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1989, acrylics on canvas

I painted this picture in preparation of the birth of our eldest son. My wife wasn't yet pregnant, but we felt the soul around. In this reproduction of the picture you nearly don't recognize the baby in the drop of light, just a slight shape.

It was quite a big picture, approximately 120 x 120 cm.

You see the parents standing on both sides of the new born child, which is surrounded by an aura of light, where from above the soul is infused from Christ, the embodiment of consciousness. So the consciousness gets implanted into the physical matter of the body.

Above the figure of Christ, there is the circle with the triangle and the inner circle from where the light manifests and flows down. It is the triangle of the three Logoi, Will, Love and Light / Intelligence - or the central sun, the heart of the sun and the physical sun from where the consciousness emerges and descends.

Christ is surrounded by a blue sphere and a white robe. A light blue colour surrounds the centre - it is the colour of the soul. Below the couple and the child you see the form of the moon, representing matter, and below the sphere of the moon you see forms, souls bound to matter and waiting to be released. The light falls into these dark spheres and lifts them up.

All around the blue centre you see devas of light, angels giving their blessings. And there are also Masters and their disciples giving their Presence.


Spiritual Hierarchy 6 - The Ascent

August 1987, 171 x 46 cm, acrylics on pressboard

This painting can be seen as part of this series on "Spiritual Hierarchy", but it is also the last of 3 paintings in the same format and technique done in 1987 on the backside of a pressboard of a wardrobe fallen apart ("Shaking" and "Light over the City")

At the bottom of the picture, you see a nuclear plant in red, with a car and people, skyscrapers and the symbol of the Eiffel tower which you also encounter on the two other pictures - symbol of mundane striving towards outer heights. The nuclear plant is a symbol of the threat of modern life - Chernobyl was in 1986. The people in red stand for the hectic rush of today's life, keeping people in the treadmill of money-making, not leaving time for an orientation towards the inner worlds.

In the background you see a straight upward rainbow bridge surrounded by a light-blue sky - the way-up into the subtle worlds. A young couple ascends to the lighted path, where there are already several groups on the way to the high gate, and the path merges into the light.

The great figure of the World Teacher shows the direction, surrounded by a huge aura of radiant light. On the top you see the snowy mountain peaks of the Himalayas, where the Spiritual Hierarchy has its seats - and the vastness of the dark-blue sky opens the view to infinity. So you see in the picture different planes of ascent.



April 1987, 171x46 cm, acrylics on pressboard

The fight between the forces of light and of darkness shaking the foundations of life - you see people being torn away and the earth opening. At the same time forces of Light intervene from above to bring help.


Light over the City

February 1987, 171x46 cm, acrylics on pressboard

I was fascinating of the inter-penetration of spiritual energies and everyday life. The scenery contains elements from the old town of Münster where I lived for years; and the figure of the Eiffel tower - together with the Arc de Triomphe, in Paris - symbolic figures of centralistic power and intellectualism. I was trying to portray the "light", which here comes from above and shines all over and through the city - a vision of an enlightened society, but at the same time full of apocalyptic inklings, which were shaking in the underground.


The Conference

April 1989, 135 x 68 cm, acrylics on pressboard

At the time I was working at a Swiss Rudolf Steiner School (86-90) as a language teacher, I visualised here the inspiration received from higher circles for a good group work.


The Blessing 1

February 1989, 105x75 cm, acrylics on pressboard

Here you see the Cosmic Christ blessing the earth. He is surrounded by a group of angels and initiates, who stand united to turn back the influences of the powers of darkness.


The Blessing 2

approx.1988, approx. 40 x 40 cm, acrylics on pressboard

This painting shows the figure of the Cosmic Christ spreading unconditional love over the earth. On a background of dark blue, the blue and rose-white aura of the cosmic cross appears and before it you see Christ in a blessing posture. From his heart rosy light is radiating down into the spheres of the world.



1987, 85 x 25 cm, acrylics on pressboard

Like with the painting "Creator Animae - Forming the Soul" you see here the work of the "Lord of the Flame" infusing light into the form of man thus stimulating his chakras.


Marriage Blessing

April 1989, acrylics on pressboard

The Divine blessing the couple.

I painted the picture for the marriage of a friend.



February 1988, 205x146 cm, acrylics on canvas

The picture shows the descent of a soul to the parents. There are a number of souls hovering above, waiting for incarnation possibilities, and one soul descending in a drop-like aura surrounding the parents. At the bottom, there are earth-bound souls stuck in matter and unable to get back into incarnation. In-between in the blue you see devas, angelic beings over the surface of the earth radiating bluish-white light. The big yellow drop is dripping down from the subtle realms into the dense matter. The parents are welcoming the child with their arms lifted upwards.

The picture is a presentiment of the souls who later descended as our children.

This picture was done in the month I got married. From the Steiner school where I worked at that time, I got an old map of the world; the backside was a large-scale canvas, which I used for the painting - the biggest I ever did. It is quite symbolical that the picture was on the backside of a map of the world - so to say the inner side of the world.

It was difficult to take a photo of it, for our bedroom, where it was later hanging, was hardly big enough to capture the whole scene. And since I had given it a lacquer coating for better luminosity, the surface was reflecting when I tried to photograph it. The photo does not convey very well the original quality.


Eagle of the Soul

October 1989, 110x64 cm, acrylics on pressboard

The picture shows the reception of the energies of the spirit into the physical frame.

The Eagle is the symbol of the spirit. Here the spirit is coming down into a form, so it is enveloped by a blue and violet aura, becoming the Eagle of the Soul. Coming from higher circles it is landing on the head chakra. The red sphere is the head of the human being receiving the energy of the spirit. You see the Sahasrara or head centre, the Ajna with the two petals and the brow centre. The brow is the highest point of personality, the Ajna is the seat of the soul, and the Sahasrara or thousand-petalled lotus is the seat of the spirit in man. There is a line linking these centres, the Antahkarana, the inner bridge of light. Here it is going up beyond the human sphere into the surrounding space consciousness from where the eagle descends, bringing the knowledge and vision of the higher worlds.

The picture doesn't have the luminosity of the original painting, which might still exist - I gave it to a friend in Munich and have lost sight of it. Since I was longing for this picture, I tried to paint it anew - it got another quality, and not with the intensity of the eagle in this picture. The latter picture was destroyed along with the other paintings in 1997.



October 1988, 184 x 79 cm, acrylics on pressboard

This painting shows a man standing upright between the whirlpools of the energies of the lower spheres, which are influencing him in the lower parts of his being. The seven energy lotuses within are in full bloom. From above and surrounding him, there is the soul filling him with light. It is descending from out of the central point within the triangle, the flaming triad, from where a drop comes down to form the individual soul. The descent of spirit, consciousness and matter down to the individual is a powerful flow of light from out of a background of dark blue.


Levels of the Logos

February 1990, 120 x 80 cm, acrylics on pressboard

This is one of the last of the Early Paintings, and so it concludes this series.

