spotlight on the work. Remember, you bought the piece to enjoy it, so don’t fret too much. Just be prudent.

3. Hang the painting away from household pollutants and high humidity areas. Don’t hang a watercolor over a fireplace, near a stove, or in a bathroom. The soot from fireplaces can damage a work of art. Also, the shifts in humidity that occur in the bathroom or near a stove can cause moisture to build up inside the frame. Eventually, you may have a mold problem and have to take the work to be professionally cleaned. Try to find a location with more consistent humidity levels.

4. If the work does need to repaired, find a professional. Conservators are trained to repair works of art and know how to do it scientifically. You can usually find a good conservator by calling your local museum for recommendations. If you did happen to purchase your work directly from the artist, you can also try contacting that person and ask if they would mind trying to repair the damage themselves.

That’s it. Beyond that, just sit back and enjoy your watercolor painting!

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Bruce M Black

Replacing Window Spiral Balances

If your windows just won’t stay up when you open them, you will have to repair or replace the mechanism that holds it up. In older windows there is a cast iron weight attached to a cord of rope or other material. In newer windows you will find that it has what is called a spiral balance. Most likely the spring inside the balance has worn out and you will need to think about Replacing Window Spiral Balances in each window that won’t stay open.

There are two types of windows, the tilt kind and the non-tilt kind, and although Replacing Window Spiral Balances in each kind is similar, there are differences in how you remove and replace the balances.

The first thing you must do is get the correct spiral balance for your window. You need to make sure that it has the rating to hold the weight of your window sash. The best way to ensure that you have the correct rated balances is to contact the manufacturer of your window to see if they carry replacement parts. If you can’t find the name of your window manufacturer then you will have to go to a window and door repair place and see if you can order the correct size and rated spiral balance for your windows.

Once you have the correct balance you can go to work on replacing the old one with the new one. For a non-tilt window you have to find the stop bead located on the left or right side and unscrew all three screws, starting at the top, then the middle and finally the bottom. You then remove the stop bead. If the window jam is painted you may have to pry the stop bead off with your putty knife or flat head screw driver.

You will need to get a grip on the left spring tape and pull some slack out with the tensioning tool or a pair of needle nose pliers. The tool is specially made for removing and winding the balance. Grab hold of the connecting hoop and disconnect it. Repeat the process for the right side balance tape.

With the balances disconnected just slide it out of the frame through the side with the stop head off.

You then remove the screws holding the old balance to the window jam. You will want to take care not to damage the holes because you will install the new spring balances in the same place.

Put the new spiral spring balance right where the old one was mounted and put the screws in on the top and bottom edges. You can use the same screws you took out of the old balance. Once you have all of the screws securely tightened you can repeat the process on the other side. The balances are able to fit either side so you don’t have to worry about which one goes on which side.

When the new spiral balances are installed all you have to do is replace the window the same way you removed it and your job is finished.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Michael B Fox

Colleen Tucker – Abstracting Nature

The intense color palette and expressive gestures of Colleen Tucker’s abstract paintings enticed me immediately when I first saw them hanging in the Creative Framing Art Gallery this month. For Tucker, art is first and foremost about process; painting is simply about the act of painting. She will be the first to admit that cerebral philosophies do not direct her. Instead, Tucker focuses her energy on technique and medium. Her approach is formalistic – driven by color, stroke, pattern, rhythm, and structure. In Tucker’s words, “I get very excited when I throw color on anything. Laying the color down is really what I like.” One look at Tucker’s Reef’s Edge or Blooming and it is clear that nature stimulates her. However, nature is merely a jumping off point for Tucker. In no time at all, the freedom of her technique takes the subject to another level.

Growing up in a small town in west Texas, Tucker did not have access to museum exhibitions and the usual cultural opportunities that abound in metropolitan areas, but believe it or not, Life Magazine was her link to the art world. The popular magazine routinely ran feature articles highlighting mid-century megastars of the avant-garde – Jackson Pollock, Willem De Kooning, Franz Kline, and their fellow painting rebels of the 1950s who were committed to challenging traditional arbiters of taste and taking modernism beyond Cubism and Surrealism. By and large these celebrities of the art world were men, and furthermore the editors of Life characterized several as macho, James Dean-like luminaries, loners in the studio, idols for all who aspired to tap into their creative spirit. With the exception of Elaine de Kooning and Lee Krasner (whom it must be noted were featured alongside their more famous husbands in a shared role) and Hedda Sterne (the only woman included in the infamous 1951 group portrait of The Irascibles – that alliance of artists who protested the Metropolitan Museum of Art’s refusal to exhibit modern art), female artists rarely graced the pages of the magazine or achieved similar levels of success during the heyday of Abstract Expressionism. For this reason, as an art historian, I find Tucker’s affinity for this movement and her paintings that are very much in dialogue with these pioneers of Action Painting to be incredibly powerful today. Coming of age in an era that was often unkind to women artists, Tucker, in the spirit of one of her artist heroines Helen Frankenthaler, the legendary second-generation Abstract Expressionist whose work led the way for Color Field painters, is now making her mark.

