How to Make Herb Infused Oils

A big thank you to Cory Trusty of Aquarian Bath for sharing such a well informed article with us.

How to make Herb Infused Oils

by Cory Trusty, Aquarian Bath

A herb infused oil is a base oil such as Extra Virgin Olive oil or Coconut oil that has been steeped with freshly wilted or dried herbs. Herb infused oils are fun to make and can be used for many purposes including culinary, for anointing, as body massage oils, for general skin care, or as a base for natural salve, lotion & balm remedies. Infused herbal oils are similar to essential oils in that they contain volatile oils from the herbs used to make the infusion, however the concentration of the volatile oils within an infused oil is significantly lower compared to essential oils. For this reason herb infused oils have a number of advantages for the average person compared to working with pure essential oils. First herb-infused oils are very safe, whereas working with essential oils is relatively dangerous and requires extreme care in regard to storage and dilution. There are many recipes in books and online for using essential oils, which are not particularly safe. Second, herbal infused oils can be made easily in the home with abundant herbs which can be harvested ethically, respectfully and sustainably in your local bioregion. For example, in Central Florida common plants like Southern Plantain, Elderflower, Pine.  Plants that are harvested lovingly and respectfully will generously share their healing magic. This is not something that is quantifiable, though many successful herbalists will tell you that the harvester's intention and interactive relationship with the plants is paramount in medicine making. While the energy of infused oils may appear subtle, the healing plant spirit shines through in herbal infusions in a way that is not quite comparable with essential oils, though preparations made with organic and wild harvested essential oils do have their purpose in providing stronger medicine for more stubborn conditions.


There are a variety of methods for making herb infused oils, and each has its own advantage. They each have in common that fresh wilted or dried herbs are used to make the oil. Generally leaves, flowers, twigs or resins are used. The first method for preparing infused oils is the 'cold' method in which chopped herbs are added to a clean glass jar, filled with oil and left to steep in for a number of days. This method has it's advantage in that no external energy is required to make the oil, however with this method the chance of spoilage increases when using fresh herbs due to the residual water content in the plant material. Also infused oils cannot be made effectively using resins with this method. A second method is the crock pot method. This method is very convenient in that it is self contained, however much care must be taken to ensure that herbs are not overheated and burned. The third method, which I will present here, is the water bath (Bain Marie) or double boiler method. This is the method gives me the best results. Using a water bath herbs are heated slowly in a glass or ceramic container which sits within a larger container of hot water. This method is fast and convenient, there is little chance to overheat the herbs, and there is low likelihood of having residual water in the finished oil. It is important that the oil remains water free, because water-containing preparations are susceptible to bacterial growth.

Materials for Making Infused Oils by the Water Bath Method
~ Electric or gas burner
~ Freshly wilted wild harvested or home grown herbs OR dried wild harvested or organic herbs
~ Stable base oil (preferably organic) appropriate for either culinary or external use depending on your choice of herbs and your plan for the finished oil: Extra Virgin Olive oil, Coconut oil, Fractionated Coconut oil, Jojoba Wax, Sesame oil, Lard. Fractionated Coconut oil and Jojoba wax have an unlimited shelf life. When making body oils, persons with sensitive skin may wish to avoid coconut oil or use it at not more than 50% of your total oil solution.
~ Double boiler which can be made with a small pot and a Pyrex glass container, a mason jar, or other heat resistant glass or ceramic container. Use a glass container than you don't mind recycling if you are working with a resin.
~ Very clean utensils including: spoon or chopstick, knife, funnel, glass storage jar for finished oil, small plate, and cutting board for working with fresh plants.
~Cheese cloth
~Sharpie pen or sticker label & regular pen
~ Vitamin E
~ Pipette
Method
Clean and clear your workspace. Gather all necessary utensils and containers. Clean containers and utensils thoroughly in a dish washing machine or by hand with hot soapy water and a small amount of borax. You may also chose to sterilize utensils in the same way that one would do for canning. Another option is to wipe down utensils with high proof alcohol. Let containers and utensils air dry. Oil containers and utensils must remain free from water throughout the infusion making process.


Gather your herbs. If you are working with dry herbs, then organic or wild harvested are the best choice. Mountain Rose herbs is a good source for dry herbs. For fresh herbs, gather plant material with consideration to the ecosystem from properly identified specimens that are free from blemish and are at least 8 feet away from any roads. The best time to collect herbs is late morning when there is no dew or rainwater on the plant. Collect not more than 10 percent of a wild population of plants.   Depending on your belief system you may wish to ask permission from the plant, explain your intentions, and leave an offering for the plant such as a stone, tobacco, or one of your hairs. Especially for making oils for medicinal purposes it is believed that your oils and medicine will be more potent if you have a good relationship with spirit of the particular plants that you harvest from.  Chop herbs coarsely and let them wilt in the shade for a few hours. Wilting herbs decreases the water content of the herbs.

