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Originals are HANDMADE with a base of ply board covered with cloth, shapes of cloth covered cardboard laid out in order, with photos cut to size on top.
Size: Diameter (6ft / 1.82m)
The central golden circle of ‘Crystal of Time’, the first picture in Series II of Susan’s Photo Collage Art pieces is here magnified to express its inner workings in ‘Diamond Lens, Doorway to Infinity’, the second picture of this Series.
‘Diamond Lens, Doorway to Infinity’
’Crystal of Time’
‘Diamond Lens’ refers to the potential we have to fully perceive our ‘Indestructible Source’ of Pure Awareness, ‘Diamond’ being the hardest form of crystal, unique in the sense that it requires itself, to cut itself. So, ‘Diamond Lens’ is another way of saying ‘Indestructible Awareness’, which refers to an Absolute condition that nevertheless contains all potential.
‘Doorway to Infinity’ is the process of expression of that Absolute condition, that source light of being mutating into myriad forms of manifestation, emerging and dissolving at all layers of solidity and subtlety, ad infinito.
Relating to the moment of the bursting of clear, ‘uncoloured’ light into its first 5 colours, through sound vibration occurring in increasing increments of golden ratio harmonics, which as the very first expression of Perception, creates tunnels of expanding light that form a matrix of Space, a place within which manifestation may occur.
Solidifying through the interacting process of the other 4 elements (female) and aggregates of the mind (male) dancing together in a kind of feedback loop, these two polarities conjoin to form the illusion of a solid appearance that is interpreted by the perceptive quality of our Awareness, resulting in an entire Relatively physical appearance that we may sense around us.
Our individual perceptive state of Awareness understands this appearance from its own bent of reality, reinforcing it again and again as a solid meaning, until it consciously remembers its pure clear light source of Awareness. This was, nevertheless, always there, just overshadowed by the strength of the Perceptive faculties, which had learned how to interpret its experience and make sense of the world around it, in its own egoic way.
‘Diamond Lens, Doorway to infinity’ thus describes this endless process of embedding into source as well as being fully aware of its active presence in the simultaneous creation and perception of relative appearance, necessarily balancing its Relative and Absolute truth of being in order to embrace whatever manifestation occurs in its environs through recognising the emanation of its own inherent 5 lights from source.
Another Photo Collage Art piece emerges
However, it was when a third picture in Series II of Photo Collage Art, ‘Tunnel Vision, Eye of Eternity’ slowly emerged between 2020 and 2024, that the tryptic of symbol required for Susan to embed all three pictures, as intricate harmonic layers into the final version of her kaleidoscopic movie on Bosnia (2024), also entitled, ‘Tunnel Vision, Eye of Eternity’ – FILM,was completed.
Like a glove, or container that ‘Crystal of Time’ holding ‘Diamond Lens, Doorway to Infinity’ in its centre, fits into, here we see the meeting of these three shapes as one being described as the frame, axis and central part in Susan’s envisioned installation device, ‘The Magician’s Jewel’.
As described in the Mayan Calendar and elucidated in the works of Jose Arguelles, here we see two different rhythms of Time, as ‘Diamond Lens, Doorway to Infinity’ runs on the mechanistic, Babylonian Time structure of 12:60 that we still use as our global method of keeping time today, whereas ‘Tunnel Vision, Eye of Eternity’ runs on that of 13:20.
This means that when ‘Crystal of Time’ fits inside ‘Tunnel Vision, Eye of Eternity’, the latter acts like a Time Converter causing an entire consciousness shift as the rhythmic pulse of Time actually changes from operating at a rhythm of Mechanistic Time that distorts and stunts our full range of Perception, whereas that demonstrated by the Mayans and other earlier traditions brings us into full sync with all Cosmic Rhythms of Universal Harmonics, empowering our multi-layered system to operate correctly within its full range of harmonics, rather than being confined to the mere several that Mechanistic Time allows us to enter.
The main facets, symbols and shapes of all 3 pictures of Series II, ‘Crystal of Time’, ‘Diamond Lens, Doorway to Infinity’ and ‘Tunnel Vision, ‘Eye of Eternity’ are also symbolically embedded into the timeline of the movie she made about the Bosnian pyramids at Visoko, near Sarajevo that is also entitled, ‘Tunnel Vision, Eye of Eternity’.
