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By Marcia Diane

Creating spiritual art is essentially a joyful privilege and process for me. I love to explore the spiritual realms in an awakened state of consciousness in a process some call Soul Travel, Soul Journey, or Universal Soul Movement.

Traveling in the soul body produces some of the most joyous exciting adventures I have ever known. Creating visual markers and reminders of what I have experienced, sharing these with others, and receiving their response, this is my privilege and joy. It keeps me humble, happy, and feeling like perhaps I can contribute something substantial to another human being.

I have been so blessed to share my life journey with a myriad of beautiful loving souls. If you are reading this, you surely want to know and experience more. I encourage your response.

There are many techniques taught by the many Spiritual Masters under whom I have studied. I prefer imaginative techniques, using the power of the Holy Spirit, the Light and Sound of God. I frequently change the techniques that I use, because I have discovered that, while I may get instant results, that technique may not work again for a while.

One of my favorites, that has brought excellent results many times, is to sit in silence for about 20 to 30 minutes, focus on the Third Eye in the middle of the forehead between the eyebrows or on the heart center, and sing a primal sound and Ancient Name for God, which is HU.

After doing this for about 5 minutes, I will visualize visiting a specific place in the company of an Ascended Master or physical Spiritual Master.

Here is a visual of the primal sound of HU emanating from the Godhead and flowing quickly into the physical worlds:

Spiral HU

Over the last 35 years, I have practiced many techniques given by various Spiritual Masters and teachers to experience adventures out of the physical body and constraints of the mind. Another of my favorite ways to experience this shifting of awareness is to focus on relaxing the physical body until very peaceful, and then I focus on entering and moving through each successive inner body from coarsest energetic vibration to the finest, which is the realm of God.

It took me many years of training and practice with Living and Ascended Masters in order to really understand and be able to accurately determine what each of the planes looks, sounds, and feels like.

After exploring the Tao, Transcendental Meditation, many metaphysical teachings, New Thought, Avatar, and many more, I focused on extensive training with my physical spiritual teachers: Paul Twitchell, Darwin Gross, Harold Klemp, and Michael Owens; the first three teachers were from the spiritual path called Eckankar, and the last from a newly formed but ancient tradition that starts where Eckankar left off, called The Way of Truth. Both paths have extensive web sites on the Internet, if you would like to find out more about them.

I have also met with numerous Ascended Masters and the four named above in the inner planes to really begin my true spiritual training. It has been a journey of unconditional love and expansion of awareness for me.

The demarcation line between the planes is not always finite, rigid or easy to explain. According to my teachers, the names of the “lower” planes of duality are: physical, astral or emotional, causal (where seeds or memories of all lives lived are stored), mental, and etheric. After these levels of finer and finer vibration are experienced and soul has move to finer levels, there is a shift into the pure soul planes of oneness, without duality.

It is hard to explain but with lots of practice and teachers to guide me, I have learned to negotiate passage through at least seven more realms into the Heart of God. I definitely know it when I get there, due to the opening of an incredible burst of exquisite energy that encompasses me.

Each plane below the Heart of God can be quite ecstatic in itself, worthy of exploration, but I have found it best to keep moving further inward until the immensity and glory of the highest God realm is reached. There may be many more ahead of this, but I know instinctively when I have arrived in the Source of joy. It took me many years of a variety of practices to be able to do this, but it has been worth every second of the journey to me! I believe a true spiritual teacher and guide is essential in this process.

Many experiences are difficult to describe. One glorious, fun example of my experience when merging into the high astral plane in full awareness, happened when attempting to enter the Temple of Golden Wisdom in Ekere Tere, the city of light above Abuja, Nigeria. I traveled there with Masters Dan Rin, Tremulen, and the Archangel Gabriel. They gave me a tour of the library Temple and showed how they stored information: in the very material of which the entire Temple is made. This material is of clear blue blocks, the same as mentioned briefly in the King James version of the Bible: “And they (Moses, Aaron, and 72 of the elders of Israel) saw the God of Israel: and there was under his feet as it were a paved work of a sapphire stone, and as it were the body of heaven in his clearness.” Exodus 24:10.

After understanding the format of this Temple/library, I was directed to stand in the center of the intricate mosaic floor in the center hall. Each piece of the geometry of the floor was made of this blue stone, with light coming from the spaces between. Suddenly, when I had become still, a shaft of white light entered from the apex, covered me in intense radiant loving splendor and ushered in both a purging and training I had not before consciously experienced. I saw forms fly around me, states of consciousness from within me merging with information contained in the library. It was extraordinary!