You see a man holding the inner light of the heart. He is protected by Gaia, Mother Earth, in green colours. Her head forms the symbol of Earth, the cross above the circle, symbol that our earth is still struggling to integrate matter and get lifted up to the soul.- This great work is still-going on on our planet. Mother Earth again is protected by the hands of the Solar Logos. At the top of his head you see the sign of the sun, the circle with the point in the centre. It is surrounded by a planet hidden close to him, which Esoteric Astrology calls Vulcain, the will aspect of the Divine. Then you see the more outer spheres of Mercury, Venus, Earth and Mars, in their respective related colours, followed by Jupiter, Saturn, Uranus, Neptune and Pluto. Beyond the sphere of the solar system you see the Cosmic Person shining forth from the position of Pisces, the sign of the Cosmic Christ. Behind the sphere of the zodiac there are the three great constellations of Pleiades (left, the Mother or Matter), the Great Bear (right, the Father or the Will), and Sirius (centre, the head-light of the Cosmic Christ, the Son or Consciousness).

The painting still exists and belongs to me.


Spiritual Hierarchy 5 - The Brotherhood

August 1988, 73 x 70 cm, acrylics on pressboard

This painting of a later time is in the line of the Spiritual Hierarchy paintings and so I have added it to this series. (See also the painting of 1990: The Spiritual Hierarchy). Here you see the downpour of light from higher circles through the World Teacher and the brotherhood of the Masters of Wisdom, standing in firm unity to keep the demonic energies, which are trying to draw humanity into an abyss, in check. You see the World Teacher in a blessing position. Above his head, there is a white eagle, symbol of the spirit, and in front of his hands, there is a white dove, symbol of love and peace. From the dove streams of light emanate to strengthen the brotherhood, holding each other's hands and thus forming a demarcation line beyond which the energies of darkness cannot pass.

Below you see in the centre, the head of a reddish serpent / dragon, the kundalini energy fallen into matter. Its mouth is open, and a ray from above falls into it. The head comes out of an abyss into which fiery human figures are drawn. Along the borders you see structures of a city disappearing and humans standing between light and darkness. In the background of the picture, there is the horizon of the globe merging into the vastness of the dark blue sky. There is a strong contrast between the calmness of the upper part and the dramatic situation in the lower - reflecting a state of our world's affairs.


Spiritual Hierarchy 8 - Service of the Logos

July 1989, 100 x 56 cm, acrylics on pressboard

Here you see the downpour of light from Higher Circles onto the globe. The ocean becomes the stream of the waters of life, coming down via the "Bridge of Light"; Christ is kneeling in this stream and washing the feet of his disciples - teaching them the lesson of service through unconditional love. One of his disciples is also kneeling down in the stream, ready to help, while the others stand there to receive the service, and not yet ready to serve themselves. The stream flows down to the observer, inviting him to step into the flow of service which Christ teaches, like all other great Teachers. So the painting shows three dimensions of the downpour of energy - the cosmic, the planetary and the individual levels.



26 June 1987, 48x46 cm, acrylics on chipboard

The picture represents sublime beings of light which might manifest and approach us to bring their blessings.


The White Brotherhood

1990, acrylics on pressboard

Since the mid-70s when I came to know about the White Brotherhood and the Masters of Wisdom, there was a deep longing to know more about them and to work for them. They are the guiding light throughout all the years.


Iris Flower

1990, blackboard drawing

I put a blackboard in our apartment where I painted pictures from time to time and dissolved them some weeks later: see the painting "Globe Chains - Incarnations of Earth". I only photographed these two paintings; the others are gone into the ether.

I saw a picture of this iris in a book and thus painted it on the blackboard.


The Egg of Brahma

1990, acrylics on pressboard

This is probably the last one of the “Early Paintings” before the "big creativity pause" of 19 years.

The breath of Brahma is depicted as a swan, Hamsa, whose pulsation is the pulse of life. From out of the egg slumbering for a long time in the waters (ethers) of space, creation came. It is described in the Indian pictures as a golden egg, Hiranya Garbha.


Globe Chains - Incarnations of Earth

Blackboard Drawing, 1991

At that time, I put a blackboard in my apartment for paintings. The paintings remained on the blackboard only for a short time and then disappeared again into "pralaya" without any records.

The occult teachings say that we are in the 4th cycle (round) of a series of 7 incarnations on earth. Rudolf Steiner called the first incarnation the old Saturn (not directly related to our present Saturn), then the old Sun, the old Moon – represented on the left. At the bottom you see the Earth, with its sign, the cross over a circle. It is in the form of a drop - symbol of the soul - coming from a vagina-like structure above in a circle: The origin of manifestation, Mother Nature coming out of the background, the Oneness, represented by the circle in an ocean of blue. From out of this state you see the descending (involutive) arc of planetary incarnations on the left side, then the ascending arc on the right side - future incarnations (globes) of our Earth, so-called Jupiter, Venus and Vulcan states, which finally merge again into pralaya, the great dissolution. Between the different globes there are "minor" dissolutions (deaths) of our earth. So this blackboard painting visualises the full series of Earth incarnations as per the secret doctrine teachings.


Emanation 2

1990 - April 1992 (dissolved), approx. 160 x 50 cm, door decoration, transparent paper glued on glass

This paperwork shows how from the One the Three come out, then the Five. The dove, symbolising the spirit descending as consciousness into matter becomes condensed to the pentagram, which is impregnating man, standing in the upright posture of the 5-pointed star. He is surrounded by the 5 elements which make up his nature. The posture of man is the same as in the painting “Unfoldment” - firmly grounded on earth, but free to receive the energies of the spirit. So man, the microcosm, is in unison with the cosmic man expressed in macrocosm.

The paperwork was done on the glass of a door in the apartment of that time. I dissolved it when we left the apartment in April 1992.


Descending from Above

09 September 1984, 39 x 29.5 cm, liquid glazing paint and fast glue

From summer 84 to April 86, during the traineeship for the 2nd state examination, I lived on the 4th floor of an old house in Münster, Germany, with direct view over the road onto the belfry of the nearby church, from where the ringing of the bells strongly vibrated through the air. The view inspired me for this painting, where you see the presence of angels spreading their light over the city in times of crisis. This emergence of light appears again in the painting "Light over the City" from 1987.


Light, Love and Power

September 1981, A 4, liquid glazing paint on paper

This is the first painting which came after an intense inner experience full of fire lasting for several days. It was be beginning of a deep transformation.

The painting shows the downpour of energies from the Point of Light, as it says in The Great Invocation. The Light, Love and Power pour down and ignite the hearts of mankind, represented here by the sea of flames. You see the protecting hand of the forces of Light on the left side and a cascade of fiery energy flowing down from out of the Divine Eye, the doorway to the Beyond.


The Cosmic Person

8 September 1981, A4, liquid glazing paint on paper

This is the second fiery painting of the new series of Early Paintings. Like the other paintings, it was done quite fast and when I was in a kind of rapture.

The picture shows Purusha, the cosmic person.


Creator Animae - Forming of the Soul

14 September 1981, A 4, liquid glazing paint on paper

This is the third picture of the Fiery Paintings, done about a week after the profound inner experiences which triggered all these paintings.

There was the feeling that the soul is being "impressed" or formed, and at the same time there was the question about how we as souls got formed. The light of our I AM is being infused into the causal body, from out of the higher light and the ocean of existence. You see here the "Lord of the Flame" at work; his Eastern name is "Agnishvatta", as I found out later. According to the Wisdom Teachings, he infuses / stimulates the divine spark in us.


Choir of Angels

10 November 1981, A4, liquid glazing paint on paper

I painted this picture after a deep meditation experience. It was a time shortly after my MA exam and before moving away from the place where I studied.