Fill your clean jar or glass or ceramic container with herbs, then cover with the base oil of your choice. Coconut oil and Extra Virgin Olive oil are my personal favorites. I also use Sesame oil very often. Place your herb-oil container in your water bath and turn on heat to medium-high. Ideally you can cover your herb & oil container partially but not completely with a lid. Next let the herbs infuse in the oil for approximately 1-2 hours. The oil should get warm, but not so warm to burn the skin. You will need to monitor the oil and adjust the temperature. To check the temperature of the oil use your clean spoon or chopstick to drip oil onto your wrist. The oil should feel warmer than your body temperature but not so warm to burn the skin. After testing the temperature place your oily spoon on your clean plate. Be cautious throughout this step not to let water from your boiler to splash up into your herb and oil container. You will know when your oil is becoming ready when it has taken on the color & scent of the herbs. If you have used fresh herbs then you will want to steam off any excess water remaining in the oil before decanting. There are two good ways to check for lingering water in the infused oil when working with fresh herbs. First check the herbs with your spoon, they should have a crisp feel about them. Second, use your lid to completely cover the oil for a minute or two, then look under the lid for condensation. If there is condensation, then continue to infuse the oils with the lid partially covered so that water can steam out of the container. Check again until you are satisfied that the oil is water-free.

Next turn off the heat and remove the oil container from the water bath. Carefully dry the outside of the container and prepare to decant the oil. Place the clean funnel in your clean dry glass storage jar, and line the funnel with a couple of layers of cheese cloth. Pour the oil and spent herbs into the funnel and let strain. When the oil is strained completely, you can squeeze or press the cheesecloth to maximize your oil yield.

If you would like to make a double or triple infused oil then you can repeat steps 3 and 4 with this freshly infused batch of oil.

Double check your infused oil for water if you used fresh herbs. Let the jar of infused oil stand over night. Check the bottom of the jar for water droplets. If there is any water at the bottom of the jar, then you will want to pour the oil into a fresh jar, or pipette out the water droplets.

Storage and shelf life: Now you should have a fresh batch of infused oil that is clear with no remaining leaf or flower pieces. Oils, including infused oils go bad after a time because of oxidation. Rancid oils are oxidized and will have an off scent. To maximize the shelf life of your oils, put it in a container with a small amount of air overhead, keep it cool and dark. Add a small amount of Vitamin E to extend the shelf life of your infused oil.

Suggestions for Herb Infused Oils
Culinary: Oregano, Rosemary, Basil, Mint
General Skin Care: Calendula flowers, Mulberry (Morus alba) leaves, Elderflowers, Plantain leaves
Invigorating Massage oil: Mugwort leaves, Camphor resin, leaves or twigs, Lemongrass, Goldenrod flowers
Congested Chest Massage oil: Camphor resin, leaves or twigs, Lemongrass, Pine twigs & needles, Mint leaves
Anointing oil: Frankincense resin, Myrrh resin, White Sage leaves
Extra strength: double or triple infuse your herbal infused oil
Locally grown: What is growing in your back yard or neighborhood in abundance? Check out a field guide from your local library. There are many medicinal wild weeds, trees, and ornamental plants with culinary or medicinal value that would be great to experiment with.
Natural colorants: Annato seed (below), Alkanet root (see first blog image)

Article by Herbalist and Soap maker Cory Trusty in Daytona Beach.  Visit Cory’s online at twitter, Facebook or Shop at Aquarian Bath.

Copyright 2011 Cory Trusty, Aquarian Bath.  Permission is granted to copy, distribute and/or modify this document under the terms of the GNU Free Documentation License, Version 1.2 or any later version published by the Free Software Foundation;with no Invariant Sections, no Front-Cover Texts, and no Back-Cover http://www.gnu.org/copyleft/fdl.html

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Mind Body Spirit Artist Series: Kelly Tankersley

I discovered Kelly Tankersley's stunning artwork one day, quite by accident, while I was scrolling through Etsy looking at artists.  The fact that she is a printmaker AND makes handmade paper (two of my all-time favorite mediums) made me want to find out a little bit more her and the varied processes she uses to create her beautiful prints.  As it turned out, Kelly is also an ex-art consultant.  So this turned out to be a very interesting interview, with a twist, as she reflected quite realistically on wearing both hats.
                                                                                                            ~ diane fergurson

Night Voyage Guided by the Moon

MBS: Can you tell us a little about your background?  How you got started in art?

