Reconciling Fire and Water

Quest for Harmony Between
the Inner Feminine and the Inner Masculine 

“In the human rela­tion­ships that are coming, the cup is neither half-full nor half-emp­ty. The­re is only one awa­re­ness in the rela­tion­ship, so the cup is always over­flo­wing. We will no lon­ger fall in love, we will rise in love. The gre­at love that exi­sts betwe­en the yin and the yang will final­ly shat­ter the illu­sion of our sepa­ra­te­ness and rele­ase the endless font of ener­gy from the nuc­leus of cre­ation itself.” 

Mystical Gates to Your Own Divinity

My chan­ne­led paper art col­la­ges are ener­gy-enco­ded and are desi­gned for “gazing con­tem­pla­tion”. You gaze, you trans­form – it’s as sim­ple as that.

Toge­ther my art col­la­ges form an ever-evo­lving sys­tem of mysti­cal gates or por­tals that help the gazer to redi­sco­ver his or her own divi­ni­ty. My art col­la­ge sys­tem faci­li­ta­tes self-disco­ve­ry and assi­sts in the deepe­ning of your inner balan­ce. It sup­ports bet­ter syn­chro­ni­za­tion of your left (mascu­li­ne) and right (femi­ni­ne) bra­in hemi­sphe­res, hel­ping to trans­form the inner con­flict betwe­en the mascu­li­ne and the femi­ni­ne ener­gies within you. Doing this kind of deep sha­dow work will gra­du­al­ly lead to your gre­ater per­so­nal inte­gri­ty and ulti­ma­te­ly may help you re-remem­ber your own divi­ni­ty and sove­re­ign­ty (it depends on you, your level of matu­ri­ty and com­mit­ment, of cour­se). In case you won­der, I have to grow into my own artwork too, by inte­gra­ting within the codes that are the­re. I’m just an “expres­sio­nist pain­ter making a futu­ri­stic dra­wing”… seeing and sen­sing things ahe­ad of my time, hel­ping to dre­am new reali­ties into exi­sten­ce. Will you join me?

This gift for visio­na­ry art has ope­ned in me as a result of doing a pro­fo­und Bud­dhist dhar­ma prac­ti­ce cal­led Pra­jña Aka­sa­gar­bha (“wis­dom hid­den in the womb of spa­ce”). My art col­la­ges are “down­lo­ads from the Uni­ver­se” that bypass the mind, also my mind! Later I have to “deco­de” them thro­ugh con­tem­pla­tion, main­ly with the help of such spi­ri­tu­al technologies/living trans­mis­sions as The Gene Keys by Richard Rudd and The Sophia Code by Kaia Ra. Also, Matt Kahn con­ti­nu­es to be a very rich sour­ce of inspi­ra­tion and deeper under­stan­ding for me.

How it all began…

I star­ted cre­ating my paper art col­la­ges when a wave of shat­te­ring events over­to­ok my life. A life-threatening dise­ase. Ina­bi­li­ty to take on a regu­lar job. No means of sup­por­ting myself. Friends and loved ones that were nowhe­re to be found when I needed them the most. It all felt like trials by fire and water and was an une­xpec­ted result of spon­ta­ne­ous awa­ke­ning of kun­da­li­ni ener­gy in my sys­tem. In tho­se moments the Uni­ver­se cal­led to me. “Trans­mu­te what doesn’t serve you any­mo­re or die.” And the Uni­ver­se wasn’t joking. Oh no!

My first col­la­ge titled “Year­ning for the Earth” depicts my Mother’s parents. I cre­ated it on 1 Novem­ber 2016, spon­ta­ne­ously.  No one was more sur­pri­sed than I. It was All Saints’ Day in Poland. All I had wan­ted was to some­how honor my dece­ased ance­stors. But that’s how it all began!

At first I wasn’t sure what I was actu­al­ly doing but felt within my enti­re being this was a form of soul art the­ra­py, ope­ning my bat­te­red heart, more and more, soothing my soul and my exhau­sted phy­si­cal body. In other words, I disco­ve­red the­se col­la­ges were faci­li­ta­ting the pro­cess of my per­so­nal inte­gra­tion on a very deep level. Soon I star­ted rece­iving feed­back from other ener­ge­ti­cal­ly and visu­al­ly sen­si­ti­ve people. They were tel­ling me my art was “doing some­thing to them”, ini­tia­ting the­ir own emotional/spiritual healing processes.

How I cre­ate my art collages

I cre­ate them in high­te­ned sta­tes of consciousness/deep con­tem­pla­ti­ve sta­tes. Whi­le tuning into the the­me of a par­ti­cu­lar col­la­ge, I under­go a deep trans­for­ma­tio­nal pro­cess myself first. I’m the first “beta tester”! That’s how I get to know what each col­la­ge does ener­ge­ti­cal­ly. For this very reason com­ple­ting col­la­ges that cover the most emo­tio­nal­ly trig­ge­ring topics often takes a looong time, in many cases even a few years. I chan­nel or “down­lo­ad” each art col­la­ge in sta­ges, and con­ti­nue wor­king on a par­ti­cu­lar col­la­ge only when it gets “acti­va­ted” aga­in, after I have inte­gra­ted its ener­gies or codes in my own system.

I seek to cre­ate har­mo­ny out of mismat­ched ele­ments. As my per­so­nal mis­sion is to recon­ci­le quali­ties that are seemin­gly unre­con­ci­la­ble – fire within water, light within dark, hot within cold, the mascu­li­ne and the femi­ni­ne. I cut most ele­ments in my col­la­ges into the sha­pe of waves (the femi­ni­ne) and fla­mes (the mascu­li­ne). I’m shown how to match motifs, sha­pes and colors in a way that makes them “coope­ra­te” rather than “com­pe­te”. It’s sup­po­sed to be a love affa­ir, not a war. May­be even a hap­py marriage?