27 January 1982, A 4, liquid glazing paint on paper

This painting meant (and means) very much to me. Having grown up in a very catholic family and environment - which I left later - the existence of angels was something very natural for me. They appear in streams of fiery light, which from very subtle white and yellow condenses to more flame-like structures in the lower part of the picture, and the white flames of the blessing hands. They give their presence through intensely vibrating energies, and at the same time radiating a soft, soothing light - a fire which isn't burning, but gives strength and upliftment.


Meditation 1

13 December 1981 A 4, liquid glazing paint on paper

This picture tries to express the opening into inner spaces.

The inner experiences I had deeply disturbed my settings of understanding and explanations I had. They did not fit into the concepts I knew. For years, I searched for answers in different teachings and tried to bring an order into questions which deranged my world-view. On a surface level I found theories, but I was stirred up to a deeper search which drove me to dive into different spiritual movements and to try to put missing pieces together.


Meditation 2

17 January 1982, A 4, liquid glazing paint on paper

Like the first painting of the Meditation series, this picture shows the opening to inner dimensions.

Though I didn't know the "Occult Meditations" by Master EK / Master KPK at that time, the painting reminds me of meditation No 25, where it says, "...In Him verily we live until He opens His eye in us."

The meditator is one with the Eye which is "observing" him, so there is no more observer and observed, just the process of observing. This is expressed through the upward and downward triangles fusing with each other - the human ascending and the Divine descending, and a fiery line anchoring in the head at the Ajna centre on the front. Focussed attention is "shooting upward" and fiery energies are pouring downward.

And while the human eyes are closed, there are in the fusing triangles are wide open, radiating light from beyond.

So there are energy structures, which aren't static, but highly dynamic, in ordered rhythm.


Meditation 3

19 January 1982, A 4, liquid glazing paint on paper

This is the last painting of the Meditation series. It shows the process of invocation and evocation: The meditator sitting below opens up through his fiery call towards the Divine being, and from the higher circles there comes the response as a downpour of energies of love and light. It is much stronger than what an individual can reach for, and it opens inner spaces which break up the narrow ring-pass-not of the limited consciousness.

You see movements of energy, and at the same time the Divine being in white light appears out of the circumscriptions of golden-yellow light on the background: I painted it by leaving away the colour, just giving the contour. I also used this technique in some other pictures that followed. The meditator, in his etheric frame, appears in golden-yellow light, surrounded by a darker golden-yellow aura.



16 January 1982, A 4, liquid glazing paint on paper

I was fascinated by the etheric structure of the pyramid and the double pyramid manifesting in space. For me, it was like a portal into another dimension, and at the same time a basic brick of the manifestation of the cosmos. In India, the double pyramid is considered as a form of the Lingam of Lord Shiva, and, when visualised around oneself, as a structure of protection.

“The Infinite Unity, or Ain-Suph, is ever placed outside human thought and appreciation; and in Sepher Jetzirah we see the Spirit of God - the Logos, not the Deity itself - One is the Spirit of the Living God . . Who liveth forever. Voice, Spirit, [of the spirit], and Word: this is the Holy Spirit, [ Mishna, i. 9.] Three-in-one and Four and the Quaternary. From this Cube emanates the whole Kosmos. Says the Secret Doctrine: «It is called to life. The mystic Cube in which rests the Creative Idea, the manifesting Mantra [or articulate speech - Vâch] and the holy Pûrusha [both radiations of prima material] exist in the Eternity in the Divine Substance in their latent state» - during Pralaya.” - Secret Doctrine III<



18 January 1982, A 4, liquid glazing paint on paper

This painting tries to illustrate how from the Eternal One, which opens like an eye from the beyond, the creation manifests. The down-pouring flames emanate the forms, the quaternary, the pyramid. At the time of painting, I hadn’t yet studied the Secret Doctrine, but found the parallels much later.

“It is in the quaternary that the first solid figure is found, the universal symbol of immortality, the Pyramid, ‘whose first syllable means fire.’ “ - Secret Doctrine III


Ray of the Spirit

18 December 1981, A 4, liquid glazing paint on paper

This picture shows the downpour as a ray of the spirit, symbolised by a group of 9 white doves swooping down into a sphere of darker golden-yellow and beaming down flames of fire. I didn't know why I painted 9 doves, but later I came to know that 9 is the number of the complete creation.


Divine Mother 1

25 October 1981, A 4, liquid glazing paint on paper

From October to November of 1981, I did a series of 5 paintings on "The Divine Mother". In Christian tradition, the female aspect of the divine is personified by Holy Mary, the mother of Jesus Christ. The present series of "The Divine Mother" is fiery, with mostly golden yellow, white, and sometimes a bit blue and golden colour. The paintings were done in the flow of the after-effects of the strong spiritual experience of September 1981, very rapidly (approximately 1 hour each) and in a state of rapture.

Ever since my early-most childhood, this form aspect of divine feminity is very close to me. I only came to know later that the iconography of Holy Mary absorbed other forms of the female aspect of the divine and that also in man there is "wo-man", a feminine aspect. I searched it in the eastern and western expressions and was fascinated by Sri Kumar's seminars on Saraswathi and Sri Suktam.


Divine Mother 2

07 November 1981, A 4, liquid glazing paint and gold colour on paper

The picture shows the Mother as the World Mother, standing on top of the sphere of creation, clad in dark blue, like the background from where She emerges, with a crown of light and surrounded by an orange / golden yellow aura and an aura of gold - the colours of the higher mental and buddhic planes of pure energy. Again and again I paint images with radiant auras of energy, they keep fascinating me. The Mother is blessing the world / creation with her hands and her presence. I didn't paint a face, for it is just a non-personal expression of the divine feminity.

The picture was done together with another one, which I called Roi de l'Univers (King of the Universe), the male aspect of the divine male-female expression. It is published later, after this series.


Divine Mother 3

08 November 1981, A 4, liquid glazing paint on paper

The picture shows the mother with the child in a drop of light. For me, the form of the drop has always been the shape of the soul; this form already came in paintings in the early and mid-70s. Here the mother and the Christ-Child at her breast are like an opening to the background of blue from where the manifestation comes. The mother protecting and nurturing the incarnated soul bringing the light down to earth is the gesture of this picture and full of warmth and flowing radiation.

I did 3 paintings the same day - it was a totally inspired situation.


Divine Mother 4

08 November 1981, A 4, liquid glazing paint and golden colour on paper

The picture shows the mother in a direct view, surrounded by an aura of light and golden radiation on a golden-yellow background.

When I did this picture, I was deeply touched by the look which came through the eyes.

This is the first picture of the Fiery Paintings, where a face appears, though resting vaguely in a sense. With the previous pictures, I hesitated and tried to avoid the concretion of a face into a form. I felt it is somehow limiting the universal aspect of pure energy. At the same time the look strongly increases the impact; it touches the observer. In the next picture, there is also the concretion of a face. And you will find eyes in other pictures that follow.

The picture oscillates between the concrete and the abstract. There is a flow of energy expressed in the flow of hair and the beginning torso. And the golden radiation is transcending the borders of the picture.

All the time I tried to paint light, not colour on paper, though it wasn't possible. So I made slides from the pictures, looked at them as light - but nevertheless only the reflection on matter brings forth the light.


