Have I got a treat for you, Blog-Buddies. In honor of Labor Day, here is a transcript drawn from a session of Past Life Regression Therapy with Karen Kline. Undoubtedly you have heard of cave paintings, even seen photographs like the one at the top of this post.
But did you ever wonder what the process was like? Why, exactly, were such paintings made?
I can’t write about most of them. But once I did have the privilege of learning details about an extremely evolved artist from the time of cave paintings. He made healing paintings for his clan, made them inside caves, making artistic choices for reasons that surprised me — and maybe will surprise you, too.
Even back in the days of cave painting, this soul had attained a highly developed spiritual awareness. During one session of Past Life Regression Therapy in 2009, we stopped to explore what it was like for him (a male in that life, a female in this lifetime), when making a cave painting.
Technical point for some of you readers: Note the synesthesia! Those of you Blog-Buddies who have studied my system of Aura Reading Through All Your Senses(R) will appreciate how, using deeper perception, each person uses soul-level gifts for synesthesia. In the field of hypnosis, synesthesia is one of the signs of profound trance states.
As someone who works in both fields (hypnosis and past life regression therapy and also teaching energy literacy), I look forward to exploring how human consciousness, at depth, is fully engaged in experiences of synesthesia. I can think of no finer example of synesthesia than Karen Kline’s account of making a cave painting.
After the session was over, I asked permission to share this gorgeous, inspiring information with others. My client, Karen Kline, gave full permission, including the use of her name. “Gladys,” one of our Blog-Buddies, generously volunteered to create this transcript. I have added some light editing to make the transcript more readable.
RR: I want you to be able to experience how your creativity is fully installed now . It’s going to be coming through Karen’s nervous system, a true clear memory from that incarnation through the process of past life regression.
KAREN KLINE: A lot of the caves have dark walls. This one has a light-colored wall. So all the colors are going to show up really well on here. So, the first thing I do is go and spend time in the cave, and I’m touching the walls to find out what kind of colors would be best.
RR: Now, also, could you talk about the group of people who live in that cave.
KAREN KLINE: They’re people who do a lot of the cooking, and they make sure that we have the food that we make. They gather things and cook and they work really hard. So they need a cave that’s going to restore them after their hard day’s work.
After I’ve spent time with the cave, I go out and gather the colors. And they have to be really vibrant colors.
RR: Where do you gather the colors from?
KAREN KLINE: I know special places to go. There’s a special place that has a really good kind of red clay, that I can mix with some bugs that intensify it and give it a really bright red.
RR: Red clay and some bugs.
KAREN KLINE: And then there’s some flowers that I know that will give a really vibrant blue. And there’s some plants where I can get a really nice yellow shade, and those are the colors that I’m going to use.
RR: So you’re going to pretty much use three colors, is that right?
KAREN KLINE: Well, three colors, but they’ll give me a lot of other colors, I can mix them together.
RR: You can mix them together.
KAREN KLINE: Yeah, I know how to mix them together.
RR: So, what tools do you use for this mixing together?
KAREN KLINE: I have special sticks that I’ve taken out; there are plants that I know I can get.
Well, I have to ask the plant for permission, and then I take part of the branches and there’s a certain way I can smash them with rocks that turns them into really good tools.
Like some of them smash really flat, and those are really good for smoothing things. And then others kind of have different tendrils, and those are good for different other things.
RR: So you have those tools for painting. And what do you mix the paints on?
KAREN KLINE: It seems like I have some really lightweight rocks. But they’re wide. So I can put the color on it and mix it with some water. And it’s kind of like a palette, we call it now, but it’s a rock palette.
RR: And what do you keep the water in that you use for mixing colors?
KAREN KLINE: I have a special bowl that I know how to make out of rocks.
RR: There’s a bowl that you know how to make out of rocks!
KAREN KLINE: Yeah.
RR: How do you make that bowl out of rocks?
KAREN KLINE: I have to know how to chisel it out with other rocks, and I don’t like to use animal bladders because sometimes they have chemicals that change the colors. So, I like to have the bowl with the water to mix.
RR: This ability though, to make a bowl out of a rock, is that something you’ve learned from other people who live around you, or is this something…?
KAREN KLINE: No, I taught some of them how to do it.
RR: You taught some of them how to do it. Thank you.
KAREN KLINE: It’s one of the reasons our food is so good and we’re so healthy.
KAREN KLINE: Because [our clan doesnt] have to use animal skins or feed off of things that aren’t good.
RR: So, what is the process after you have all the tools assembled, and you know the cave, and you know the people.