Kelly:  Ha Ha!  I don’t know why I find that question funny but I do. I’ve loved making art since I can remember. My mother dabbled and was a great art appreciator—she hung a Georges Braque still life (poster) in our kitchen nook as well as some others from that period. Also, I was lucky enough to live in Japan as a little girl and that definitely raised the bar and expanded my aesthetic antenna. In addition to winning a few art contest as a school girl I was also a math whiz. I started college as a math major, but became board and switched to art somewhere in the middle. My father (chemical engineer) was floored. My BFA is in photography and printmaking—go figure! After college, I managed to work in art related fields as a dark room technician, art consultant, gallery manager, grant writer for non-profits art orgs, and so on. It wasn’t really until I joined the regular corporate world that I began making my own art again instead of promoting others’ work. The timing also coincided with the kids growing up—so young mothers and fathers don’t give up on your dream! That’s how I got started but a shout out to a beloved colleague from my past life, creative writer Brad Parks, for coming over one weekend and showing me how to make paper. That was a catalyst moment for me—it all just came together, the marriage of photography and printmaking on handmade paper. Pure bliss . . .

MBS:  Ah, the love of making handmade paper... I can relate to that!  What did you find magical about it?

Kelly:  Making paper is magical, as is printmaking, because so much of the result is, in a way, beyond my control--or "out of my hands." I love the happy accident and the magical transformation that takes place when you cook and beat plant materials. Each type of plant renders its own unique signature. Inner tree bark, such as Polynesian gampi, it super strong and translucent! Rain lily paper is a gorgeous green and the fibers seem to run in parallel pairs—quite unexpected! Banana skins are tough and can make great paper for embossing etc … It is simply fascinating!

MBS:  Tell us a little bit about your printmaking process. What kind of prints do you make?  What materials do you use?

Kelly:  My art really came together for me when I married my love of photography with making my own paper. I match up images with types of paper from white cotton with grass seeds in it to give it an Asian feeling to an oriental paper created as thin and translucent as I can get it to use as a chine colle substrate. The photographs are exposed on a solar plate and printed as intaglio etchings. A typical photo for me is the sky, trees, seed pods, whatever, me and my German Shepherd come across on our walks. I often manipulate the images slightly in Photoshop to increase the contrast and reduce them to their most calligraphic state while still being recognizable.

Moonrise in Charmed Meadow

After I've made a very planned and choreographed suite of prints, such as February Visit, I go into the studio and just play--I call it "free falling."  This is how the series "Moonrise in Charmed Meadow" came to be. I printed a photo image over folded paper that had been monotyped on the back. The results were quite surprising and I loved the happy accident that most printmakers enjoy.

Alas, I don't always have access to an etching press. Thank goodness for gelatin printing. Anybody can create gelatin prints at home. You simply create a concentrated "jello" slab, ink it up, walla, perfect printing substrate--very suitable for botanical studies using pressed plants, etc . . .

MBS:  That's interesting because I've often noticed that the way people make their art, and also the mediums they choose to work in, reflect a lot about their approach to life and often their spiritual belief systems too.  Even for a printmaker...some printing processes are very measured and precise. Very ordered.  Other methods allow for more "free falling", as you called it.  What are your thoughts about that, and how does the way you work reflect your nature and spirituality?

Kelly:  First and foremost, I view my work as a collaboration with nature. Not an equal one, more like I'm an apprentice, learning, observing, soaking it all in. I'm happiest when I have less control--thus the print making versus painting, thus the mad-scientist making paper versus purchasing already made paper.  I never tire of just looking and waiting to "glean" the secrets the universe unfolds to me. The understanding is not literal or neat, it's all just a feeling, a feeling of connection—a happiness to be invited to the party.

MBS:  What's a typical work day like for you?  Do you work on your artwork every day?

Kelly:  Unfortunately, I am not a working artist. I have to have a day job. So, alas, I am mostly a weekend artist with plans and preparations happening during the week.

I have been known to take art vacations where I take a week off and go to the studio at 8am just like my day job. Those are a blast and, of course, very productive.

When I make paper, I take over the entire house for three to five days. I dry the paper on our windows so the house looks quite odd to the passerby. For printing, I tend to also do marathon printing sessions. I guess my obsessive nature shows, when I get started, nothing else gets done. no laundry, no housework, oh and yeah? Do I really need a shower today?

My dream work day would be up and out hiking with my dog by dawn. Back to make art all day. Early to bed and do it all again the next day.  What bliss that would be.

Double Moon

MBS: I know many artists who are very hesitant about selling their work online. I've noticed that you actively sell quite a bit of of your work that way.  How has selling online and social networking worked out for you as an artist? Any advice you can give to other artists who are thinking about selling their work this way?

Kelly:  I have been selling my work online for almost a year now.
The amount of sales is low, which as an ex-art consultant, I kind of expected.
The real value to me in selling online is the feedback and encouragement from other artist. Sure, we can't all buy art, but you bet kindred spirits just find each other online--they just do!

What that does for me as an artist is I turn off that negative voice in my head while in the studio, because sales or no sales, I have received enormous positive feedback from the online community so I know I am reaching people through my art. That's all we really need, along with love, food and shelter. The sense of community and bonding is worth every minute spent online.