Divine Mother 5

12 November 1981, A 4, liquid glazing paint on paper

This picture of The Divine Mother series was, for me, the most intensive one. It came out nearly in one stroke, very rapidly and in some kind of ecstasy. The entire painting is a flow of energy, and from out of a cascade of fast brush strokes came forth the fiery face of the mother tenderly looking towards her child in her arms. Her hand holds the head in a gesture of protection. The infant turns his head towards his mother's face, in intimate unison, lying open in her arms.

After finishing the painting, I couldn't turn away my eyes - the expression of this scene impregnated me and came again and again before my mind's eye the next few days.


Divine Mother 6

28 October 1981, A 4, liquid glazing paint on paper

This picture shows the return of the souls into the arms of the Great Mother.


Divine Mother 7 - The Family

12 December 1981, A 4, liquid glazing paint on paper

The painting shows Jesus together with Mary and Joseph, as the representants of the Holy Family in fiery flames.


King of the Universe

08 November 1981, A 4, liquid glazing paint and gold colour on paper

This painting was done together with the painting Divine Mother 2; it is the counterpart of the masculine aspect of divinity. In the oval form of the vagina of the World Mother, the figure of Christ or the consciousness aspect in creation appears. He is sitting on a fiery arc, which represents the sphere of creation, and gives his blessing. The aura of fiery red is surrounded by an aura of golden radiation on a background of blue, being the background from where creation enters into manifestation. So consciousness, the Second Logos (the Son, Christ), comes forth from the "marriage" of the First Logos (The Father, the Divine Will) and the Third Logos (The Mother, matter), and it penetrates the entire creation. Thus consciousness "rules" over all the expressions of creation.


Divine Eye 1

08 November 1981, A 4, liquid glazing paint on paper

This picture was done on the same day as "Divine Mother 3" - very intense days. Though the symbol is "classical" and used in churches as well as in freemasonry, I didn't take care of these "parallel uses", but tried to see it anew.

The eye has a white centre, the point in the triangle, the entrance point of the spirit, expressing as the three great principles also called rays or logoi - Will, Love and Active Intelligence, or Father, Mother and Son. The eye is also an expression of "personalisation" of the most abstract, giving a human, though super-human approach to the background from where it emerges. The white is pure energy, concretising and differentiating into fire, and from there it becomes more condensed into the aura of golden flames, on a background of golden-yellow radiation.

You can look into the centre of the eye, and from there you can try to go beyond. It is a good symbol for meditation. This entrance is also called the Eye of Shiva - through this passage the God beyond creation enters into creation. It is above the Ajna centre and is also called The Aquarian Passage, from seeming nothingness to apparent something.


Divine Eye 2

04 December 1981, A 4, liquid glazing paint, gold and silver colour on paper

Here you see the Divine Eye - the white point in the centre surrounded by an eye-shaped aura of blue, resembling in the vertical to a womb-like opening, from where the manifestation starts. The golden yellow flames resemble the emanations of the divine beings from out of the Origin and enlivening the entire creation. They spread light and love coming all from out of the centre, the background from where the eye is opening.


Divine Eye 3

16 December 1981, A 4, liquid glazing paint and golden colour on paper

In this painting of the Divine Eye series, you see the central point which expresses as the one eye surrounded by an energy vortex of golden-yellow and white. The two triangles in the upward and downward direction inter-penetrate and form a six-pointed star with the eye in the centre as the seventh point - representing the 7 rays or planes of creation, with the divine will as the central point. The whole is surrounded by a golden circle representing the unity, the oneness of existence, radiating golden and golden-yellow rays in every direction, while in the centre the background is just in a darker golden-yellow movement.

At every point of the six-pointed stars, you see the formation of three eyes - the one centre becoming many centres or points of expression, all surrounded by their individual radiation of gold. All together they form 18 eyes plus the one in the middle. 18 is 1 + 8 = 9, for the perfect creation, plus the one in the centre which is manifest and at the same time unmanifest. So 9 + 1 = 10, representing 1 + 0 = 1, the One expressing as all there is. The many eyes also remind of the description of the Cosmic Person, Purusha, in the Veda: Thousand headed, thousand eyed, thousand feeted is Purusha.

So the image expressed fullness expressing as fullness: THIS is fullness and THAT is fullness: Purnamadah Purnamidam...


Divine Eye 4

July 1982, A 4, liquid glazing paint and fast glue on paper

This painting visualises the Divine Eye as a portal to enter into the subtle spheres and the path which leads into the light. It is surrounded by three eyes representing the three aspects of the Divine – Will, Love and Light. The sperm-like forms in the periphery of the circle represent the souls which have taken through the portal and now are in the Light.

“The Pineal Gland is that which the Eastern Occultist calls Devâksha, the “Divine Eye.” To this day, it is the chief organ of spirituality in the human brain, the seat of genius, the magical Sesame uttered by the purified will of the Mystic, which opens all the avenues of truth for him who knows how to use it.” - Secret Doctrine III


Sons of Light 1 - Blessing

29 October 1981, A 4, liquid glazing paint on paper

In this painting you see the triangle with the Divine Eye in the background, surrounded by the waters of space and energies radiating forth. The head of the blessing figure is like the circle coming out of the centre of the eye - the son of light emerging from the divine centre. There is no difference in the colour - it is all fire, just shades of manifestation appearing as forms, being nearly no forms at all. The Son of Light sits in a meditation posture - he is not absorbed, but sheds his blessings to the observer.


Sons of Light 2 - The Five-Pointed Star

05 January 1982, A 4, liquid glazing paint and golden colour on paper

This painting shows a white figure in the position of the five-pointed star in a field of golden-yellow-flames and outlined by a golden coloured frame which again radiates flames of gold and golden yellow. Over the head of the figure there is a crown of flames.

At that time, I only vaguely knew the symbolism of this figure, about which Sri K. Parvathi Kumar has often spoken:

In Eastern wisdom, standing in the position of the five-pointed star is called the dragon, the symbol of wisdom, or "Makara", the Sanskrit name for Capricorn, which again symbolises the release of spirit from matter. Man with his five senses has gained purity.

The golden or golden yellow star stands for the heart, whereas the white star full of light is referred to as the "Glorious White Robe", the "Antahkarana Sarira", the Body of Light or the perfect etheric body.


Sons of Light 3 - Meeting

19 January 1982, A 4, liquid glazing paint on paper

In this painting, you see the triangle transformed into a pyramid. There is no more the central eye, but the Son of Light stepped forth, surrounded by an aura of golden yellow flames. Over his head, there is a crown, sign of the opened head centre, and above that, there are white flames, the fire of the spirit. Around these flames there is the shape of a big drop, symbol of the soul. Here the universal soul expresses through the individual. The cosmic consciousness - symbolised by the seven stars - descends through the pyramid down to earth. In front of the Son of Light, you see a path of white light. It is the lighted path we can walk to approach and meet the Son of Light and to enter into the Light.

In the background you see two radiant eyes with a white centre: You are observing and being observed by the One in the background. The difference between the observer and the observed is only a seeming difference, in reality they are just one.


Sons of Light 4 - The Cosmic Christ

29 January 1982, A 4, liquid glazing paint on paper

This painting shows the white figure of Christ in a blessing position. He emerges from the flames of the surrounding fiery aura. And there is an aura of white light surrounding his upper half, from where the form of the cross appears. It is not a position of suffering on the cross, but of the cross of matter transformed into the light structure of the horizontal and vertical dimensions of material incarnation. You might compare it to the painting of the Birth of Christ - The Logos, reminding of the sacrifice of the Cosmic Man, Purusha, to manifest the planes of creation.

