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Translated article written by Prof. Dr. G. Schmitt
taken from the book “Animal Communication"
Silberschnur Publishing House, Germany



“World-View” as intuition – this was already proclaimed by Rudolph Steiner, the anthroposophical writer, scholar and natural scientist. The artist Gudrun Weerasinghe follows this premise and interweaves in her paintings the mystical conception of transcendency which can be experienced by meditation, with a social-utopian pacifistic belief in a basically harmonious co-existence of nature and creatures… She stresses that - to approach her opus - the viewer should not use his brains but his feelings.

It is her aim to make the harmony in the world again perceptible, to strengthen the positive side in man by way of the subconscious…

the gradual recognition of the message of her pictures and the propressive projection into them will end up in a development of “higher” spiritual capacities… In a well-conceived way, the bright and warm colors evoke a positive, optimistic awareness of life in the viewer and so do the streams of energy implanted in her pictures.

The colored crater-like landscapes are decorated with pearls and leaf gold and radiate untamed energy. Similar to Steiner and Joseph Beuys, warmth and energy are her life messages, as well as the utilization of nature`s healing powers.

In the face of a frail, unsafe world, pearls, gold and silver reveal extraordinary beauty and duration almost like a magical, nearly divine good. The pearl, held in high esteem in the east as well as in the west, symbolizes the moon, innocence, patience and purity. Chinese dragons are usually depicted when clasping a pearl – a metaphor of wisdom, immortality and light. Likewise the precious gold is intimately connected with the sun, the donator of light, fire and life. Gudrun Weerasinghe personifies another plane, a plane where all creatures live together in peace.

By means of clear-sightedness, quickness of perception and clear feeling, however, that world can be experienced".

(Quotation from the Artbook "Master of visual Arts")

The animal protection activist and animal communications expert Gudrun Weerasinghe heard in 1998 that a perverted Austrian “action artist” had been named “Artist of the Year” by a dubious German jury after having tortured cows and other animals to opera music on a public stage for many days. (Finally the animals died and were thus spared further torture.)

This horrifying incident gave her the final impulse to found her “Arthealing – applied ethical design of consciousness.” The style developed by her called ARTHEALING articulates the dialectical comprehension of her art: healing through art and healing of art, thus somehow reflecting her critical attitude towards certain tendencies of contemporary art.

The psychological and mental characteristics implanted in her works emit more than the colouring and design usually applied would be in a position to radiate, Thus, a gloomy, grey picture with "hanging" shapes nevertheless emits, for example, bright, light joie de vivre thanks to the information which is input in a targeted manner.

Anybody who deals with an arthealing work of his choice or even lives with one cannot help but perceive a positive energetic change in himself.

If somebody would like to profit from the qualities input in the artworks, Gudrun Weerasinghe advices him not only to open ones eyes in order to superficially take in the effects and waves of colours and shapes which are indeed only the reflections of whatever is influenced by the light, but instead to open ones soul to an equal degree in order to recognize the force of Iight implanted in the works, what every animal automaticallywould do. The generally very sensitive animals know exactly what information brings energetic profit to them and lie or sit automatically in front of that work, that helps them most.

She recommends to close ones eyes and let the impression of the light radiation force have an effect on oneself or on the animal and, in this respect enjoy the energetic characteristic (wrapped up in the oeuvre) appropriate for oneself. The following attributes or informations might be for instance in the artwork. “Joy of life”, “enlargement of consciousness”, “unpersonal love”, “tolerance”, “liberation of blockades”….and many more.

Children and animals appreciate the lightful characteristics implanted in the works and use to react in a positive way.

She advices to experiment, try - irrespective of the colouring or design of the picture - to find out which psychological and spiritual attribute makes you, your child or your animal feel particularly well.

“Gudrun Weerasinghe is one of the phenomena of the present time, through which the anthroposophy experiences a revival.