February Visit, Doves Dip

MBS:  I think that's an interesting area you touched on, that someone viewing sales through the eyes of an art consultant is much different then the same person viewing it through the eyes of an artist.
It can be a real issue between artists and their art representatives/galleries, and people wrestle with it constantly. As someone who has been on both sides of the fence, how do you view the issue and how to you balance two things yourself?  What advice would you give to people - besides turning off the voice in your head or following your own drummer etc...

Kelly:  Honestly, we all know how essential art is to the human experience, and yet it remains a luxury.
The only solution is to make art because you love to make it. Put in some serious marketing time and then don't expect to make a living at it. Another solution, which I am considering, is to merge your art with something functional like wearable art or home decor on an affordable basis.  Fine art is like acting, only the top 1% make it--that's just the facts.

Me and several of my friends discuss this quite often. At the end of the day, we would never stop making art. I'm also a normal middle-class "worker-bee" who never mustered the nerve to be the hippie I feel I am inside. And there is something to be said about the value of a work environment--the community can be very positive, I've found. I am rambling at this point, but I guess I'm saying be careful what you wish for. Most artists are alone in their studios, and I actually like the regular daily camaraderie of the work place. I wouldn't want to face just me everyday.

MBS:  So it sounds like you are advising people who want to pursue  their passion of "being an artist", that they they may need a healthy dose of being "realistic" too? 

Kelly:  YES 
be practical in your expectations of sales
however
shoot for the moon in your imagination!

Moonrise Charmed Meadow solarplate etching

MBS:  What are you currently working on and what would you like to explore next?

Kelly:  I am going to treat myself to a printmaking workshop and learn pronto-plate.
I hear it is very easy, but I prefer to learn from an expert!
I have a series of cloud images that I hope to realize into prints soon.
It's just a matter of time and money . . .

MBS:  Good luck, and thank you for the interview Kelly!

Kelly's gorgeous artwork can be found in her Etsy Shop, 88editions.

~ ~ ~ ~ ~
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If you would like to read more artist interviews from our on-going series, click on
The Mind Body Spirit Artist Series.

Your Song

 

                     "A bird does not sing because it has an answer.  It sings because it has a song."
                                                                                                ~  Chinese Proverb





* Robin Watercolor Print , courtesy of Welsh Artist Alison Fennell, is available in her shop on Etsy.
Also make sure to read the Mind Body Spirit Artist Interview we conducted with Alison earlier this year.

Review: Children's Spirit Animal Cards

Children's Spirit Animal Cards by Dr. Steven D. Farmer, Published by Satiama

When I read that the Children's Spirit Animal card deck had won so many awards - Creative Child Magazine 2011 Seal of Excellence, the Mom's Choice Gold Medal Award 2011 and the Parent-Tested Parent-Approved Seal of Excellence award - I knew I had to order the deck not only for my own work and card collection, but to also review for the Mind Body Spirit Odyssey.

First of all, the illustrations on the 24 card deck by Pamela Anzalotti are not only stunning, but perfect for their visual appeal to children (as well as adults).  The lush, rich colors and clear illustrations are ideal for helping the viewer understand and sense the spiritual essence and purpose of the animals portrayed.

In the introduction to the deck, the author explains that animals are unique expressions of Spirit/God, and that where they appear as a symbol, dream, statue - or even through the cards - there is an important message that is trying to be communicated through that particular animal.  The cards can act as a catalyst for guidance and support.  They can also be used as a tool to open up a discussion between the parent and child using the animal, it's qualities and purpose as a focal point.

For example, an excerpt from the Eagle card says:

Eagle:
Do the right thing
Eagle says:  "As you are growing up you will be faced with a lot of choices.  Some of these will be fairly easy, such as what you want for breakfast or what game you want to play with a friend.  Other choices will be more difficult, such as whether to take that piece of candy from a friend..."

The open ended message at the end of the Eagle card then goes on to ask questions that are designed to stimulate a young child to think, while still conveying that they need to be vigilant and brave, like an Eagle, in their vision and choices that they make.
At the end of the message, for each card, there is a short list of suggested activities designed to prompt the adult (if needed) into expanding the discussion or engaging in an actual project with the child.

As someone who use to be an Art Therapist, Counselor and art teacher for young children (as well as being a parent), I can definitely see where this set of cards would be extremely valuable working with children on all kinds of levels, in all kinds of situations.  In addition to being an excellent facilitator for  opening up discussions about spiritually and religious teachings (without advocating any particular spiritual viewpoint or belief system), the potential therapeutic value these cards hold for a child counselor is amazing.  From an art/teaching standpoint, I could easily envision myself back with my 5 year old clay class... pulling a card, taking about the animal and it's qualities with the class and then having them create "their" version of the animal.  I know my own kids, when they were young, would have enjoyed these cards too.  Visually, as well as to stimulate their imagination and creative play.