This may be viewed at:
‘Tunnel Vision, Eye of Eternity – FILM’ (2024)
This is an example of another of Susan’s artistic genres of work, ‘Kaleidoscopic Filmmaking’, where she constructs shapes into whole pictures that have been carefully designed to emanate a measurable energetic value, whereby their actual refraction of light creates beneficial harmonic frequencies, which are then carefully reproduced and embedded into the structure of a movie using the skilful methods offered by the process of filmmaking (visuals, music, narration and timing) in order to transmit those same beneficial frequencies directly to the viewer similar to that found at sacred power spots.
However, before this final version of the movie emerged in the late spring of 2024, Susan had already made a first edition of her Bosnian movie in 2020 that she had named, ‘Visions of Bosnia’, in which she had built a strict rhythm into the base of the timeline regarding the flow of music, interchanging of visuals and passages of narration that remains the same timeline base in ‘Tunnel Vision, Eye of Eternity’ – FILM.
At that same time, she gave an online talk about ‘Kaleidoscopic Filmmaking’ in which she describes the process of embedding the first two pictures, ‘Crystal of Time’ and ‘Diamond Lens, Doorway to Infinity’ into this first version of the movie at:
Video to explain the making of first draft of Bosnian movie
Susan’s book, ‘Visions of Bosnia‘ that is currently in draft format, describes the making of this first version of the movie.
In addition to these above mentioned artistic expressions and along with the rest of Susan’s Series I and II of Photo Collage Art pictures, ‘Diamond Lens, Doorway to Infinity’ is included in the design of her installation piece, ‘The Magician’s Jewel’ where as a 3-dimensional dodeca-icosahedron, this picture expands into a fully operational toroidal field sitting in the centre of its axis to hold its innermost workings.
Here in this installation device, we can see how the circles do not statically remain the same size as in the picture, but expand through each as the toroidal field energetically moves across its spherical surface, getting larger and larger as it opens to the exterior, returning to become smaller and smaller as it self refers back inside to its centre, giving us the perfect example of how the appearance and disappearance of each tiny particle of existence that is responding to how perception perceives the appearance of the world around it and how the appearance responds to that manner of Perception, occurs..
Yet when Perception, the capacity of Awareness to perceive its relative surroundings understands its state of pure ‘Indestructible Awareness’, then everything may be seen through the Absolute view of the ‘Diamond Lens’, which nevertheless may also simultaneously perceive Relatively existing appearance that matches the perceptive quality of this level of realisation.
Description of Diamond Lens, Doorway to Infinity
Here, in ‘Diamond Lens, Doorway to Infinity’ there are 12 principal blue ringed circles placed where the numbers on a clock go, with 12 smaller, yellow ringed circles placed on top of each of the blue ringed circles, again where the numbers on a clock go.
Blue Lines
This is however, NOT referring to the double blue ringed circles sitting on 12 lines criss-crossing the picture in ratios of harmonic 5ths. Like the belt of a motor in a car that causes multiple peripheral devices to drive the vehicle into motion, each line curves around each of the 12 principal circles in the position of the numbers on a clock, representing our perception that is driving these vibrations into motion, causing the illusion of a solid reality appearing around us.
Connecting to a centre produced by the 12 double circles positioned where these lines cross as they pass through the picture again and again in an eternal spin, brings in the balancing energy quality that manifests in the emission of its movement.
Many shapes are also created by the crossing of these lines; triangles, double triangles, squares, etc…
This cycle of fifths also points to something else here. When you start with a note, a certain tone, then keep adding 5 tones above it, you’ll eventually get back to the same 1st note/tone 7 octaves higher, a 13th note that occurs at the 13th iteration of the process!
Susan sticking the first 12 blue circles onto the golden cloth covering the circular plyboard (6ft diameter)
Each of these 12 principal ringed circles emanates 9 times in golden ratio harmonic increments, inwardly 4 times (ie. getting smaller and smaller; green, red, white, yellow) and outwardly 4 times (getting larger and larger; green, red, white, yellow), the larger yellow ring forming the rim of the entire circle.