There is no face, no structure of the body; it is just light, like the light of the background, having gained form through the circumscribing outlines.


Sons of Light 5 - OM

16 September 1982, A 4, liquid glazing paint on paper

In this painting, you see the form of the OM symbol emerging from the waters of space, all in radiant flames. Behind the OM, you see a blessing figure in the shape of Sri Satya Sai Baba.

At that time, I just was about to fly to India, on a very short notice, to visit Sai Baba.

The white figure is behind the OM, being the expression from cosmic consciousness. The presence of the universal soul is hinted at through the surrounding aura in the form of a drop.


Sons of Light 6 - Apparition

24 October 1981, a 4, liquid glazing paint and white covering colour on paper

In this painting, I tried to express an inner vision or feeling of the existence of sublime beings, who at times give us their presence. The painting is kindred with the picture “Manifestation”.

This was the only painting where I used white covering colour. The luminosity wasn’t satisfactory and I saw that details of shades of white weren’t as I felt they should be expressed on paper. Nearly 32 years later, when restoring the painting from a slide, I enjoyed the subtlety of the colour nuances which are vaguely expressed on the print-out.


Sons of Light 7 - Triumph

08 November 1981, A 4, liquid glazing paint on paper

This painting shows the final victory of Jesus Christ over the death of the physical body, creating a tremendous release of light.

“The words “My God, my Sun, thou hast poured thy radiance upon me,” were the final words that concluded the thanksgiving prayer of the Initiate, “the Son and the glorified Elect of the Sun.” They were pronounced after the terrible trials of Initiation, and were still fresh in the memory of some of the “Fathers” when the Gospel of Matthew was edited into the Greek language.” - Secret Doctrine III


Sons of Light 8 - Fiery Metamorphosis

24 October 1981, A 4, liquid glazing paint on paper

At this time, I was discovering the existence of the Cosmic Christ in relation to the individuality of Jesus Christ. This painting expresses the release of energy which happened through the transformation Jesus Christ underwent through the crucifixion manifesting most sublime energies onto the physical. The cross, symbol of his initiation, is in connection with the fiery world, and through his body, there is an inpour of light. The elements are in a state of turmoil and the forms, the imprisoned souls, are waiting for their release.

“From the beginning of Humanity the Cross, or Man, with his arms stretched out horizontally, typifying his kosmic origin, was connected with his psychic nature and with the struggles which lead to Initiation.” - Secret Doctrine III


Sons of Light 9 - Self-Giving

10 December 1982, A 4, liquid glazing paint on paper

The painting shows the self-giving of the lower to the higher self, of the personality to the Divine.

“The ‘harvest of life’ consists of the finest spiritual thoughts, of the memory or the noblest and most unselfish deeds of the personality, and the constant presence during its bliss after death of all those it loved with divine, spiritual devotion. Remember the teaching: The Human Soul, lower Manas, is the only and direct mediator between the personality and the Divine Ego.” - Secret Doctrine III


Spiritual Hierarchy 1 - The Assembly

18 November 1981, A 4, liquid glazing paint on paper

In this first of five paintings on Spiritual Hierarchy, you see in the upper part the Divine Eye surrounded by concentric circles emanating from the white centre; so this painting also belongs to the “Divine Eye” series. There are 5 flames above the eye like a crown of fire. From the centre of the eye, a triangle is projected downward, manifesting in the form of a pyramid. A downpour of light enters into a smaller triangle / pyramid, which has a white opening surrounded by a fiery aura. It is like a vagina or the divine eye in a vertical form, resembling the pyramid in the painting "Sons of Light 3 - Meeting". There is a connection between the two spheres, where you see the rainbow bridge, the colourful veil of the Mother of the World. In the centre of the picture, you see a path of white light leading to the fiery pyramid, drawing the observer's eye inside and upwards to the point from where the energy is pouring down. The space opening before the pyramid is surrounded by an assembly of 24 drop-like flames, reminding of the biblical 24 Elders before the Throne. It also hints at the assembly of the Dhyani Buddhas in deep meditation around Sanat Kumara, the Lord of the Planet, gathered at Shamballa, in the ethers of Gobi Desert.


Spiritual Hierarchy 2 - The Birth of Hierarchy

09 December 1981, A 4, liquid glazing paint and golden colour on paper

This picture shows the Divine Eye at the top and golden and golden-yellow rays emanating from its circumference, as well as the rainbow of the veil of the Mother of the World - the layers of creation. It is in a way the continuation of the first picture of this series.

The rays don't radiate out, but surround and hold the creation. The rainbow now forms a vessel-like space, also called an argha (ark) which holds the creation. There you see the shades of blue emerging from the background.

In the centre, you see a downpour of light from the one eye, and in the flow you see eyes and flames coming up - the One Eye becomes many eyes, many centres of light; the one Monad becomes many monads. They are the light-bringers, the guiding lights, observing and nurturing the beings on the path, to uplift them and to show them the way. So this is the birth of Spiritual Hierarchy - the Masters of Wisdom being the incarnations of Light.

Like the first painting of this series, this one is also an expression of the Divine Eye series. It is the last one of these fiery paintings of 1981. The quality of colours changes with the following pictures of 1982.


Spiritual Hierarchy 3 - The Masters of Wisdom

14 June 1982, A 4, liquid glazing paint, inks and fast glue on paper

From out of the Sun, there come the Sons of Light, the Masters of Wisdom. The Sun in us is the Ajna centre or the Third Eye, the seat of the individualised consciousness, the I AM - the universal soul becoming the individual soul. A Master of Wisdom is someone who has established this link-up and thus is a channel for the Light to enter and to enlighten the souls seeking the path. Here you see 9 figures coming out of the Spiritual Sun, which is the Divine Eye in the background, the Light beyond the Sun. The 9 are like one, they form a unity, though they appear to be separate beings.

On both sides, you see Deva / Angel figures, with the "drop" of the universal soul inside and an aura of radiance around the head in transparent blue.

The paintings of this period in 1982 don't show the intense fire of the first period anymore. The colours, still luminous, are becoming darker; they are the harbingers of a big crisis I had to master in the coming months.

While living at that time in the headquarters of the German TM movement, I experienced approaching in the form of a person who introduced herself to me with the words: "We know us from a previous incarnation". And the turbulences ensuing the next few months abruptly changed the direction of my life. You might sense this undercurrent in these paintings.


Spiritual Hierarchy 4 - Arrival

24 March 1982, A 4, liquid glazing paint, inks and fast glue on paper

There is an age-old knowledge that in times of crisis a Divine incarnation comes to establish the Law on earth once again. In the Bhagavad Gita (IV 7-8), over 5000 years old scripture, Lord Krishna says: "Whenever there is a withering of the law and an uprising of lawlessness on all sides, then I manifest Myself. For the salvation of the righteous and the destruction of those that do evil, for the firm establishing of the Law, I come to birth age after age."

In other teachings there is an expectation of the return of the Christ, of the Iman Madhi or of the Kalki Avatar.

This picture shows the arrival of the Avatar sitting on the "Clouds of Heaven" in a calm meditation posture above a stream of fiery energy falling down onto a world in fire, purifying it from the debris of the old world. He is surrounded by a host of devas / angels appearing on the dark blue background.

The Paintings "Spiritual Hierarchy 5 – The Brotherhood", " Spiritual Hierarchy 6 – The Ascent" and „Spiritual Hierarchy 7 – Service of the Logos“ are published at an earlier place.


