Picture: Little Child
Datum
Watercolor
Kindlein-schlaf, Aquarell auf Papier, Düren 1998
This picture was taken during a remote viewing session. Like many of my pictures at that time, it is cross-posted. I have not been able to find the written protocols. The special way in which I work, in contrast to other remote viewers, is that I only use one and the same sheet of paper and of course automatically keep design concepts „on progress“, while others organize a flipchart battle with many sheets of paper and Edding pens.
Unfortunately, I don’t know anything more about the question asked, but I can interpret my own picture on the basis of the image details.
At the end of the 90s, I was also involved with remote viewing in connection with my overhead projector performances, but there are also many watercolor sheets. I didn’t do this consistently. How could I believe it myself, a flood of migrants, where would that come from? Or, as depicted in this watercolour, transhumanism, yes of course, maybe in a thousand years‘ time. My own scepticism combined with the lack of understanding on the part of promoters and recipients, this making of myself dubious, perhaps even ridiculous, in view of the fact that the world seemed to be opening up, existing wars were only understood as the last throes of a turn towards democratic principles encompassing all peoples, global trade for everyone, knowledge for everyone through the Internet, no, here I was completely lost.
For inexperienced fans of my painting, many things will not be so easy to recognize, which is why I support this lecture by highlighting details. In the center we have a child’s head emerging from a bundle and hanging down, sleeping or struck by death. I have emphasized it by lightening it and darkening the rest.
The bundle is held by a larger figure that could be described as robotic, cyborg, or dehumanized transhumanist. And that’s when I started to not really believe in my remote viewing, by the way, because throughout the decade of the 90s, science fiction movies came out every year and many of them had robots, cyborgs, or transhuman beings in their plots. And as we know from media education, this kind of thing goes straight into the subconscious.
The subconscious cannot decide whether something is real or an unreal, fictional plot. That’s why there is the age-related FSK rating, voluntary self-regulation, on films, which educational institutions must adhere to, while parents are free to show their children films that are not intended for their age – at their own risk.
There is something in the upper part of the picture that I can no longer decipher myself. A scroll is visible right next to it and I am sure that this is a Vatican bull.
It repeats itself and seems to lie in the right hand of the transhuman being. Since, as you may know, my mentality and philosophical attitude is Christian, it is no wonder that such a bull can appear in one of my paintings, because papal bulls are always a topic in Christian conversations, even for Protestants. I would like to make it clear at this point that I am still in Jesus, although I left the church 4 years ago – far too late – but it was difficult for me.
The lower part, I have highlighted it for you, is a longhouse roof, apparently transparent, the rest of the house is in the water. The water flows down from left to right. What can that mean? It’s going downhill. I am not depicting a natural disaster, but the glass longhouse, a symbol of thousands of years of covered meeting rooms built by our ancestors. It accommodates its great-grandchildren, they can be observed through the glass building and the water around it ensures that they cannot escape. That’s incredible science fiction, don’t you think? But that’s what I saw 26 years ago.
