….To the reader: any process has many causes, effects and outcomes. All are beneficial and difficult along a continuum.

My creation while studying at Lynn Andrews School for Sacred Arts and Training
My creation while studying at Lynn Andrews School for Sacred Arts and Training

 SEEING is a shamanic tool used by some to deepen the connection between themselves and the creative process. SEEING involves direct, personal revelation and is heart focused. Art of any kind also “SEES” as it potentially awakens in both viewer and creator a larger vision of themselves. When artists SEE they step fully into the role of truth teller and creator of what Jean Huston calls the possible person and/or society.

YOU:   “Why is SEEING both italicized and emboldened in the title of this article?”

ME:  “You become One with Four Eyes when you learn to SEE. The eyes in your head keep you from stumbling over things. Your second pair of eyes lets you see what you have tripped over was a mountain, a grain of sand or something unknown. “

Creation informed by SEEING is a dangerous act because it effectively tears down and/or weakens the process of blinding that everyone in the modern world is subject to, me included!


One type of blinding is perceptual narrowing based on what I call dualistics: rigid cultural edicts enforced by threat or real support withdrawal. Dualistics dull perception weakening the Artists ability to name truth, beauty and potential.

When truth cannot be spoken – or we function for long periods with discord between our inner selves and outward circumstances – challenges can result. In the case of many Artists it can negatively impact confidence and production levels. In others, this process may ignite a fire of rebellion filled with heart path renewal and growth!

So if truth-speaking confronts the status quo; is NOT doing it – in order to fit in – easier? Asking only these two questions is black and white thinking –  and evidence that Artists need spectacles.  Simultaneously holding truth-telling and silence up to a mirror offer other remedies.


Well established shamans and wisdom keepers spend a life time perfecting this ability and many produce art reflecting it.  Artists may be visionary from birth while others have achieved this ability on their own.

For the most part, learning to SEE happens in levels and is a process improvement. SEEING requires Artists to adjust their perspective, reposition their subject or both. SEEING involves time collapse of everything into the now; a place not tinged with regret or fear.

It also involves – at its deepest level – a withdrawal of inner projections from the outer world: a willingness to turn those four eyes back on you! This step enables the self-responsibility button that Artists can push to explore the origin of creative blocks to manifestation and content enlargement… but this is another blog post!

Essential to SEEING is mindfulness which I “stumbled upon” as a girl:

“In a darkened room I would light a small candle and stare into its flame for long periods. This action calmed my teen angst. After much practice, I noticed a ring of light around the flame and a shifting shape and color in its center. I discovered that casting my gaze down and sideways blurred the fire; slowly figures and colorful objects began to arise in my new world.

SEEING as a lifestyle is no accident, however!


Improving the depth and breadth of  SEEING abilities is possible by reading and personal work with a coach. However, in a group setting of like-minded people this learning work is similar to what occurred long ago in French Salons where Artists nurtured idea exchange through discussion; however, it also includes elements of spiritual and personal growth. Foremost, It is a container for truth-telling, unfolding the possible Self and investigating beauty with mindfulness. The spiritual salon necessitates ownership. Of this process, shamanic writer Hal Zina Bennett says that SEEING …brings with it a personal responsibility that positively enlarges reality and a person’s role and potential in it.


I am writing this to you from Albuquerque, New Mexico where I will be engaging creative’s of all levels in my Salon of Seers!




Andrews, L. (1995). Dark Sister A Sorcerer’s Love Story. New York, New York: Harper Perennial.

Castaneda, C. (1998). The Wheel of Time The Shamans of Ancient Mexico, Their Thoughts about Life, Death and the Universe. Los Angeles California: Laguna Productions.

Christensen, Kimberly and Gage N. Riddoch. (2009). Dialectical Behavioral Therapy Skills, 101 Mindfulness Exercises and other Fun Activities ofr Children and Adolescents. Blomington, Indiana: Authorhouse.

Herman, J. L. (1992). Trauma and Recovery the Aftermath of Violece – from Domestic Abuse to Political Terror. New York: Basic Books.

Ingerman, Sandra and Hank Wesselman. (2010). Awakening tot he Spirit World The Shamanic Path of Direct Revelation. Boulder Colorado: Sounds True, Inc.

Jack, D. C. (1991). Silencing the Self Women and Depression. New York: Harper Perennial.

Levy, M. (1993). Technicians of Ecstacy Shamanism and The Modern Artist. Norfolk Connecticut: Bramble Books.

Zina Bennett, H. (1987). The Lens of Perception A User’s Guide to Higher Consciousness. Berkley California: 10 Speed Press.


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