Spiritual Hierarchy 7 - Towers of Light

31 December 1981, A 4, liquid glazing paint on paper

This picture is a symbolic representation of the Spiritual Hierarchy as towers of light for humanity.

“White is the absence of all colours, and therefore no colour; black is simply the absence of light, and therefore the negative aspect of white. The seven prismatic colours are direct emanations from the Seven Hierarchies of Being, each of which has a direct bearing upon and relation to one of the human principles, since each of these Hierarchies is, in fact, the creator and source of the corresponding human principle. Each prismatic colour is called in Occultism the “Father of Sound” which corresponds to it; Sound being the Word, or the Logos, of its Father-Thought.”


Worlds of Light 1 - The Fight

11 March 1982, A 4, liquid glazing paint, inks and fast glue on paper

This painting is an earlier version of the theme of "Spiritual Hierarchy 5 - The Brotherhood". Here you see the Archangel Michael fighting with the dragon. Like in the other pictures, the Angel is without a face and as his body or his inner side there is a drop, symbol of the soul in a form. He is holding a spear, which stands for the human spine. The dragon represents the kundalini energy or the spirit bound in matter. It is not the killing of the dragon, but the liberation from the bondage of form. The dragon is painted in fiery red, surrounded by a dark golden aura. This shows its divine origin and quality - it is part of the whole, the counter-part of the energy of light is represented by Michael.

In the centre there is a globe with waves, it represents the space waters or the energy waves in space.


Worlds of Light 2 - The Path of Light

28 March 1982, A 4, liquid glazing paint, inks and fast glue on paper

Like in the later painting "Spiritual Hierarchy 6 - The Ascent" you see the lighted path leading through a gate into the light. This picture attracts the onlooker to walk through the gate and reminding of a gothic cathedral. On both sides, you see angels in golden yellow guarding the gate. They shine in a red opening behind the gate, and below you see drops, symbols of souls in form or the ardent aspiration of the soul, blue being the colour of the energy of love and wisdom.

The path leads over a stairway up into the white light, where it merges into the light. The white flame is surrounded by a golden-yellow aura in the form of wings uplifting the soul into its original identity with the origin.


Worlds of Light 3 - Return 1

23 March 1982, A 4, liquid glazing paint and fast glue on paper

In a number of paintings of that period, I expressed the deep longing to return back to the source - souls striving to get back, from out of darkness to the light. This is the first of these paintings.

After a time with strong inner experiences of light in 1981, the intensity withdrew. From December 1981 on, I lived for 9 months in the German headquarters of the TM movement, working in a little scientific library with books on spirituality and meditation research. Forebodings of a major crisis slowly showed up, and the colours in the paintings changed from bright golden yellow to other shades. The crisis arrived in mid-1982 and continued till spring 1983, totally changing the settings of my life. This picture resonates with this undercurrent, unconscious to me at that time.


Worlds of Light 4 - The Source of Light 1

12 December 1981, A 4, liquid glazing paint, fast glue and gold colour on paper

This is the beginning of some pictures where I experimented with glue and the effect of colour. The motive of the light streaming down returned again and again in a number of variations.


Worlds of Light 5 - The Source of Light 2

16 March 1982, A 4, liquid glazing paint, golden colour and inks on paper

This painting shows the downpour of light from the white source, which in other pictures is presented as an eye. The white source is surrounded by the golden-yellow sun from which flames emanate in gold and blue, and the blue transforms into drops - the many souls emanating from the one source "falling" down into denser spheres, concretising to darker blue, golden and yellow.

This painting has the same structure like the very first picture of the Early Paintings - Light, Love and Power. The next one has the same structure and just changes colours. The intensity of the early painting had gone, and I was longing for re-evoking its intensity.


Worlds of Light 6 - The Source of Light 3

July 1982, A 4, liquid glazing paint, golden colour, inks and fast glue on paper

There is not much to be added regarding this picture. The colours are darker, there are rings of fire around the central sun and the downpour is no longer white, but golden-reddish fire. The climax of the big crisis in my life was approaching. <


Worlds of Light 7 - The Tree of Light

2 June 1982, A 4, liquid glazing paint and inks on paper

This picture shows the sun of the soul shining through the branches of a tree, the downpour being the stem and roots. Though the sun still shines bright, the background of the tree is of night blue and green colours, the branches are reaching upwards like imploring the light to come down.<


Worlds of Light 8 - Star of Light

15 March 1982, A 4, liquid glazing paint, inks and fast glue on paper

This picture shows the opening of the inner light. The white centre of the sun is surrounded by a fiery sphere which again is enveloped by a ring of radiant electric blue. On the one hand the light radiates to the outside, on the other it attracts the blue sparks to the centre - a movement of pulsation, of expansion and contraction, the basic rhythm of life. Unfoldment from within and re-foldment to the centre.


Worlds of Light 9 - Shining 1

15 June1982, A 4, liquid glazing paint, inks and fast glue on paper

Here you see the penetration of light into the subtle network of the nadis, the energy lines of the body. There is no human body form visible, but you see the surrounding blue ethers and then the light in the head and from there the streams of light pouring down into the different layers of the body.


Worlds of Light 10 - Shining 2

04 July1982, A 4, liquid glazing paint, inks and fast glue on paper

Here you see the light coming from the source of light attracting the many souls on the path back to the source. From every direction the souls approach and then merge into the light.


Worlds of Light 11 - Fourfold Unity

09 December 1982, A 4, liquid glazing paint and inks on paper

This is the last painting of the Worlds of Light series seen from the sequence of time; as per the theme it has to be at this place. It shows the unity and mergence of a group of souls as a fourfold unity. You see other souls attracted through this radiant unity. I painted the picture as an expression of strengthening the unity of a friend's family.


Worlds of Light 12 - Return 2

07 August 1982, A 4, liquid glazing paint and fast glue on paper

This is the last painting before the outbreak of a major crisis and a reorientation in my life. Though the elements in the picture are similar to previous paintings, here suddenly the colours rose and violet appear, the colours I used in the following pictures which were done 5 months later.

And the drop in the centre, expression of the soul coming from the origin, is like being surrounded by protecting walls. At the end of the turbulences in the wake of which I left the TM movement and gained another orientation in my life, a great deepening had taken place.


Worlds of Light 13 - Flames of Light

July 1982, A 4, liquid glazing paint and fast glue on paper

The image reappeared in 2013; it visualises the divine spark, the divine ego, surrounded by the flames from the One Flame.

“The essence of the Divine Ego is ‘pure flame,’ an entity to which nothing can be added and from which nothing can be taken: it cannot, therefore, be diminished, even by countless numbers of lower minds, detached from it like flames from a flame.” - Secret Doctrine III


Way of the Cross, in 14 + 1 Tables, Cover Picture

06 January 1983, A 4, liquid glazing paint, transparent glue and gold colour on paper

This is the first picture of the series, so-to-say the cover, and in a different style than the following ones. I didn't pay attention to be "precise" in the lines / circles, but wanted to go into the colour and form expressions.


Way of the Cross, in 14 + 1 Tables, Table 1: The Last Supper

14 January 1983

As per my understanding, the Last Supper is not just sharing bread and wine to be the body and blood of Jesus Christ, but also manifesting and impregnating the energy impulse of light and love in the etheric. So you see the reception of light from above into the bowl. The apostles are looking towards Jesus, except Judas, on the right end of the picture, who is looking away.