As a connoisseur of Rudolf Steiner‘s theories, she is today, at threshold to the third millennium, an artist, equally involved cognitively and emotionally, lets her works come into being in herself. Steiner's sentence in ,,Mein Lebensgang" (My way of live), written down shortly before his death in 1925, can be considered valid as a premise for the work of Gudrun Weerasinghe:

`lt occurred to me that the millennium must bring a new, spiritual light to mankind. lt appeared as if the narrow-mindedness of the human thinking and desire had reached at its peak.`

In Steiner‘s world view, the faith in the supernatural and the meditative experience resulting thereof, interweave with a renewal of the holistic condition of the individual. Known artists like Kandinsky, Maryon, Lauer and Beuys worked in the sense of this theory and created epochal works.” (Modern Art, (Kunst Aktuell, Germany) Page 22/23, June 1998)

Thus her expressive early and more or less concrete paintings never show plants or animals suffering from earthly causes. Rather everywhere there is the positive tendency to show animals, humans plants and minerals in harmonious interaction with one another, though the realistic motifs of her earlier pictures are becoming nowadays more and more abstract. Fays, nature spirits, good fairies, angels, animals, plants and minerals fill her pictures. It is notable that light-beings pop up again and again in her pictures to hover protectively over an animal or a plant.

Her inner protest against barbaric cattle raising and feeding practices for meat production was expressed in a consciously positive manner even in her early pictures, such as “The Animal Sphere Beyond,” “The Protecting Spirit of the Geese,” “Return of the Embryo” or “The liberated pig in wonder over the spiritual world.” Respect toward all living beings has always been a leitmotif of her works. Gudrun Weerasinghe’s message was aimed from the beginning toward mobilizing the positive impulses in man without, of course, ignoring the necessity of taking a stand on current socio-political topics.

She has never pictured beings afflicted by lack and suffering, for in her opinion to diagnose a situation by showing negative aspects of the present world would not cure or improve anything but only support further aggressive negativity in the subconscious of the viewer, itself a main source of the suffering afflicting society today.

The nowadays abstract works of Gudrun Weerasinghe, who spent part of her life abroad, among other countries in Liberia in the heart of Africa and on the Asian continent, in Sri Lanka, are interdisciplinary.

They comprise the spheres of art and science, the social question, medicine and pedagogics, agriculture and nutrition, the study of the mineral as well as of the vegetal world, of soul and cosmos.” (Master of visual arts, Arte factum Publishing house, Nürnberg -Germany, 2001, Pages 206/207)

Her whole career – as an artist, as a writer and as a medium – is quite obviously to be seen as a political act, parallel to the establishment in Germany of the Animal Protection Party. This is all the more the case since the BSE scandal arose – as an expression in society of a total loss of sensitivity toward animals and toward the ecology as a whole.

In Liberia she became familiar with the culture, customs and myths of the people there, as she did later on the Asiatic continent in Sri Lanka. A result of that, visible for others, is her respect for all life, which drives her to be a vegetarian and vehemently support to the tortured, abused and oppressed. In order to awaken the perception of the viewer to the fact that insects and other generally despised animals also possess a soul and sensitivity and thus are to be seen as equals, she gives such titles to her pictures as “Holy Snail,” “Enamored Grasshopper” or “The Rat Striving toward the Loving Light.”

“During the changing period from the early works to the present – days ones the elements of style of Gudrun Weerasinghe`s pictures are transformed from superficial reflection into today‘s ARTHEALING, as she calls it. Because pictures receive a nature when they are created, they comprise metaphysical vibrations, that can exert an effect upon the viewer, influence his or her mood, and alleviate it.” ( Modern Art, Page 22/23, June 1998)

The artist implants more than just colors and shapes in her copyrighted Arthealing works. Fragments, collages made of the most varied materials, crystals and metals emerge, and result in an overall work for material and extrasensory perception. Her pictures are exhibited in first-class international galleries. Government receptions are held for her art. As described in this book, she desires that animals also attend her exhibitions in order to stimulate the consciousness of her viewers to revise their estimation of the value of the animal species. This is in accordance with Gudrun Weerasinghe`s provocative maxim:

”The animals do not exist to serve art,
art exists to serve the animals.”

In our brutally materialistic and insensitive society, in which hardly any sense of responsibility for animals and ecology still exists, the message of this book represents a positive sign and a ray of hope. This despite – or even because of – the unusual standpoint of the author.