Here is the painting that best captures the scene from a side view, with me a tiny figure at the bottom:

Temple Process

Capturing these experiences in visual imagery can be challenging. If I try to create a perfect reflection of what I experienced, I can get drawn into an emotional tightness and mental analysis in which I lose the spiritual openness needed to open to and flow with the state of awareness that existed in the initial experience.

It is not as easy to remember every detail, such as sitting in front of the subject of a painting would be in the physical world.  Plus, as in any translation, some aspects cannot be fully and accurately conveyed from the inner planes to the physical world; at times, symbols have been needed.

In the inner worlds, much more is conveyed in nuance and feeling than the physical body can distinguish, especially when my western discriminating mind is engaged. Yet I strive to convey the forms as best as I can. This becomes somewhat less challenging as I continue to paint in this way, further honing my artistic and spiritual skills

Much more important than rendering a perfect form, my paintings must convey an accurate transference of the energy vibration or energetic signature of the experience, person, or place that becomes the subject of a painting. What does that mean? Each person, each place, every situation feels different, uniquely its own.

A blind person would understand better than the sighted, because we rely too much on our eyes and minds for our experiences. I have tried to break down my process into pieces to be able to convey to you what this is and how to replicate it but I cannot truly do this process justice. It is not a mental process.

Being intellectual is something I have long held in high esteem. I enjoy being highly educated but have recently tired of it because I have learned how mental analysis is counterproductive to the spiritual experience.

I just move to and get a feel for the thing. I tune into it and sometimes enter it or allow it to enter me. I merge with it, experience it from the inside out. I ask the Spiritual Masters who are guiding me at that time to help me convey the essential nature of the thing and then I trust and just allow it to happen.

I just get into the highest, most sincere and pure state of consciousness I can before the inner soul movement and experience, prior to the execution of the painting or drawing, and just do it.

I feel it when it is right; a flow opens that feels like a huge “YES!” If I struggle with it, as I often do, it is not right. This is not easy for me and has long been my struggle. I have to let go and surrender to inner guidance.

I have noticed that when I am pure in my intention, others will comment in ways that let me know that something intangible and accurate has occurred. The viewer then has a similar experience, conveying that the painting has activated a key within them. 

With an accurate energetic signature embedded into the physical object, I believe my art becomes a visual mantra. Mantras are normally known to be a sound, such as OM or HU, which open inner doors and allow passage into places within us to which a visiting soul might not gain entrance without the mantra. A visual mantra is a new concept to me, given by a Spiritual Master, to convey that the same phenomena could happen with the right visual image held in the Third Eye or heart center when attempting a soul travel experience.

When using the painting as a visual mantra, viewers become active participators. They might be able to tune into and perceive something that can awaken the heart to an experience that transcends the confines of the mind. They might not understand but often do perceive something unusual; an “Ahhh” or “Aha!” moment may occur.

I am thrilled when I can see in the reactions of observers when something resonates with their experiences as a spiritual being. I find it fascinating to meet people and find out who resonates with which paintings or series of paintings; their recognition and appreciation reflects their recognition of the state of consciousness, which I conveyed at the time a painting was created.

If a compatible state of consciousness does not exist, they will not be attracted to the painting. When Soul recognizes and touches a deeper aspect of Itself, the person awakens a bit more and knows something important has taken place: their heart rejoices and their pleasure increases.

Since part of my journey in this life involves exploration of the highest inner worlds and helping others to go there too, I rejoice when others find pleasure and increased awareness from interacting with my art. I have long known that each time I create a piece of art, there is at least one person who wants and will be called to this piece, like an adopting parent to a child or soul mates to one another.

It feels to me like I have created children who go forth and marry, to reproduce spiritual awareness and contribute something positive to their lives, which can ripple out into their inner circle, and thereby, many are touched in a positive way, contributing something substantial to the individuals touched and out into the world at large. This may be grandiose thinking on my part, but I do wish for what I do to benefit as many people as possible, not just me.

For me, the very act of painting has become a spiritual dialogue with the Divine Presence, a prayer. Painting becomes sacred, a sacred expression of how I feel in the moment, full of love. It feels majestic, as if I am making love to the canvas, with slow, steady deliberate strokes of the brush, with full attention, with my physical eyes, Third Eye, and heart wide open, moving in synchrony with an inner connection.