Way of the Cross, in 14 + 1 Tables, Table 2: Gethsemane - Mount of Olives

11 January 1983

Here you see Jesus praying to his Father, in a vision of his future suffering. The blood is dripping down the cross, expressing the state of anguish but submission to the divine Will. It is dark, inner turmoil and solitude. In a crisis of decision, you might think of an easier way, but when you realise that the next steps will lead you via a painful path but which is the right direction, you need will power to go ahead. So here Jesus is invoking the divine Will to attune his will with the greater Plan.


Way of the Cross, in 14 + 1 Tables, Table 3: Imprisonment

13 January 1983

This picture shows the capture of Jesus by the Roman soldiers and Judas giving the sign. Jesus offers no resistance, just shows his hands to be bound. The whole scene is in front of the city at night.

The situation reminds of moments where we experience being left alone and "friends" turning a cold shoulder, where even without having caused any fault you are caught and made responsible.


Way of the Cross, in 14 + 1 Tables, Table 4: Peter Betrays Jesus

14 January 1983

This picture shows the scene in front of the city gates where Peter is asked if he knows Jesus. Out of fear of getting imprisoned himself, he denies him thrice times before the cock crows. You see a nightmarish giant cock in front of the city walls.

A scene we all might know where out of fear or when challenged we don't stand behind our own convictions or words we said.


Way of the Cross, in 14 + 1 Tables, Table 5: Jesus and Pilate

12 January 1983

In the interview with Pilate after his capture, Jesus was asked whether he was a king, he answered, yes, but not from this earth. Pilate understands, but is exposed to public pressure. This scene is an epitome of the dilemma between the truth (even of a higher order) and the pressure from interest groups motivated by particular interests. In one way or the other, this is nearly part of everyday life, where we have to notice that reality is constructed by power groups, especially the construction of mainstream reality.


Way of the Cross, in 14 + 1 Tables, Table 6: Flagellation

14 January 1983

After having been given free to the decision of the mob, of the public opinion makers, Jesus is bound to a pillar and beaten. The blue colour of the torturers stands for the emotionless henchmen of power, who just follow the given order and think of being free from guilt. The vaults hide the injustice from view - like the many things that go on in the dark far from the public eye. There is no question of justice or even compassion.


Way of the Cross, in 14 + 1 Tables, Table 7: Crowning of Thorns

14 January 1983

This is also a situation of a quasi-universal character. It is a well-known behaviour of those seeming powerless ones who feel powerful by mocking of victims or even enjoying their cruelty.


Way of the Cross, in 14 + 1 Tables, Table 8: On the Way of the Cross

10 January 1983

Here you see Jesus fallen to the ground under the weight of the cross - no other persons visible. In the background of the scene there are church windows, symbolising the - old and modern - religious authorities and orthodoxy. Christ, the universal consciousness, falls down to the hard floor, under the pressure of the emotions of the masses and man-made concepts, hard as concrete.


Way of the Cross, in 14 + 1 Tables, Table 9: Veronica's Veil

11 January 1983

A gesture of compassion and love - and an unforeseen gift - the face of Christ on the veil of Veronica. The whole witnessed by the three figures - representatives of the cold power of law and order.


Way of the Cross, in 14 + 1 Tables, Table 10: Simon of Cyrene

16 January 1983

Another gesture of compassion and help, though not totally spontaneous. The Farmer Simon is asked to help Jesus to carry the cross. The representatives of power stand in the back and follow the procession. The scene is surrounded by colours of blood-red and brownish-blue. The way is leading upwards and at the same time downwards.


Way of the Cross, in 14 + 1 Tables, Table 11: Fixing on the Cross

14 January 1983

The crucifixion looks like two craftsmen at work - cruelty can be very "technical" and detached, without any emotion.


Way of the Cross, in 14 + 1 Tables, Table 12: Crucifixion

13 January 1983

Whereas Jesus Christ on the cross is expressing peace, the elements of nature are in turmoil. The drops of his blood are dripping down into the ground impregnating the earth with the light of his life. The cross is multiplied into 3 dimensions, being a symbol of matter. It also seems to be organically grown from out of the ground, forming a unit.


Way of the Cross, in 14 + 1 Tables, Table 13: Descent from the Cross

10 January 1983

Maria, depicted as a naked woman, the merciful mother, takes down the corpse of her son. Though the body is dead, the aura still surrounds in a bluish light. From the cross, there are drops of blood falling down into the ground, and the sky is dark as night, though it isn't nightfall.


Way of the Cross, in 14 + 1 Tables, Table 14: Interment

18 January 1983

The interment of the corpse is like putting a seed into the ground. It forms a circle, an uterus of mother earth, which takes the body like a seed to germinate again. The three crosses are surrounded by mist, like in a dream, and the city in the background is only a far-away scenery of the on-going everyday life, not taking notice of the extraordinary happenings on the nearby mount.


Way of the Cross, in 14 + 1 Tables, Table +1: Resurrection

26 January 1983

In full contrast to the previous colours, you see here Christ in his radiant body of light, holding the globe, sign of the dominance of spirit over matter. The light surrounds all and also penetrates the depth of matter. Even the signs of the wounds are just marks of light. Resurrection.

The day I painted this picture was also the last day of a long crisis. Some good news arrived and during these weeks the new direction of my life finally had shown up.


Birth of Christ 1 - The Logos

23 January 1983, A4, liquid glazing paint and fast glue on paper

This is the first picture of a series on the birth of Jesus Christ. This series was painted immediately after the series on Way of the Cross.

The cosmic cross - the transformed and light-filled version of the physical cross of crucifixion - has the sun god in its centre. It is the cosmic person (Purusha) fixed in matter and through this sacrifice enables the creation. So you see the spiral of manifestation in the background, on a basis of the deep blue / indigo of the background, the ocean of the space waters. The sun globe has the white disc in its centre, standing for the central sun manifesting from the background. The square formed in the centre stands for the matter aspect, and the parallels forming the cross are the vertical and horizontal dimensions forming the cardinal cross in heaven. So the Logos, the Word of God, is spoken out from beyond - and the Word was with God, as it says in the beginning of the Epistle of St. John. It is the Word taking on the "flesh" of matter - the cosmic prelude for the physical incarnation of the Christ consciousness - expressed in this series of paintings.

Compare this birth series also with the painting "birth" and others having the symbols of these paintings.


Birth of Christ 2 - Annoucement

23 January 1983, A 4, liquid glazing paint and fast glue on paper

You see here the Angel Gabriel with a white lily announcing the future birth of Jesus to Mary. The whole is surrounded by ether, the cosmic space waters, from where the soul of Christ approaches the form of his future incarnation.


Birth of Christ 3 - Pregnancy – The Mother Standing on the Dragon of Matter

26 January 1983, A 4, liquid glazing paint and fast glue on paper

Here you see his mother in an archetypal representation as the World Mother. Often she is represented as standing on the crescent of Moon, or on a serpent or a dragon. This symbolises that the incarnation of the soul is into a pure, virgin vessel, and the serpent/dragon represents the cosmic creative force (kundalini) bound to matter. It is being liberated through the divine light. The pregnant mother (Lat. "mater" / matter) carries the light in her womb, surrounded by the space waters of ether.