This deck is wonderful. I highly recommend it and can definitely understand why it has won so many awards.  Well done Dr. Farmer and company!

This card deck is recommended for ages 6 and above.  It can be ordered directly from Satiama or through Amazon.

~ diane fergurson


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Hindu Temple: A Pilgrimage to the Sacred

Thank you for sharing this wonderfully informative post with us Indira.  What a beautiful temple!

Ornamented Exterior, Big Temple

Main Entrance, Big Temple

The Hindu temple is a condensed image of the cosmos constructed as a mandala  known as the vastu purusa mandala. The Purusa refers to the Universal essence which is without form or substance; Vastu refers to the site or the bodily existence or substance of Purusa. At the center of the mandala is the sanctum where the divine image is placed; this divine image, made in stone or wood or brick is the material consecrated representation of the Universal essence.

The building of the Hindu temple is not left to the imagination or the creativity of the shilpi (architect) or the artisans; it is strictly guided by the sacred texts called the shilpa shastras. The construction of a temple, from start to finish, is considered a ritual activity. Architecturally, the Hindu temple resembles a mountain and represents the link between heaven and earth. The triangular tower like structure is called  the shikara or gopuram and is located directly over the inner sanctum. Like a mountain, the exterior of the temple is lush with intricate carved representation of various plant, animal, human and divine forms, while the inner sanctum, where the main deity is placed, with enclosed walls is dark. The interior of the temple directs our attention to the center, the garbha or the womb, that which is the source of the Universe. The inner sanctum is called the garbagraha or the womb chamber.

The journey of the worshipper to the temple is considered a pilgrimage in itself. The pilgrim starts the journey by circumambulating the temple first, the exterior form of the Universe, then walks to the interior sanctum, the center of the Universe. Approaching the sanctum, the worshipper performs another circumambulatory passage around the sanctum before "seeing" the deity at the center. The deity in the inner sanctum is the primary consecrated image of the temple, though a temple may have several secondary gods housed in various shrines placed in appropriate quadrants of the mandala.

A Hindu goes to the temple to receive 'darshana', a Sanskrit word meaning "seeing". It is a dialectical act, seeing the divine and being seen by the divine. According to Hindu theology, God is present in the image and is real.  By standing in front of the image and looking into its eyes, the worshipper seeks the divine blessings.

The images shown here are of the Brihadeeshwara Temple, a designated UNESCO World Heritage site that turned 1000 years old last year. It is located on the banks of river Cauvery in the town of Tanjore, Tamilnadu, India. It was built by one of the emperors of the Chola dynasty, Rajaraja Chola. As befitting the richest empire of its time, it was built on a large scale and came to be called the Big Temple. Dedicated to the Hindu god Shiva, its most striking features are the 200 ft tall tower (gopuram) that rises from the base sanctum, the massive granite cupola (vimana) at the top of the tower and majestic stone image of Nandi, the sacred bull.  It is one of the best examples of the south Indian style temple architecture.

I have not been the temple myself but my husband got the chance to see it just as it was being renovated. I think these photos have captured its majesty and magnificence.Hindu god Shiva,

Nandi, the sacred bull

 

Thanks for visiting.

  ~ Indira Govindan

Indira's beautiful journals, artwork and jewelry can be found in her shop on Etsy.

(Photos courtesy: S.V. Govindan)

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The Paradox Of Our Age

                                                   We have bigger houses but smaller families;

                                                         more conveniences, but less time;

                                                      We have more degrees, but less sense;

                                                        more knowledge but less judgment;

                                                         more experts, but more problems;

                                                      more medicines, but less healthiness;

                                                 We've been all the way to the moon and back,

                                                   but have trouble crossing the street to meet

                                                                      the new neighbor.

                                                       We built more computers to hold more

                                                information to produce more copies than ever,

                                                             but have less communication;

                                                          We have become long on quantity,

                                                                    but shot on quality.

                                                            These are times of fast foods

                                                                    but slow digestion;

                                                            Tall man but short character;

                                                     Steep profits but shallow relationships.

                                               It's a time when there is much in the window,

                                                                but nothing in the room.

                                             ...take from His Holiness the 14th Dalai Lama

                                 Colorado Prairie Windmill by photographer Julie Magers Soulen

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Mind Body Spirit Artist Interview: Karen Casey Smith

If you've been reading the Mind Body Spirit Odyssey, or have followed us through our Marketplace over the last few years, you'll probably recognize the work of artist Karen Casey Smith. We have been fortunate to be able to use her artwork on numerous occasions illustrate our articles.  Meditative, simple and beautiful...whether through her stunning photographic images or her exploration of the Mandala form, Karen's work makes a specific, focused statement...while always motioning the viewer in for a closer look.