Here is an example of a painting created fully out of unconditional Divine love:

Double hearts

Sometimes I ask specific Ascended Masters to help guide me, such as spiritual Master Agnotti, or ascended artists, like Michelangelo or Kandinsky. When I do this, I declare myself to be a vehicle for God’s love in every way I can be. I may do a soul travel exercise to meet with them in the inner worlds to establish a relationship. When doing this, I again ask God and another Ascended Master to whom I already have a connection, for guidance.  I meet with them in a place of their choosing or I imagine a lovely garden or Temple of Golden Wisdom to meet with them.

After making a connection, thereafter, I just talk to them with my eyes closed and imagine reconnecting to them heart to heart. If I feel an initial connection or a reconnection, I just go with it. If I do not feel a connection, I attempt to do so several more times, just trust it is there and I am not aware of it, or connect with someone else.

I am not one for formally worded prayers, as that tends to involve the memory and the mind; as a once very mentally focused person, I need to avoid that kind of thing.

When mentally engaged, I tend to be a perfectionist, wonder if I am doing something wrong, or why it is not happening the way I think I should. This harms my ability to just get in the higher realms and let go. I need to be into my open-heart chakra and create and feel the energy of the higher inner worlds coursing through my heart and not my mind.

Again, dear ones, the process for me of arriving in this state of being able to do all I have described has taken me my whole life and years of intense focus, as well as lifetimes before in which I was engaged in spiritual practice, devotion, and service of one kind or another. I used to get frustrated at my inability to do certain things I thought I wanted to do spiritually.

Now I know that for me the best thing is to get into my loving heart, set my intention of what I want to accomplish, and use whatever tools seem appropriate that the time and just go for it. Just do it. Maybe Nike is a Spiritual Master after all!

At those times, I feel a change in consciousness and just go with the flow of their guidance. When I am in the right state of consciousness, there is no care in the world; there is only love and light and the roaring sound current often flowing into me and around me. Even if I am still fully conscious of my physical surroundings, I am elevated into a state of bliss, a happiness only achievable after an orgasm, seeing something of rare and elevating beauty, hearing an exquisite piece of soothing music, or touching an inner spiritual state.

One exercise that has helped me is consciously lifting out of my mind; stopping all criticism in favor of pure loving. This is hard for my highly trained western mind but doable with practice.

Only love matters in these things. Only desire to give something I do not know how to give but giving it more minutely by taking little risks in doing so. I call it “walking out on a crystal bridge” -- to take a risk and walk out into thin air (in my consciousness, not in the physical plane, of course, as there are physical and spiritual laws that must be respected and obeyed until mastered). I trust that the crystal bridge will be there for me. Love and trust of the process of being and of creation are essential components for me.

I have numerous paintings that I consider dismal failures, as a result. Some of these may be resurrected in later times, some get painted over entirely and some languish for many years in a half finished state, and some get destroyed.  Being a person who was trained from childhood in the desire to produce a great product, I still struggle with that impulse. I strive to prioritize the process first, and then the final product. This is not easy but oh, so delicious, when achieved!

It is most fun to let go of preconceptions of what the result will be and just play! Spiritual art must be an act of love and freedom for me or I cannot work on the piece. When something blocks this higher state of being, since the realities of life on earth still sometimes get in my way, I may do some art therapy to vent crabby feelings and frustrations, to clear the way to regain the higher ground from which I wish to create my true expressions and spiritual gifts to the world.

Art therapy for me can be done in a number of ways, using any art materials. Being a 2D artist, I prefer to draw with oil pastels (rich yummy colors) in a 11” x 14” blank journal.

First I feel whatever is going on within me and from my physical body and feelings draw until something breaks open and vents. Whatever comes out is fine; sometimes the uglier, the better. Best results are achieved by not thinking, just drawing and venting in visual images. Even furious scribbling can alleviate anger or frustration. I can bring light and love to a vented emotion to further transform it.

If what needs to come out is so toxic that I never want to see it again, I will burn it, ceremonially letting it go and giving it to God.

I have painted larger pieces for therapy, usually using tempera paints on some cheap material, perhaps cardboard. I have displayed some of these art therapy expressions in my place of employment, as a chemical dependency counselor. Many patients in the residential facility where I work have been greatly inspired by knowing a “normal” person experiences the depth of chaos and despair they are living in and relate to.

I have used clay or play dough to form shapes and then smashed them. I have thrown water balloons against a wall to vent anger and other toxic feelings from which I seek relief. There are countless forms of art for therapy; the idea is to vent anything that stands in the way of the Divine Presence streaming in and through me.

