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Carolyn Mary Kleefeld

It’s all in my relationship to the internal dialogue that the inspiration comes. So, I will draw to me that which mirrors me. The outside inspiration comes from a projection, which later I may say “inspired me,” or was the “stimulus.” Actually it’s the interplay of myself with that which mirrors me. The company distributing my art is called “Atoms Mirror Atoms,” which reflects this idea. We are nature’s forces translating, in human terms, our existence. Art is my bridge of translation. That is why art is the “international language,” as it has the myriad tongues of its artists’ voices.

DJB: Are there any particular authors or musicians that have inspired or influenced you?

CAROLYN: Yes, my first mentor was Dr. Carl Faber, then came the writings of Anais Nin. Other influences include: Herman Hesse, Rainer Marie Rilke, William Blake, Vincent Van Gogh, Marc Chagall, Gustav Klimt, D. H. Lawrence, Baudelaire, Dylan Thomas, Benjamin de Casseres, Aldous Huxley, and Mozart. Then there is the current powerful influence of my friends and contemporaries.

DJB: How do you experience and describe the stages of the creative process?

CAROLYN: To begin with, creative expression requires an overflow of energy. It requires me to be a canvas or open page. I offer myself as the film for being photographed by the sublime. It is always out of a random spontaneity. That is why I have paints in different areas outside as well as in my living room. I carry a pen and paper on my hikes. I draw some of my best work while in a car. As to the length of time of the stages, it varies from very quickly to a few months, or longer. Sometimes there is a fermentation or incubation; other times, the flame seems to be ignited in the darkest night.

DJB: How do you see consciousness evolving in the next century?

CAROLYN: Progress is painfully slow. We are still existing on a biological survival level. Nature will use us as its tools to continue its galactic body. For us to survive, we will have to refine ourselves as one with this endless expanding universe. Notice that the word “universe” means united verses. When in harmony, life is a symphony of united verses; when discordant, there is cacophony.

RMN: How do you compare the creative process involved in writing poetry with that of painting?

CAROLYN: My painting and drawing, being visual, are pre-lingual. Poetry and prose, being verbal, are more restricted in their word-clothes. I enjoy both translations, the freedom of the non-verbal in painting, and the architecture of words. They are in constant dialogue, a harmonious chord ascending my song.

DJB: In your three books, there seems to be an evolution of consciousness that is being expressed: a progression from states of psychological difficulty and struggle to ecstatic mystic revelations. How would you describe this archetypal journey from darkness to light?

CAROLYN: I would say the darkness is there before the “witness of oneself’ is developed. It’s in the capacity to reflect, that one illuminates one’s experience and thus can move into the light. The light is one’s own star in orbit amongst the galactic systems in constant electrical interplay. The dialogue, the information, the secret messages come from being deeply in reception of these infinite channels. It is a lying back in the embracing arms of infinity, having all in expecting nothing. My books are the charting of this voyage of experiences, the currents in the wake of navigation. Presently I am editing and completing my first prose book titled The 6th Dimension: Architecture for a Ecstasy. It represents the recordings of my own particular vessel as it rides the waves of existence, a vessel united in verse with the universal.

RMN: Many of your paintings reveal mythic combinations of humans and animals. Does this arise from your own experience of inter-species communication?

CAROLYN: Yes, we have an aviary here with thirty-six lovebirds, parakeets, and cockatiels. We’re living with owls, hawks, peregrine falcons, chipmunks, squirrels, mice and many other unique creatures. The creatures and I are in daily dialogue. I make a special whistle sound when I paint which I also use to communicate with the birds. They seem to tune in to the resonance.

RMN: Are they usually friendly?

CAROLYN: Yes, unless put on the defensive, which we avoid. In Nature one can see into the ancient wisdom, the order that governs our greater existence, our interactions with one another.

DJB: So you feel that you can talk to Nature sometimes, or that Nature talks to you?

CAROLYN: Yes, I do commune with Nature. It may be necessary for others to also experience a less literal, more poetic

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