                                                                                                        ~ diane fergurson

Awakening in Your Spiritual Heart

MBS:  Can you tell us a little about your background?  How you got started in art?

Question 1:  My start in art was through my mother's paper dolls. My mom is creative in so many ways. When I was very young, she used to draw paper dolls for us to play with. I was enchanted with her drawings, and wanted to draw them too. I watched her, practiced, and found that I could draw them, and it was fun! Once I started school, friends would ask me to draw things for them. I feel very lucky to be a part of such a creative, and talented family.

Karen:  For many years, I mostly did drawings in pencil, or charcoal pencil. It's a peaceful, meditative activity that I really enjoy. I also loved to write, and by that I mean, the pencil or pen to paper, forming the letters. Handwriting is so beautiful. I've done some calligraphy, watercolor, and was also a comic book letterer for a short time. After reading Judith Cornell's book, Mandala, I was inspired to begin making mandalas in colored pencil. For awhile that was the only art I was interested in making. Once I got a computer, I started learning Photoshop and loved the freedom of it. You're only limited by your imagination, and knowing the program. A dear friend send me a link to flower mandalas, and they were so amazing that I had to try my hand at making one. Because I wanted more of my own photographs for making new flower mandalas, I got serious about photography, and found a new love in that.

Sho Yo

Question 2:  You are both a photographer and, as you said, work with digital images to create your Mandalas.
Do you prefer one over the other?  Or does one really feed into the other?


Karen:  I love doing both! When I go out shooting, I'm surrounded by the scents, the sights, the energy of the place, and filled with love and appreciation for each subject. All these things feel as though they're kind of downloaded into me, and recorded in the images I make. Later when I open the photographs up to work on them, or create the mandalas from them, I have access to all of that information again, and that same wonderful energy comes through in my finished work. When I'm working at the computer, time seems to cease to exist. Each image, each mandala, seems to unfold organically, with ideas and connections occurring during the working process. So yes, one does feed into the other.

Solitaire-White Lotus Blossom

MBS:  I've noticed that you really do seem to have a very focused, meditative connection to the energy of your subject matter, both with the photos and your mandalas.  How does spirituality play a role in your work and as an artist?

Snow Bunny

Karen: While all aspects of life are important, my spiritual life is my foundation. It's essential to my life, and my art. All things are spiritual, including work, family, our bodies, thoughts, and our talk, so it's part of everything though not separate. We're all spiritual beings. Everything is interconnected. Everything is energy. There's a vibration, that might be perceived as a 'feeling quality', to the energy of each being, place, and object. We can just be more, or less, conscious of this.

Making artwork is a spiritual experience for me. It was always that way, even before I knew it as spiritual, or had the words to begin to describe it. In a way it's difficult to talk about all of this, because the place you create from is a silent space. It's unlimited, pure potential, so full, but the experience isn't in words. Poetry, music, images, any work of art, is a physical expression of the artist's journey of connection and communication with the Divine, and a path that can be used by others to have their own direct experience of connection. Creative expression is one of many paths to this place.

Sometimes while working with an image I feel as though I'm watching the process, though I know I have my part in it. Once I begin, the creation takes on a life of its own. The outcome is better if I remain open to inner guidance, and let the piece dictate what steps come next, instead of holding too tightly to my original vision. It's very much a collaboration.

While I'm making photographs, or editing and creating, I focus on peace, the connection with my subjects, my deep appreciation for them, their inherent divine perfection, and love, so much love. All of this energy comes through the images, and the mandalas. I truly believe that the images, and most especially the mandalas, actually radiate positive energy, and that each one has a unique vibration. They can be used to assist in balancing the energy of people and places, and for contemplation. All of my work is uplifting in nature.

Communion

MBS:  Is there anyone or anything in particular that has has a big impact, or influence, on you as an artist, or
on your work?

Karen:  A big impact on my work came when I read Judith Cornell's book, Mandala - Luminous Symbols for Healing, based on workshops she gave. She taught people to access their own personal, meaningful, symbols. They would then use their symbols to make sacred art, for transformation and healing. I found the book absolutely inspiring, a book you really want to participate in! Before I'd even read the whole book, I made my first mandala. I still love making them.

Also, for years I've practiced Reiki and T'ai Chi, and use other energy balancing systems, and these all have taught me greater awareness, and definitely influence my work.

Eternalism

Question 6:  What's a typical work day like for you?  Do you work on your photography and artwork every day?

