This piece marks the beginning of a new artistic language — one that merges texture, energy, and intention through the layered use of collage and acrylic paint.

Though not directly inspired by the Hebrew letters, this work is rooted in a parallel mystical tradition: Advaita Vedanta. It explores the Three Gunas — the subtle qualities that shape all of nature and consciousness:

Tamas – inertia, darkness, density

Rajas – fire, anger, passion

Sattva – purity, clarity, light

My intention while painting was to alchemize these forces within myself and on the canvas — to allow darkness and intensity to be transmuted by purity, to engage the painting as a living meditation and process of transformation.

This early work holds the seed of what would become the Menoric Spaces series: the use of art as a mystical process — a vessel for inner evolution and the merging of spiritual paths.

It also inadvertently anticipates the Kabbalistic theme of the three-column system, the mystical correction and illumination of the left  (Rajas & Tamas)  through Sattva, yet it is incomplete.

Dhyana, derived from Sanskrit, is a form of meditation that translates to "meditative absorption" or "profound contemplation". It is the seventh limb of Patanjali's eight limbs of yoga and a key practice in both Hinduism and Buddhism. Dhyana involves sustained, effortless awareness and deep contemplation, often described as a state of being fully absorbed in the present moment. 

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A meditation on the gateway between worlds, this painting evokes the sefirah of Yesod — the sacred foundation through which divine energies filter into the manifest world.

Layered textures and translucent forms whisper of concealed realms, where memory, dream, and archetype converge. At the heart, a pale square radiates with quiet symmetry — a vision of the spiritual womb that receives and reflects all upper emanations.

Golden bands and patterned fragments hint at sacred architecture — the hidden scaffolding of reality. Like a prism of the soul, Yesod becomes a mirror of the higher realms, offering a glimpse into the luminous transmission of spirit into form.

This work invites the viewer to enter the space between — between seen and unseen, above and below, self and Source.

Dissolving the hologram, 2014, Acrylic and Collage on Canvas, 36X48 inches

This work captures the rupture and reformation of the Earth-Soul — the feminine vessel of Malkhut, Gaia, undergoing a sacred cracking open. Inspired by the Egyptian Bennu bird — a symbol of rebirth and ascension — the painting reflects a long initiation into the release of survival instincts and attachments, and the emergence of a new planetary consciousness.

Woven with personal symbolism and sacred patterning, the central sphere becomes both womb and world — the chalice of transformation. Floral codes rise from the cracks, offering a vision of renewal. A crane appears near the edge: guardian of the threshold, watcher of cycles, messenger of the unseen.

Bennu Synergy is both the descent into disintegration and the resurrection into a higher resonance — a testimony to the alchemy of trust, surrender, and becoming.

Tree of Life, 2019, Acrylic and Collage on Canvas, 34X44 inches

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This painting reimagines the Tree of Life as a 12-fold consciousness structure, expanding upon the classical 10 sephirot to include:

Daat — the hidden gateway of knowledge and integration,

and a twelfth sephirah above Keter, symbolizing the Living Light — the primal emanation beyond form.

This additional sphere at the crown represents the soul’s longing to cleave to the Infinite, reaching toward an even higher emanation of divine presence. The Tree becomes not only a map, but a ladder — bridging upper and lower worlds, a visual echo of sulam, the ladder of Jacob’s dream.

A subtle vesica piscis emerges within the composition, connecting the upper triad to the lower aspects of the Tree, as well as uniting the left and right columns. This geometric interweaving anticipates a mystical teaching drawn from Rav Berg’s Letter Energies: the interplay between the Hebrew letters Dalet and Gimel, whose eventual union is said to usher in the Light of Mashiach.

In this way, the painting becomes both a contemplative field and a symbolic act of unification, inviting the viewer into a layered space of devotion, ascension, and inner repair.

Gene Key 25, 2019, Acrylic and Collage on Canvas,

Constriction, Acceptance, Universal Love

Opening the heart of stone, the Aries point, the world soul

Acrylic and collage on canvas, 30x30 inches, 2021

A visual invocation of the Shekhinah’s ascent from exile, this painting radiates with the glow of divine reunion. The four Tav letters — the final letter of the Hebrew alefbet, symbol of completion and matter — form the cardinal pillars of the work, grounding the Presence into the four directions and the world of action (Assiyah).

