Alaskan Flower Essence Project
"The Alaskan Flower Essence Project is the only
essence company in the world that has designed a system of vibrational
healing based on the co-creative relationship that exists between the
plant, mineral, and elemental kingdoms. This threefold system
derives its effectiveness from the special qualities of healing energy
that each kingdom has to offer, and from the synergy that is created
when these essences are used together." See more at Alaskanessences.com
|| I was going to do one
of the other essences sent by Alaskan Flower Essence Manufacturers
first because I had more information and images available but the
bog candle orchid essence would have none of that. It wanted to
be first. It almost was saying ME, ME!! Choose me first. Thoughts
of dark and light boggy mists, damp illumination and going deep
took over my thoughts. The bog candle essence is not quite as dark
to work with as I thought it would be. I, personally, am going deeper
internally with reviews of my life to date, purges of old hurts
and sorrows, than the
|painting depicts. Bog Candle likes to hold the pigment
still, then run like the devil with the pigment just when you give
up trying to make it move. It runs like hanging moss on old trees.
It does not spread or saturate but runs in long lines. In its own
way it is really quite joyful and freeing to work with. I don’t
have a sense of frustration but more of a glow, ease and anticipation
of the new way of working. It makes me feel brave and daring to
explore the dark. There is no fear in the shadows but more of "
what is in there curiosity?" What I find it to be is intriguing.
It excites the interest or curiosity of, fascinates.
Murky, with extreme clarity. In other words, polar opposites
present themselves with this essence. It becomes a challenge to find the middle
ground. In watercolor work this is not fun. When I mean challenge, I mean Challenged.
We are at the apex as to whether this painting is going to work or not and I
am not so sure who is going to prevail. It is all about the middle ground. The
bog candle wants to keep the tension of the opposites but to have a successful
painting I have
to reconcile that.
Another example of these polar opposites is the way the pigment
sits on the paper. It is rich and deep in color but it does not saturate the
paper. It sits on top in heavy concentration. I had the need to remove too much
dark that I had put on the trees in the foreground of the BOG. I really thought
this would be an act of futility because of the deep color I was seeing. Instead
the pigment came off so easily with just the swipe of a wet brush. In watercolor,
the pigments are stains and dyes that will not come off the paper for the most
part. The bog candle essence made the removal of the dark, dark pigment a dream
and left a
soft, glow- like tint.
was sweet. This essence is very sweet in nature. The False Hellebore
puts you at ease almost too carefree on the paper. You can trust
it not to go too far. So many of the other essences just take off
on you but this seems to be just right. If you come back and add
more essence water to the pigment after letting is sit, the essence
still will move the pigment on the paper quite readily. This is
unusual for a stain. This essence is very gentle in every way. It
is gentle when you take it and gentle in its approach to bringing
| of false concepts . It is gentle in the reminders
of the past that come up as the essence helps you to balance the
old with the new. I have not, to date, experienced facing the deep
fears, although I have been taking false hellebore for two weeks
now. But today is my first paint.
There is a kind clarity with false hellebore in so much as,
what ever it was; now you can see that it was false but that it is okay. It was
how it needed to be in order to make it to this point of discovery about the
very falseness of the matter. The false in False Hellebore must come from being
able to face your own false conceptions with gentleness and release. The essence
is very clear and does not affect the pigment color. In this way, it is a lot
like clear spring water without any essence in it. The essence of Wild Rose adjusted
the pigment color quite a bit by dulling it out. This essence is not pretentious
not assume to lead like Queen Ann’s Lace, which most certainly does. This
essence is very comforting in its way.
King Salmon, California is a low income, trailer park existence
but with an atmosphere of calm and sweet geography. It sets between the south
jetty of Humboldt Bay and Highway 101. The beach I sit at to paint is the smallest
beach in the county. Yet its protection from relentless North West winds is a
rare find. Much like False Hellebore, it puts a fine patina on all the sorted
rough sides of life.
|| Rock a bye, Baby in the tree top
When the bough breaks the cradle shall drop
This essence lulls you into resignation.
This is definitely inner peace and acceptance. There begins to exist
a relationship with oneself outside of everyone else. Especially
good for those looking to find approval from others instead of seeking
self acceptance. You are forced to look inward. I am bolstering
the valerian essence with self-heal and now celebrate my individual-ism
both as a person and as an artist. I have shut out the noise of
criticism and opened to acceptance. Baby steps equals Valerian in
that you can’t force it or rush it. Just one little baby step
at a time as you look into the reflection to heal the Narcissi Wound.
The reflection is opposite of the reflector. You honor the opposite
in you to find the missing self & self. Love.
Valerian paints up brighter than normal. Considering
it is used for calming people down, I find it incredulous that is
it so pinky bright, but then I remember about polar opposites. It
reminds me of the carnation essence I worked with. Valerian changes
the tones of the pigment. They are very clear, almost florescent
in color. I have to be careful in this landscape not to turn it
into fantasy- scape. The essence is cooperative and playful, willing
to take a few risks. The color is altered, by vibration, to be more
vibrant, like Day Glow Play Dough. The reflection and
| absorption are in altered state from which we are
accustomed, as 2003 humans, to seeing. Keep in mind that Aristotle
only described three colors of the rainbow, not the five we see
today. The pigments tend to float on the water and not absorb quickly
so you can move the pigment around more freely. Even to the point
of changing your mind about the color placement. This is unheard
of in tap water watercolor work. If you put the color down with
tap water, there it stays. Both the Bog Candle and the Valerian
were accommodating in this way.
| I had an extra sheet of
watercolor paper soaked with Valerian, so I decided to use it up
on a project my son asked me to do. I was fore warned about the
electric color of Valerian from the first painting. This time I
just used tap water and the soaked paper instead of adding more
Valerian to the pigment with the brush. Bam, there was that torcked
color again. I had been painting with other essences since using
Valerian with very satisfactory results with regard to color manipulation.
There was none at all with Tiffany rose from Crystal Radiance Manufactures.
But…. Valerian has a distinctcolor process of it’s own.
It is electric, high
| frequency and very odd compared to our contemporary
color wheel colors. Even not using it with additional essence added
by brush created challenges in taming the color enough to be passable
for the project.