MBS: The only thing that's typical is the way I begin my day. If I get a good start, set the tone, the rest of the day works out great.
After a nice glass of water, I do Donna Eden's Five Minute Energy Routine, then a modified form of the Tibetan Yogic Exercises, at least five minutes of Zhan Zhuang - the Embracing the Tree form, and then a meditation. Depending on weather, I practice my T'ai Chi outside then, or later in the day. Then it's time for breakfast, brush and play with the cats, and after that, start to work.
As a small business owner, my work includes bookkeeping, packing, shipping, inventory control, creating, and marketing, plus improving my skills, and keeping up with new technology. It's always interesting, challenging, and rewarding. And yes, I do work on photography, or artwork, every day; that's the part I love the most! Some days are filled with other work, or unexpected things come up. When that happens, I spend time on my creative work in the evening. There's either some idea I really want to try out, or I want to do just a little more on something I'm working on. I always make space for my favorite part of my work!

 MBS:  What kind of photographic equipment do you like to use?



Karen:  Other than my camera and my tripod, Photoshop is the "equipment" I like to use the best! Once you know the tools and their functions, whatever you can imagine, you can make visible with Photoshop. It's almost magical!

MBS:  Your work really does have a signature look to it...both the mandalas and your photos.  Your images are very crisp, clear and clean....colors are often bold.  What is it you are striving to portray in your images? 

Karen:  It's definitely a feeling. My work is about light and energy, about the vibrational aspect of our world. Capturing the peace and perfection present in all things, through the beauty all around us, is my focus. I hope that my work may act as a bridge to connect the viewer to the spirit, the truest essence, of my subjects, and this in turn will assist them in connecting to their own intrinsic beauty, their own peace and perfection.
  

Danza de la Vida

MBS: I know many artists who are very hesitant about selling their work online. I've noticed that you actively sell quite a bit of of your work that way and are on several different selling sites.  Your also pretty active with your blog. How has selling online and social networking worked out for you as an artist? Any advice you can give to other artists who are thinking about selling their work this way?

Karen: Having an online presence has been a positive experience. I love selling online. Sales come through at any time of the day or night. I meet lots of really nice people, and have made some amazing friends that I might never have known otherwise. When you sell online, your work has the potential to be seen by more people than you could ever reach in person. Your work is available to buyers at their convenience, unrestricted by the time of day, or where they're located.

My advice for selling online is to deliver high quality products, give superior service, be easy to deal with, and respond quickly and pleasantly to any communication. Provide quality pictures, and information about your work and processes, but don't be offended if it isn't read. People are busy, and have more information coming in than most anyone could keep up with. :)

Opening a shop, or creating a web site to show your work, isn't enough. Besides connecting with your audience, they need to remember you, and know where to easily find you; this is ongoing work. Marketing and promoting are a huge part of your job, though these things can simply be the ways you connect with people, not a one sided activity. Also, life will be easier and more fun if you're adaptable, and love to learn new things. Make peace with the fact that things are always changing, and there's always something new to learn. Have confidence in your work, and have fun!

MBS: Any advice you have for those who wish to pursue an artistic path?

Karen: If you feel a pull to follow an artistic path, begin to take some action in that direction, and make it a priority. They say that people regret the things they didn't do, more than the things they did do. Don't wait for conditions to be "just right," or for anyone else to approve. You don't have to quit your day job. Begin small, begin anywhere. Do even a little toward your path consistently, and it will build on itself. Make friends who are positive people, are supportive, who share your core values, and are moving forward. Jim Rohn said, “You’re the average of the five people you spend the most time with.” Who and what you surround yourself with matters.

Do your work with a feeling of appreciation, keep touch with why you love it, and why you chose it. This way it will always be an adventure, always be fresh.

Thank you Karen 


For more information about Karen Casey Smith, you can visit her blog.  Her work is also available for sale on Etsy and Artfire. 

Additional interviews from the Mind Body Spirit Artist Series:
Ben Isaiah
Emily Balivet
Laura Milnor Iverson
Joanne Miller Rafferty
Jude McConkey
Atmara Rebecca Cloe 
Alison Fennell
Fernanda Gonzalez
PattyMara Gourley

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Orbs, What Do You Think?

I'll admit, I was one of those people who never gave a second thought to what an "orb" might be - until I happened to start capturing them in pictures myself.

My first memorable encounter was earlier this year at the American Museum of Natural History in New York.  I was trying to take a picture of a huge Olmec head.  The presence of this piece was so powerful and intense, something about it kept drawing me in.  I wanted to photograph it, but I seemed to be having all kinds of problems doing so.  People kept getting in front of me, the light was weird, the energy in the area where it sat felt off...something was just not right.  Finally, I pretty much just gave up - but snapped a few quick pics with my camera anyway as I walked away.

Later, after I downloaded my photos to my laptop and was looking through them, when I clicked on the Olmec figure I was simply stunned.

Orbs?  Really...?  You've got to be kidding.
Of course after I started reading a little bit of the history of the Olmec civilization, I had no doubt in my mind that something was probably still hanging around this menacing head.