Birth of Christ 4 - The Birth

27 January 1983, A 4, liquid glazing paint and fast glue on paper

Here you see the cosmic cross of the first picture of this series, where the cross manifests in the cosmos, now linked to earth. The sun in the centre, the Consciousness, comes down from the cosmic centre through the vertical movement into the physical sphere and enters into the form of the new born child. In the background you see the spiral of the first image now with blue and violet, the ether of the physical plane. The spiral condenses to the forms, and it surrounds the forms of Joseph and Maria who are blessing and protecting the child. The child is surrounded by a golden aura, and towards the bottom the colours change to the vital red, the colour of the blood of the earth into which the child now is "implanted".


Birth of Christ 5 - Announcement to the Shepherds

28 January 1983, A 4, liquid glazing paint and fast glue on paper

In a glowing aura of light, a group of three angels appears to the shepherds in the nearby fields announcing the birth of Christ upon earth, blessing them with their presence. The shepherds, sitting on the ground and dazzled by the light, incredulously look at the apparition. A great contrast between the spheres of night and light.


Birth of Christ 6 - Worship of the Three Kings

03 February 1983, A 4, liquid glazing paint and fast glue on paper

This is the sixth and last picture of a series on the birth of Jesus Christ. In the centre you see the infant Jesus held by Mary and surrounded by an aura of light, which is adorned by a crown of light. One of the three kings prostrates before the child, while another puts down his gift and the third one stands in the background in veneration. The three kings / magi carry crowns of red fire and are surrounded by a sphere of electric blue light. Mary is surrounded by the warm golden-yellow and red, colours of the heart, while the infant is of pure light.


Deva Glow 1 - Rise of the Butterfly

18 November 1984, 11 x 7.5 cm, silk painting

The first painting is a symbol of the unfoldment of the soul.


Deva Glow 2 - The Butterfly Dance

18 November 1984, 12.5 x 10.5 cm, silk painting

The butterfly has started and enjoys flying towards the sky. The painting reminded me of pictures of Joan Míro or of Paul Klee. I loved the play of colours and the movements of the forms.


Deva Glow 3 - The Butterfly Flip

18 November 1984, 11.5 x 7.5 cm, silk painting

There is a quick movement of the central form like turning from the front to the backside, with intense colour contrasts.


Deva Glow 4 - The Butterfly's Joyous Flight 1

January 1985, 14 x 10.5 cm, silk painting

A floating upward colour movement in golden yellow on a dark blue background, just feel the floating lightness.


Deva Glow 5 - The Butterfly's Joyous Flight 2

January 1985, 10 x 8.5 cm, silk painting

Another floating experience of the butterfly.


Deva Glow 6 - Opening of the Inner Treasure

18 November 1984, 12.5 x 7.5 cm, silk painting

I knew that there is a treasure in the inner, and even if for a long time it lies hidden deep within, there is still some sleeping glow ready to be re-opened when the right moment comes.


Deva Glow 7 - The Inner Seed

18 November 1984, 9 x 7 cm, silk painting

The inner seed is like a hidden sun, ready to sprout and grow. But it has to wait for the right time.


Deva Glow 8 - Journey of the Sprout

11 November 1984, 10 x 7 cm, silk painting

The sprout starts moving; it is no longer static in the centre. Where does the journey lead to?


Deva Glow 9 - The One Becoming Two

January 1985, 14.5 x 7.5 cm, silk painting

Here you see the opening of the one sprout dividing into two to allow further growth to happen. A cell division is the basis of the growth of the human form, which slowly ripens and grows in the womb of the mother. A shell-like form is holding the two cells of light, surrounded by the blue waters of space.


Deva Glow 10 - Dividing and Joining

January 1985, 11 x 7.5 cm, silk painting

The two cells of light, thought seemingly separated, are linked to each other. They also remind of the sun reflecting in water or the soul reflecting in the personality.


Deva Glow 11 - Joyous Interaction

11 November 1984, 11 x 11 cm, silk painting

The two cells of light are floating in the ocean of blue and engaged in joyous interaction. Being two, you can start a conversation and enter into a flow of loving interchange which isn't possible when you are alone. Though seemingly separated, the two cells are united through their inter-relation.


Deva Glow 12 - Vital Movement

18 November 1984, 9.5 x 7.5 cm, silk painting

Though seemingly static in the centre, there is a fast movement of the cell of light, like riding on a horse. But where does its journey lead to?


Deva Glow 13 - Floating

18 November 1984, 10.5 x 9 cm, silk painting

They are like two cells of light floating through the waters of space rowing in a boat - planning through worlds of blue.


Deva Glow 14 - Gliding

January 1985, 40 x 29 cm, silk painting

The colourful journey reaches its centre; the spiralic movement comes to an open rest.


Deva Glow 15 - Entering

11 November 1984, 15.5 x 11 cm, silk painting

The boat is entering the harbour - warm lights are welcoming the travellers.


Deva Glow 16 - Night Rest

11 November 1984, 11 x 11 cm, silk painting, inks and gold colour

The boat has come back to the landing stage; it is night now. The travellers rest and wait for another morning.


Deva Glow 17 - Coming down from Heaven

January 1985, 16 x 10.5 cm, silk painting

An angel descends from heaven to earth, bringing blessings of light. Other angels are rejoicing.


Deva Glow 18 - The Red Angel

January 1985, 10 x 7 cm, silk painting

In his role as a guardian, the Red Angel keeps watch and is ready to protect when danger arises.


Deva Glow 19 - Light-Messenger of Hope in Times of Darkness

19 October 1984, 17.5 x 12 cm, silk painting

The Messenger is radiating light over the earth, spreading hope in times of darkness.


Deva Glow 20 - Light and Darkness

10 Oct ober1984, 9 x 10 cm, silk painting

This painting triggered the start of my new paintings and the publication of these Early Paintings.

In November 2009, I gave this painting to a young friend, and she wrote me a feedback. I wrote her: “This picture shows the fight between light and darkness.” She answered: “I don't see a fight, only transition.”

Her lines were very important for me. It was the first really profound feedback I got for my pictures. In the 80s and 90s, there was nearly no reaction to these paintings, and it seemed to me that they weren't understood by the few people to whom I showed them. I had to wait for19 years where I didn't paint, until this key experience unlocked the inner doors again.


Deva Glow 21 - Blessings of Light from the Cosmic Cross

19 October 1984, 24.5 x 16 cm, silk painting and gold colour

The theme of the Cosmic Cross had occupied me several times during the Early Paintings. Here the Light of the Spiritual Sun shines forth through the structure of the cross, manifesting itself from behind, from out of the background of night-blue.


Deva Glow 22 - Revelation

1985, 36 x 36 cm, silk painting and transparent glue on cardboard

This is the last one of the silk paintings. Angelic figures appear from out of a sphere of light. Their light concretizes and comes down into denser planes, where it becomes more variegated. Like this, we come down as souls in order to learn to orient in the dense spheres.


Dance of the Devas

16 February 1985, approx. 20 x 14 cm, crayons, fast glue and gold colour

Warm colours in joyous movement, Devas penetrating the different planes bring inspiration and upliftment.


A Group of Angels

1983/84, approx. 50 x 35 cm, sculpture in clay

Though not a painting, I add it here - the only remaining sculpture of the 2 or 3 sculptures in clay I did during the Rudolf Steiner School teacher training in 1983/84. This one survived, since I gave it as a present to my late mother. I found it around Christmas 2011 in the attic of the house of my old family, where I took this picture.