Painting the invisible: auras, chakras and energy fields

Many people know an atmosphere before they can name it: a sense of calm, pressure or welcome around a person or place. Auras, chakras and energy fields give artists a visual way to explore such impressions, turning subtle experience into colour, rhythm and form.

London-based Imelda Almqvist approaches this subject through shamanic painting, sacred traditions, mythology, Dreamtime and the landscapes of inner journeys. These are not illustrations of a single fixed system. They are invitations to look with attention, question inherited symbols and make a personal response.

For Australian audiences, this visual language can feel immediately relevant without needing to belong to any one faith. Busy city routines, long drives between regions and time spent in open landscapes invite reflection on what lies beyond the visible. Spiritual ideas still deserve care and cultural respect, and the terms discussed here serve as artistic frameworks rather than medical diagnoses.

The practical side matters too. A painting of an inner journey can anchor a room, deepen meditation or become a lifelong companion. It can also function as a beautifully made object, considered through its materials, scale and relationship to the person who will live with it.

Auras as shifting atmospheres

Auras are often pictured as haloes, yet a living aura may be better understood as an atmosphere: a changing edge, a tender colour held near the body, or a current passing between two figures. The edge may dissolve into the background. This gives the painter room to suggest movement without drawing a hard contour.

Transparent glazes can build a luminous centre, while dry brushing or scumbling lets the surface breathe. In Imelda’s work, human and natural forms meet through these transitions. The result is less a diagram of power than a record of relationship, attention and emotional temperature.

Chakras as a language of centres

Chakras offer another route into the unseen. Popular imagery associates them with centres of the body and with colours such as red, yellow, green, blue and violet, but meanings vary between traditions. Treating that symbolism as a living vocabulary respects its complexity better than presenting it as a universal code.

A painting can hold these centres as bands, pools, wheels or seeds. Their order need not be literal; it may follow what the artist senses during a particular working session. The viewer is then offered an experience of gathering, balance and release rather than a chart to decode.

Drawing the unseen with geometry

Geometry gives this unseen subject a structure that can be felt as much as read. Circles establish focus, repeated lines create pulse, and asymmetry introduces tension. Underpainting may use grids, while later marks interrupt them with an intuitive vocabulary. Mathematics here becomes a practical partner to intuition.

In meditative mandala practice, repetition steadies attention and makes room for small deviations to become meaningful. The same principle applies to energetic painting: precision provides a framework, while a shifting line, blended edge or unexpected hue reveals the hand in motion.

Intention, intuition and the painted mark

Intention is often described as the painter’s alignment with a subject, but the mark itself shows that alignment more honestly. Slow looking, changes of breath and a willingness to leave areas unresolved can replace the pressure to produce a predetermined image.

Research can feed this process rather than dictate it. Sacred geometry, poetry and observations from the natural world may enter as colours, symbols or gestures. Complementary creative practice is showcased at Amelia J Creations, providing another point of contact for anyone researching symbolic and intuitive image-making.

Choosing and living with energetic art

In Australia, a painting’s setting affects its presence. Sydney’s harbour light and coastal humidity, Melbourne’s bluestone laneways and inner-city studios, and Perth’s dry heat each change the conditions in which a work is seen. Scale also matters: an intense field viewed across a room has a different presence from a smaller study held nearby.

The Australian art market includes artist studios, boutique galleries, online collections and direct commissions, with interstate freight an important practical detail. Buyers often describe a purchase as “bringing it home”, a plain-spoken phrase that captures the emotional stake precisely. Details of Imelda’s background, along with each work’s availability and price, help turn that feeling into an informed choice.

Learning to paint what cannot be seen

Learning this language begins with sustained observation, not special effects. Imelda’s training includes introductory two-day courses and longer professional programmes in London and Pennsylvania. Participants explore colour, perception, symbolic form and the discipline of translating subjective experience into a coherent visual language.

Different approaches can inform that training. Another avenue for research is Rafał Michalak, offering a complementary perspective for artists working with perception and inner themes. For serious study, look for a teacher who can explain method while leaving room for each student’s own visual signature.

Explore the available paintings, themed collections, poems and pricing on the Imelda Almqvist Art website. Choose a work that resonates, check its scale and details, and imagine it within your daily surroundings. If you want to develop the practice itself, begin with an introductory two-day course or enquire about the longer professional programmes in London and Pennsylvania.