I cut out the ele­ments for my col­la­ges with scis­sors! Appa­ren­tly so pre­ci­se­ly that people tend to think my artwork is digi­tal­ly made, even if I tell them it’s not. May­be I’m a heart-art sur­ge­on? I have to cre­ate in mat­ter. Tho­ugh I’m as far from being a mate­ria­list as you can ima­gi­ne, mat­ter is as sca­red to me as Spi­rit. Mat­ter mat­ters.

As “I dare to see beau­ty in eve­ry­thing”, in my cre­ati­ve pro­cess I not only use ima­ges taken from old paper maga­zi­nes, wall calen­dars and post­cards but also from mate­rials that seem to have nothing to do with visio­na­ry art, such as emp­ty paper tis­sue boxes (my favo­uri­te mate­rials!), all sorts of adver­ti­sing booklets, per­fu­me and jewel­ry cata­lo­gu­es, paper tea/herb boxes, gift bags etc. I use eve­ry­thing that “calls on me”.

It’s of gre­at impor­tan­ce to me per­so­nal­ly that I do a kind of recyc­led art, trans­for­ming waste mate­rials and seemin­gly use­less or just unwan­ted things into new cre­ations of new value. In this way I express my deep respect and gra­ti­tu­de for Mother Earth and her valu­able reso­ur­ces. I abhor wasting, inc­lu­ding wasting time, ener­gy and even my own traumas!


Nothing is ran­dom­ly cho­sen in my artwork – neither plant and ani­mal motifs, nor sha­pes or colo­urs. I’ve been guided to use recur­ring motifs and mate­rials to design a visu­al (and at the same time ener­ge­tic or vibra­tio­nal) sys­tem with secret pas­sa­ges leading from one col­la­ge to ano­ther. The titles, myste­rio­us as they may sound, are very impor­tant – they are like keys unloc­king spe­ci­fic ener­ge­tic locks in the gazing person.

Why to work with my col­la­ges and how to do it?

You might be asking “What’s that got to do with me?” A lot, becau­se “what we are healing in our­se­lves, we are hel­ping to trans­form in all (Matt Kahn, Eve­ry­thing Is Here to Help You).

Wor­king with my col­la­ges is very sim­ple – you just con­tem­pla­te them with the inten­tion of ope­ning to rece­iving your highest good for the bene­fit of all, wha­te­ver it might turn out to be. Tho­ugh it may seem other­wi­se, we often know what we want but we have no idea what we tru­ly need. Howe­ver, the Limi­tless Uni­ver­se always “knows it for us” and it’s a reeeal­ly good idea to trust it, fre­eing our­se­lves from the need to con­trol Life.

Who are my col­la­ges desi­gned for?

For curio­us expe­ri­men­ters, emo­tio­nal­ly and spi­ri­tu­al­ly bra­ve. For tho­se “who have eyes to see and ears to hear”. And for tho­se who belie­ve… in mirac­les. For tho­se who­se cur­rent mind­set can con­ta­in the idea that sta­ring at the right ima­ge with the right inten­tion may help to inte­gra­te inner sha­dows and splits. Becau­se magic and mirac­les are just a shift in per­cep­tion, and reaso­na­ble is lowe­ring the bar of mira­cu­lo­us (Matt Kahn, Rec­la­im Your Power). The­re are coun­tless signs that we have been col­lec­ti­ve­ly “hac­ked” by left-brain per­cep­tion. And when we look at the world main­ly thro­ugh the lens of what’s logi­cal, we cut our­se­lves from the only true magic – the magick of an open Heart.

How to cho­ose the most suita­ble col­la­ge for the cur­rent pha­se of your inner journey?

From my expe­rien­ce, the most suita­ble col­la­ge for some­one is always the one that is evo­king an emo­tio­nal reac­tion (which can be accom­pa­nied by some sen­sa­tions in the­ir body). It’s best to cho­ose with your right, illo­gi­cal bra­in hemi­sphe­re.  Feel the col­la­ges with your sen­ses first, and read the descrip­tions after­wards. Try not to be too influ­en­ced by them. Selec­ting a col­la­ge based main­ly on its descrip­tion may be a sub­con­scio­us attempt to bypass some sta­ges of your jour­ney of inte­gra­tion, e.g. “I’ll take the col­la­ge for attrac­ting abun­dan­ce becau­se I could use more money”. The col­la­ge that is the most hyp­no­ti­zing to you is the one to start with. From what I’ve expe­rien­ced, you get cho­sen by the col­la­ge, not the other way round.

Wishing you the most mira­cu­lo­us jour­ney within!

Mile­na Bianga


Many years ago, when I was visi­ting the Museum of Icons in Supraśl, Poland, the museum guide told us: “The light of icons lights us up, illu­mi­na­ting our souls. It’s not us pray­ing to the icon… it’s the icon pray­ing for us.” Her words gave me a thrill and for a tiny moment I felt I got in touch with some­thing pro­fo­un­dly true. Later in my life I’ve often per­ce­ived icons not as sim­ply artworks but por­tals. The art col­la­ge “In the heart of the Forest”/”From the Lotus Sutra”, which I per­so­nal­ly call “my Bud­dhist Jesus”, for me is like an icon – it emits light and this way com­mu­ni­ca­tes with the gazer. At least that’s my per­so­nal expe­rien­ce. This par­ti­cu­lar col­la­ge by Mile­na is like a spa­ce whe­re I can meet “my per­so­nal Jesus” (a term coined by the band Depe­che Mode). And I find sola­ce in the­se inti­ma­te encounters. 

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