My artistic journey has been quite miraculous for me. Sharing with others further enhances my life. The farther I venture into the inner worlds, the more esoteric and mystical my experiences and awareness becomes, the further from physical reality and orthodox dogma I chose to portray. 

I love it when other souls are sparked by my art! We rejoice when we find one another, like reunited members of a large family of light workers here again to help one another to remember that the light within is far stronger and more glorious than the menacing darkness of the world outside us.

I welcome anyone who appreciates my art and is touched by it in any way, to contact me and open a dialogue. Soul-to-Soul, heart to heart, we can inspire each other and move forward together.

Try making some artistic expressions of your own, with the innocence and lack of critical thinking you possessed as a little child. Enjoy the journey, even when the result is less than satisfying. Rejoice in your life and enter the Gates of Heaven consciously while still embodied on this earth!

May you move ever forward in your journey to happiness, joy and the glory you were made to manifest!

Gates of Heaven

Many Blessings and Unconditional Love to you, always,

Marcia Diane


Here are my [art supplies] preferences, certainly not the only way to go:


I use Strathmore pads, 300, 400 or 500 series. I only use canvas with acrylic paints.  I use only rag paper for original paintings / drawings. I have painted on wood and would use masonite like other artists if I had someone to build me some boxes. I prefer gallery wrapped canvases but they are pricey. I paint the outer edges of regular canvases if they do not have a frame.


I use Liquitex regular acrylic paints in tubes or preferably jars and Golden airbrush paints, glazing mediums, and varnish. I do not paint in oils due to their long drying time. I tried them in my teens and did not like them, then bought a new set several years ago and just never even opened them. Oh, well.) 


are a reasonably priced brand of oil pastels to buy with very rich colors. I like the 25 stick sets for a wider range of colors. There are cheaper brands but I have found them quite disappointing. The more expensive ones are just not worth the extra money.

To get a really smooth look, I blend them with my finger tips. A fun technique is to work into them with pencils. Regular black can make for some sharp lines and fine points. Red and yellow pencils work well into them, too.


I only use rag mats next to original art to preserve and not discolor it. Acid free mats are really not good enough for originals. I want to only use great materials at the best rate I can find. I buy large sheets of mat board (32 x 40") and cut the mats myself. This is a skill. I just use a hand held Dexter mat cutter. You need very sharp blades. I don't know if Dexters and their blades are even sold anymore. You know how sellers prefer patrons spend an arm and a leg, so there are some very expensive mat cutters out there, which are only worth it for professional volumes.


I use archival and AVG tape on the original art and Elmers Glue only to glue mats together. After it's all glued, I weigh the mats down with a bunch of heavy books to set the glue overnight. 


I use regular single strength glass, just because its cheaper. Non-glare is OK. UV is needed for watercolor (because watercolors are very light sensitive and will fade rather quickly in sunlight) but not oil pastel.

I have found that the cheaper my cost the better. Most buyers prefer a low rate to them and could care less about quality materials; collectors will reframe my work anyway. Plexiglas scratches and gouges way too easily; it's great for very large frames but horrible for showing in many different shows.


I used to make art and then either have it framed professionally (very expensive, of course), or look for standard sized frames where ever I can find them. Now I buy frames on sale, in wholesale and resale outlets, and paint to the frame. Sometimes I spray paint wood frames black. Most of my work is done in standard sizes to make it less expensive unless I find unusual deals on art and just take it apart and paint on the old art or replace the paper.
Frankly, it is cheaper only in the short run to work on paper, for experimentation, or therapy. After all, matting and framing is very costly. Hence, when I use up my supply of expensive paper, I intend to only paint on canvas, which really does not need to be framed (buyers tend to like to pick out the frames to match their decor).


I always put the title of the piece, the copyright date by my name, "All Rights Reserved," and my web site info on the back of each piece, both original and final mat and frame.
Now you possess many of my "secrets." Hopefully this info will serve you well. Ask other artists and I am sure you will get more info. Style is developed over time. This works for me.
Happy art creation!  In the joy of soul,

Marcia Diane photo

"My paintings honor Souls in communion, with friends, self and this Divine Essence." ~ Marcia Diane

Marcia Diane is a joyously talented artist from the Phoenix, Arizona area who attended the School of the Arts Institute of Chicago and the University of Phoenix.  She celebrates life in art and art in life by allowing the flow of unconditional love to direct her creative energies into beautiful works that generate spiritual upliftment.  Her art has been exhibited on book covers and magazines, in art shows and churches of various denominations and treatment centers throughout the United States.  You may contact her via:  www.MarciaDiane.net .


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