KAREN KLINE: I stand there, and I feel my feet fully planted on the ground. And I wait for the light to come.
RR: Describe how you feel the light coming in at this time.
KAREN KLINE: The light comes in through the crown of my head and it fills my whole body, and it feels warm, and then I know exactly where to start and what to paint.
RR: And what happens next?
KAREN KLINE: Then my hands know what to do. And I pick up my special tools for painting, and I start with some of the darker colors first.
RR: Why do you start with them?
KAREN KLINE: Because if you put the darks in, then you can always go back and lighten them with the lighter colors. If you start with the light, sometimes the darks make them too dark later.
RR: Oh, thank you.
KAREN KLINE: Yeah, and I’m doing a field of wildflowers.
RR: And as you’re doing this field of wildflowers, do they seem real to you?
KAREN KLINE: Yes.
RR: What does that mean, that they seem real to you?
I can smell them, I can feel them, and I can hear what it sounds like to be in the field with them. And I’m also painting some bees in with them, and I can hear the bees, too.
RR: And what else do you create?
KAREN KLINE: Well, I’ve done the wildflowers because these are a lot of them. They’re pretty, and they’re bright, but they’re a lot of the wildflowers that our cooks use to make our food special, that they’ve learned to gather. So it’s also a reminder for the cooks that these are flowers they have used.
RR: What a very special reminder and even a kind of compliment and inspiration to them.
KAREN KLINE: Yes.
RR: So, is it all flowers, or do you add something else to this painting?
KAREN KLINE: Well, you can see the caves where we live in the background.
RR: Do you ever put people in your paintings?
KAREN KLINE: No.
RR: Why don’t you ever put people in your paintings?
KAREN KLINE: When I paint a flower or horses or trees, I take a little bit of their essence and put it on the wall, and at this point in time, I feel like the people, the people I live with, they don’t have enough essence to have any to spare to put on the wall.
RR: Thank you. So how do you know when this painting is complete?
KAREN KLINE: I know it’s complete when the light leaves my hands.
RR: And then what do you do when the light leaves your hands in this particular painting experience?
KAREN KLINE: I stop. And I thank the light. And I thank the cave. And I thank the paints.
And I thank all the flowers and the bees and everything I’ve painted on it, for allowing me to work with them, to put part of their essence on the wall.
RR: Notice how you feel in your body, and describe that please.
KAREN KLINE: I just feel like everything’s in harmony and it’s perfect, and I feel really warm and happy.
RR: Is there complete confidence in the inspired flow of the painting process?
KAREN KLINE: Yes.
RR: And is there complete trust in yourself to follow through and use everything you have been given inwardly?
KAREN KLINE: Yes.[Right before the end of the session of Energy Release Regression Therapy.]
RR: Karen, you have huge talent for creativity. You have it for art, you have it for people, you have it for healing, you have it for new experience so far in the life as Karen Kline.
One thing about that talent, for sure, is that you now [having an experience of] a flow of creativity whenever you want to be from now on. [After using techniques as guided in her session], you have re-imprinted yourself with your creativity at a perfected level of co-creation with spiritual source. And perfect coordination between inspiration, action, and technical skill.
And that’s going to help you very beautifully grow into your full stature as a creative artist in your life.
Honoring Karen Kline
This magnificent soul made her transition in 2011, after a long illness. Over many years I had the privilege of facilitating dozens of sessions for Karen Kline. Some were Energy Spirituality while others were Energy Release Regression Therapy.
Karen took a couple of my workshops also, including Spiritual Cleansing and Protection Workshop in 2011. She was interested in my Mentoring Program in Energy Spirituality but health problems kept that from happening.
I don’t think that Karen ever commented at this blog. She was one of our many lurkers. One reason was the discretion she used in her professional life. As a high-level mediator, Karen had no Facebook page. At Google Images, I can’t find a single photograph.
That doesn’t matter to those of us who had the privilege of knowing her. Karen was unforgettable, a forceful presence with a brilliant mind, tremendous wisdom, a delightful sense of humor. Karen inspired me with every interaction, spontaneously displaying the highest standards for integrity, honor, and service in life. I just loved every session we did together. I love that identity she had as Karen, always will.
Even if you never met her, this description of cave painting is brimming with some of the qualities that were characteristic of her in the life as Karen Kline: The un-self-conscious talent, consideration for others, deep thoroughness, humility, and fascination with life on earth.
Labor Day is one of my favorite holidays because it is dedicated to one of the most ennobling things about being human and having free will: Work. It seems perfect that today I can share this souvenir of work by Karen Kline, done so long ago.