Despite the fact that females were typically marginalized from the New York School, Tucker was drawn to the movement, and she credits her mentor at SUNY Purchase, the legendary Irving Sandler, for catalyzing this strong connection. “The way he shared his knowledge struck a chord, and the freedom of expression the New York artists created appealed to my creative spirit.” Sandler hung out with the world-famous Abstract Expressionists in their studios and gathering places including the infamous Cedar Tavern around 10th Street in Lower Manhattan. As an art critic and an educator, Sandler became a major voice of the American avant-garde, curating landmark exhibitions, interviewing a wide range of American Art legends beginning with the first generation of Abstract Expressionists, later moving on to the rising stars of Pop Art and the midwives of Postmodernism such as Cindy Sherman and Chuck Close.

In the same spirit, Tucker continues to evolve with the contemporary art world. She views it as a lifelong process. After all, Tucker has been creating art since childhood when her most prized possessions were three shoeboxes filled with colorful crayons. In Tucker’s words, “I don’t think I had a choice whether or not to be an artist. I have always expressed my emotions with color.” Colleen Tucker’s lyrical abstractions add yet another layer to the visual culture of Louisville and its surrounding community.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Sydelle Dienstfrey

How to Draw Graffiti Names

Graffiti art has, over time, become a form of artistic drawing. In another article, I’ve captured the main characteristics of artistic art in more detail but let’s do a quick review here.

We know that graffiti art is often loud (meaning brightly colored), has a 3D look and feel to it, and looks mostly stylish. One might even classify graffiti art as contemporary art. Everything about graffiti is an expression of the culture of some group or country.

Although graffiti art is most widely known as art drawn by vandals on public walls with spray cans, the same term can be extended to represent art with similar characteristics as mentioned above.

You may be drawn to drawing graffiti names because graffiti art looks stylish with its bright attractive colors, and that applies to graffiti texts as well.

To start drawing graffiti names, you need to prepare the following drawing tools. You need a light pencil, preferably HB, and a set of permanent magic markers with a variety of colors.

Next, you need to decide on the style of the texts. There are literally thousands of styles to choose from. Just take a look at the thousands of font types available freely on the Internet for download. You may want to visit one of these websites and choose a font design that you really like. You’ll be using this as your reference. Some websites even allow you to create a preview image with the selected font type. Simply save the image to your computer for reference.

Start drawing with your pencil on the surface. Draw lightly at first so that you can erase any mistakes you make. Sometimes, your texts may be too big or small, and you can easily rectify this by using a dust free eraser.

Once you’re satisfied with how the graffiti name looks, trace the outline with a fine magic marker. The shapes will start to emerge now. Then start filling in the different letters with colors. Be bold and creative here. After all, it’s graffiti texts, so you want it to come out attractive, bold and stylish.

Use a different color to create some shades just inside the outlines. This will create the illusion that the texts are 3D. If you’re familiar to using Photoshop or any image editing software, this is similar to creating the emboss effect.

Drawing the drop shadow is optional but if you want your graffiti name to look more alive and realistic, by all means give your graffiti name a light shadow below.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Darren WK Chow

Japanese Weeping Willow Tree – A Beautiful Garden Addition

The weeping willow, or salix babylonica, began its life in dry northern China, but spread rapidly across Asia and to other parts of the world via the Silk Road. These days, it is grown almost everywhere. It offers a sense of beauty and grace to any garden space, adds dense shade, and the wind whispers beautifully through the long, trailing branches.

Weeping willows are often planted near ponds or streams and there is nothing quite so lovely as watching the currents sweep against the branches that have reached down into the water. It evokes a strong sense of peace and transience, making it perfect for a Japanese garden.