At the luminous center floats the divine name Yud Lamed Yud — a soul-signature of sacred purpose. This name, connected to the artist’s birth, encodes the work of tikkun: the gathering of scattered sparks and the restoration of divine unity.

A radiant orb of fire and light expands outward, cross-like and cosmic, echoing both a womb and a throne. The subtle upward currents rising from the depths evoke the Shekhinah’s movement — from shadow into radiance, from concealment into embodiment.

Return of the Shekhinah is not just a painting, but a living altar — a witness to the moment the Divine Feminine takes her rightful place within creation, whole, holy, and at home once more.

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This painting honors the Hebrew letter Beit (ב) — the first letter of the Torah and the sacred vessel through which all of creation begins. According to the Zohar, Beit was chosen to begin the word Bereshit (“In the beginning”) because it carries within it the energy of blessing — berakhah — a divine impulse to give, to contain, and to overflow.

Here, Beit hovers within a radiant orb of molten rose-gold — part womb, part sun, part inner temple. It appears as if dripping with the first creative fire, the original bracha. Surrounding patterns — floral, cellular, textured — echo the sacred architecture of life, the feminine matrix through which all form is born.

This work is a visual invocation of the indwelling Presence — the Shekhinah — and the moment when divine light first chose to dwell within matter.

Beit is not just a beginning. It is a home for the infinite.
A place where blessing becomes body.

soul painting, Acrylic and collage on canvas, 30x30

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Dalet-Delet, 2022, Acrylic and collage on canvas, 30x39 inches

This painting weaves hidden Hebrew letters and Living Light Symbols into an arc of radiance, evoking themes of abundance, protection, and generosity. Rooted in ancient sacred names, the work creates a luminous gateway — a blessing of light that surrounds the space and those who enter it.

The Holy Ancient One.
The Eye that never slumbers nor sleeps —
the Eye of Providence, the Eye of Mercy and Lovingkindness
that shines continually upon all creation.
— Zohar, Idra Rabba

I painted this piece before encountering the Zoharic passage that speaks of this Eye. Initially, my intention was to create a vision of abundance — and within the work, the Hebrew letters Samekh–Aleph–Lamed (סאל) appear, the divine name associated with sacred flow and sustenance.

Half a year later, I came upon this passage in Idra Rabba of the Zohar:

“The righteous and the most meritorious will see in the future this Eye of Arich Anpin with a spirit of wisdom. … ‘For they shall see eye to eye’ (Isaiah 52:8). When will this happen? When ‘Hashem returns to Zion.’”

I realized then that this painting had always been a prophetic mirror of that vision — not just the Eye of Providence, but the moment of mutual seeing — a time when Divine Mercy returns, unveiled, and the righteous behold the Holy Ancient One “eye to eye.”

This time is now.

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Transmutation, 47th gene key

I began this painting inspired by Eshet Chayil — the Woman of Valor, another archetypal field of 8 gene keys, weaving the themes of desire, purification, and valor — and over time it transformed into a meditation on the Shekhinah rising to meet the light in Tiferet. The title came to me as one of the very first telepathic words I ever received. From the Hebrew b’yir’atah, it means “in awe of You” — awe for the Creator, held within the presence of the Divine Bride. That moment stayed with me, carrying both reverence and a deep, quiet joy.

In the painting, spirals form the Hebrew letter pei — the mouth, through which creation itself is spoken into being. These spirals are joined by hidden Hebrew letters, forming a living vessel (kli) to draw divine light into the world.

I’ve concealed letter gates within the composition, almost invisible unless you’re searching for them. They guard the moment of yichud (union) in the inner chambers, holding the dissolving of barriers, the return of wandering sparks, and the voice of sacred utterance.

Birata is alive, layered, and full of mystery. It invites the viewer to step inside, to look past the surface, and to witness the eternal embrace of the Divine Bride and Bridegroom — all in awe of the One.