The 12 largest rings that emanate from each blue ring are coloured white and their smaller green rings that follow their boundaries
The larger white and smaller green rings covering the 12 initial blue rings
The 12 larger red rings with their smaller red rings inside their boundaries, covering the blue, white and green rings beneath them
Then there are 4 more layers to these 9 that encompass the smallest circles of all, which are represented by the photos on top of each of the 4 coloured ringed circles in continuing golden ratio intervals, making 13 layers or dimensions, in total.
As most of the emanating circles from each of the 12 principal ones end up crossing each other, it appears like a complicated jungle of different sized circles, whereas it is actually quite a simple mandala of ripples of vibration!
Each of the 12 principal circles emanating 9 times in golden ration intervals, plus 4 additional dimensions expressed by the photos, in continuing golden ratio intervals
In order from smallest to largest size, in golden ratio increments (ie. each item is 1.618 times the size of the preceding one)
- 12 x Blue photos on each of the small Yellow rings
2. 12 x Green photos on each of the small White rings
3. 12 x Red photos on each of the small Red rings
4. 12 x White photos on each of the small Green rings - 12 x small Yellow rings
6. 12 x small White rings
7. 12 x small Red rings
8. 12 x small Green rings
9. 12 x Blue rings - 12 x large Green rings
11. 12 x large Red rings
12. 12 x large White rings
13. 1 x large Yellow ring = the circumference of the whole picture
There are 5 colours, of which the principal colour is blue. In the ‘highest’ yogic tradition of Tibetan Buddhism, blue often represents both the element of Space and fully-fledged egoic Consciousness in terms of Relative existence and the Mirror-like quality of Wisdom in terms of its Absolute state.
The base of the picture completed with the additional blue straight lines criss crossing to connect the initial 12 blue circles on the base
Two blue rings centring each crossing of blue lines on final version of picture
Vesica Pisces
We can also see many circles crossing each other that form interconnecting circles. Although strictly speaking, the Vesica Pisces circles will touch each other’s central points, which is something that causes them to contain the energy of the centre within their expression, these are all doorways of one or another kind to interior space.
A series of presentations on ‘Diamond Lens, Doorway to Infinity’:
In a series of PowerPoint presentations from February to April 2020, to a Biogeometry group near San Francisco, USA, Susan describes in chronological order how ‘Diamond Lens, Doorway to Infinity’ emerged out of her work, ‘Crystal of Time’ and how she subsequently embedded it, along with ‘Crystal of Time’ into the timeline of the first draft of her movie, ‘Visions of Bosnia’ about the Pyramid Complex in Bosnia that evolved into ‘Tunnel Vision, Eye of Eternity’ in its final version that may be seen in the video above.
The process of ‘Diamond Lens, Doorway to Infinity’ emerging and subsequently being embedded into the movie are discussed in the following presentations:
Synopsis of Slides 31-40:
Finding some crucial information about circles and lines in her book, ‘The Living Pyramid’, putting that together with information already embedded in ‘Crystal of Time’, thinking how to put the circles together, making the base of a picture with the working title, ‘Indestructible Drop, Doorway to Infinity’, E8 and quasicrystals.
Synopsis:
A previous layout for the Bosnian Movie, emerging cycle of perception into material substance and subsequent dissolution,
Time pulse, wave interference, spin and anti-spin, phase conjugation, 9 layers of elements and mental attributes,
The Caduceus, Pyramid Energy, Tachion Energy, The Kybalion – the secret book of Hermetic Philosophy, 7 laws of the Hermetica, Orgone Energy,
Relationship between Icosahedron and Dodecahedron, 432Hz cycle, 2D and 3D solids, Factor 9 grid, Fibonacci sequence,
Layout for the Bosnian movie: pertinent numbers, making symbols for each aspect of the ‘Crystal of Time’ picture, creating section layouts with the symbols, giving them a coherent order, timing of visuals, 2 Fibonacci spirals for the music layout, timing of music, synopsis of intended layout for first Bosnian movie, ‘Visions of Bosnia’.