We always need help – inspiration – so find it where you can – when you can –everywhere anytime – and be eternally grateful – otherwise it won't work.

When you put your hand on another creature and relax into the miracle of touch then you begin to realise that language is little to do with communication and more to do with reducing reality to its quantifiable externals. The work is about abandoning the world of discourse – the logos – and entering pure feeling and energy.

"It's more about when you come back from being out somewhere: in a minicab or a night bus, or with someone, or walking home across London late at night, dreamlike, and you've still got the music kind of echoing in you, in your bloodstream, but with real life trying to get in the way. I want it to be like a little sanctuary. It's like that 24-hour stand selling tea on a rainy night, glowing in the dark. It's pretty simple."

Through the work we live a life that is both creative and responsive, and eventually reach a place where these become one. This is the union of yin and yang in the act of yielding.
Feelings are useful only if they encourage you to penetrate into and beyond the reality from which they bubble. Surfaces are there to be pierced not polished.
Very early on in life we learn to repress feeling (energy) in order to live like everyone else. Our work – our meditation – is about relaxing sufficient for those feelings to rekindle and resurface into consciousness. When this starts to happen it can be exciting or irritating or scary, depending upon one's basic character. The teacher's job is to encourage – to let the student know that what they are feeling is a sign of progress. Eventually the student learns to accept these strange twists and turns, and simply get on with it regardless. This can appear to be another form of cutting off from feeling but it is not – it is just that the student has finally found a purpose and a centre other than self.


"There are four quadrants of your consciousness. Upper left is what you know and what people know about you. Upper right is what you know about yourself but nobody knows. Lower left is what people know about you that you don’t know. And lower right is what you don’t know and nobody knows. And that’s where art comes from."
Ego and spirit are opposites to the point of mutual exclusivity. So, when the ego is free to the point of rampant, as it is in most of us bourgeoisie, then the spirit is dissipated: a fact that's obvious when you look into the eyes of the average person and see dull fear and depression masked by the sheen of selfishness or the twinkling gloat of puerile excitement. But when the ego is hemmed in, with discipline and duty, with vigilance and devotion, then the eyes shine with concentrated spirit and depth of soul.
"I realized that, in many instances, it didn't matter what you said, it mattered how you said it: the tone of the voice, the rhythm, the sound…"
To start with the mind is the engine of intent but, eventually, the heart takes over otherwise the head joins the intended line (which flows from the heart) and posture goes to pot.
"Something pulsates in my body, a luminous thin thing grows thicker every day. Its presence never leaves me. I am never alone. That which abides: my vigilance, my thousand sleepless serpent eyes blinking in the night, forever open. And I am not afraid."

A hard frightened mind clenches the sacrum so tight that all but the dullest life is choked out. Hence English tight-arsedness. It makes life easier to control, but only by killing most of what constitutes life.


"When the balance breaks, the heavens choose the most sensitive among men, and make them resonate."
Feeling's great. What's not is holding on to that feeling.
"it is starting from mortality and from the possibility of being dead that one can let things be such as they are"


Heart's soul's seat.