I decided to post my orb photo on the Facebook Fan page for the Mind Body Spirit Marketplace that I update everyday.  What did other people think about the picture?  Weird lighting glitch?  Energy? Spirits?

Well, first of all, the number of hits I got on photo was huge.  Some people who replied said it was the lights or the camera.  Most people definitely thought it was either a spirit or some kind of energy hanging out around the piece.

Thinking that the idea of being able to capture images of orbs in photos was so interesting, I posted a note to the Mind Body Spirit Marketplace group and asked that people send me photographs that they had taken where orbs had appeared.  The photos have slowly trickled in over the last few months, but every shot seemed to be more jaw dropping then the next.  Particularity the photographs taken in a tomb in Egypt, which you will see later in the article.

My next encounter with orbs happened in Paris recently, when I had taken some photos in front of and around the Louvre at night.  Given the history of that particular area - the revolts and the French Revolution - I honestly wasn't surprised that they showed up.

What exactly is an orb?  Well, it's pretty much open to debate.  From what I've been able to ascertain people tend to fall into one of three camps:

1. It's a camera or lighting mishap.
2. It's an energy or spirit manifestation.
3. They really don't care

According to book about orbs, "Orbs: Their Mission and Messages of Hope" by Klaus Heinemann, Ph.D. and Gundi Heinemann, the authors state that even though there are still many unanswered questions about the exact imaging mechanism of orbs, they are fairly certain about the following:

1.  Orbs are not Spirit Beings in and by themselves, but rather emanations from Spirit Beings.
2.  Orbs show up on their own volition in digital photos and sometimes even photos taken with conventional emulsion film cameras.
3.  Due to the technology involved, it takes very little physical energy for an orb to be recorded in a digital photograph.
4.  Orbs appear to take the minute amount of physical energy required for being recorded in digital images form the camera flash, or in a few cases, from other physical light or energy sources.
5.  To minimize the energetic requirement for being recorded by cameras, orbs do not wastefully emit their (light) energy, but instead focus it with laser like accuracy into the camera rather then into other directions where there is not camera to capture them.
6.  Orbs respond to requests to appear in photographs and will generally not bother showing up in photos when they anticipate their presence will not be noticed.

The authors then go on to say:  "Given this evidence of intelligence/consciousness on the part of Spirit Beings whose emanations people see in their digital photos, it is reasonable to assume that they do not just appear in images for no particular reason.  Instead, we can argue that there is intent behind their showing.  The more highly evolved the being, the more likely this assumption is accurate."

I found the Heinemann's book to be extremely interesting and well researched.  He is a PhD and researcher for NASA .  I would recommend it to anyone who would like more thorough information on the subject.

Below are some of the photos that the  Mind Body Spirit Marketplace readers sent to me.  Some people asked to remain anonymous or have their faces blurred out.  Others provided titles, descriptions and where the photo was shot.

Are orbs manifestation of spirit beings?  Some people think so, others don't.  Whatever you believe, I think you'll find the photos below as fascinating as I did.  And, as I stated in the beginning of the article, if you ever come across orbs in your own pictures... I promise you you'll never forget it!

Thanks to everyone for their submissions!  They are in no particular order.

~ diane fergurson

"At a Yoga retreat in the Pocono Mountains in Pennsylvania"

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"A short story for you about it:
Last Halloween by Granddaughter had a temp of 104 on and off for 3 days.  She missed all the
Halloween fun, so we decided to have our own private party for her.  Celebrating with crafts,
scary story telling, baking pumpkin cookies and pin the mouth on the witch/Hello Kitty (her game).
She was having fun until her fever came back.  This little pirate jumped ship.  She had enough!
...and for a Halloween surprise that evening....
Who was watching over her in the top right corner of the picture?"

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"The other dog, that normally sits in my husband's lap had just passed away"

"Visiting a Cathedral in Europe"

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The Stanley Hotel

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"These photos are from the "Bent" Pyramid at Dashur, which was an experimental pyramid before the Great pyramid at Giza.  The angle they started with was so steep, that it was determined it would go too tall, and collapse the tomb chamber within, so they changed the slope halfway up.  Hence the "Bent" name."

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The following photos were submitted by Mind Body Spirit Odyssey contributor- teacher

and healer- Jovita Wallace.  Here is the link to the interview she did with us

last year ago on color vibration and energy.

"These attached photos were taken along the Platte River in Nebraska. 

My daughter and I were on a month-long camping journey across the US.

We camped along the Platte River off

Rt. 80 between Lincoln and Omaha.  After setting up the camp for the overnight,

I went down to the edge of the river to photograph the firery sunset.

When we returned from our trip, I had the film developed.  I was in awe when

I saw this film.  There is a face at the bottom of the photo on the ground. 

The spirit (like an  angel), is emanating from a white flame.  To the left of 

this image is an entity that  appears to be of the elemental kingdom. 

If you study these photos, what do you see?"  

 

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