Learning to Fly

Cassandra Tondro abstract art

Hi Friends,

I’ve had some interesting dreams lately. Here’s another one from this morning.

I’m in the hills in Malibu. I’ve found that by taping squares of white cotton gauze over the backs of my hands, I can fly. It’s a glorious feeling being able to soar over the land and see everything from a higher vantage point. I used to be afraid of heights, but now I can perch on the edge of cliffs and feel no fear at all.

I’m flying around, and I see two men on the ground. I fly down to join them and try to convince them to fly with me. They’re not interested, but they reluctantly agree to give it a try.

I have to go into town to get more cotton gauze and tape for them, but I haven’t brought any money with me. There’s a long series of mishaps as I manage to acquire the tape and gauze. Then I’m in the city, and I have to get back to the hills, but I’ve temporarily lost my ability to fly.

It’s a very busy city with lots of people and traffic. I’m carrying two very heavy bags, and it’s too far to walk. I don’t know how to get back to the hills.

What does this dream mean? To me it says that problems created in one state of consciousness can’t be solved in that same level of consciousness. We have to transcend to a higher frequency to be able to see the solution.

In the dream, being stuck in the city is like being stuck in the heavier, physically dense world. Only when I’m able to fly do I lose my fear and soar.

Also, the dream indicates that some people aren’t interested in flying. Trying to convince others to join us when they don’t have any interest is a waste of our resources and takes us back into physical density.

So how do we learn to fly? I think there are a lot of different ways to fly — meditation, prayer, contemplation, breathwork, yoga. Whatever raises you to a higher level of consciousness.

Here’s an art-related problem I created for myself this week that’s looking for a brilliant solution. I warped my loom with with greens, purples and blues, then I started weaving with pinks and peaches in the weft. The effect I was going for was a vibrant rose garden, but what I got was dull and muddy. I should have taken a picture, but it was so ugly I didn’t think of it.

I took all of that out, and I’m back to just the warp. The picture below shows the yarns I had planned to use in the weft.

Cassandra Tondro weaving

I want to use complementary colors in my weaving, like I do in my paintings, but it never works out. Am I stuck using only analogous colors like blues and greens or reds and oranges? I don’t know. It’s only by trying different color combinations that I can find out.

How do you fly? I’d enjoy hearing your thoughts. You can share them with us in the comments section below.

With love and appreciation,
Cassandra

Painting at top: “Golden Light,” 22 x 28 inches, repurposed acrylic latex paint on canvas

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