As a deciduous tree, the weeping willow will lose its leaves in the winter, but it will retain all of the beauty. The lines of the branches can be fully appreciated then, as can the overall shape of the tree. It never loses its ornamental value in the yard or more formal garden.

With access to a water source, a willow will typically require little maintenance, though care should be taken because its spreading roots can interfere with pipes and other things underground. In winter or early spring, regular pruning should be given to your weeping willow, trimming back branches that have grown overly long or branches that have become crowded. When too crowded, a weeping willow loses some of its attractiveness, becoming a draping mass of green in spring or summer, though the extra branches do not harm the tree in any way.

A particular cultivar known as rokakudai is a type of Japanese weeping willow that is often grown as a bonsai. Bonsai is the Japanese art of growing a tree in a small container and shaping it, often over many years, to resemble a large, fully grown tree, albeit in a very small size. It takes a careful hand and a great deal of patience to grow a bonsai that properly resembles a fully grown tree. They are appreciated as contemplative objects and thoughtful projects for the grower.

Like its larger cousin, the Japanese rokakudai weeping willow is also deciduous and is most appreciated for the drape of its branches, and slender, pointed leaves. Differing from its cousin, it tends to be more sparse in its foliage and the branches are very carefully trimmed, because they are a highly important part of the beauty of the rokakudai bonsai.

Adding a Japanese willow tree to your garden is a sure way to enhance the beauty of your home.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Derek Farley

Spiritual Painting Journey – Art as Meditation

When you see a clear river you’re less afraid to go out into its deep waters. It’s peaceful. You stay in it longer, and you even let your feet touch its bottom. Like a crystal clear river, a clear mind is the key to being at peace and living in the present moment. A mind filled with the murkiness of worry and haste is a confused and overloaded mind that will increase stress, lower productivity and lead the way to unhappiness and ill health. I have found that by painting intuitively, not only do I clear my mind, but I receive spiritual healing seated deep within my heart.

There are many ways to slow down and release our worries, to exist in the present moment and be at one with the creative flow. In other words, there are many ways to meditate. Meditation is a journey inward. When the mind dissolves and is free of all thoughts there is a connection at the heart of our spirit; there is a childlike joy in existing. This feeling of contentment helps us cope with the busyness of life and bonds us with a pure ocean of peace.

Whether we know it or not, all of us have meditated before. Maybe not in the eastern Yogic sense, but we have all silenced the mind perhaps by listening to gentle music, lying on the beach, or immersing ourselves in the stillness of a hobby. Being that I am an artist, I’ve retreated to the quiet places of painting and drawing pretty much my whole life. Sometimes, without any idea of what I would paint, I would allow my intuition to choose colors and begin forming free flowing lines that were both a connection of my spirit and a creative journey of intuitive oneness. It wasn’t until the past few years that I consciously became aware of my art as a form of meditation and connection to God.

And you don’t have to be an artist to practice intuitive art. Anyone can take part in using art as meditation. And if you do, over time you will find within the confines of the peace that you receive there is a spiritual connection in your act of creativity which is tied to God the Creator. After all, we are ourselves a creation with a will to create, and when we explore this gift we are living in acceptance, we are taking the time to remove our “self” to unfold a journey within the higher realms of light and love. When you feel this sense of well-being that God is within you and around you, like a proud father smiling at his son or daughter, you know that anything that brings you together must be right. You also know that the simple intuitive painting that you just embarked on, was really a spiritual and creative journey to happiness, to love, the place where God resides.

If you would like to try your hand (and heart) at an intuitive painting all you need is your willingness to try. Previous art experience is not needed to take part in a spiritual path of well-being. Remember, you’re not trying to create a masterpiece, your trying to master peace. Sit down with some old crayons, colored pencils, some watercolors, or whatever it is that you like. If you like rich colors try acrylic paints or oil pastels. You will also need many blank pieces of fresh paper or canvas.

Just as when you were a child, go into the act with not a care in the world. Without forming the idea of what to paint, begin by choosing a color. Allow yourself to visit different colors and the way they appear on the paper. Create forms if you want. Take delight in what you do and allow your instincts to take over. Sometimes it helps to play some soft harmonious music in the background. Each painting is an exploration in your own spiritual journey. You will find that some take you to a place where you are connected and are extremely satisfied in the art that is unfolding before you. Without being judgmental, continue in the flow. You will be amazed with what you find, and you will be delighted when others appreciate your paintings as well.

Immobilienmakler Heidelberg

Makler Heidelberg

Source by Jaison Cianelli

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