It’s been a minute. Not because I’ve stopped creating—far from it. Creation is my constant. It pulses through everything I touch, whether I’m sculpting folk artifacts, shaping ritual fragments, or tending to the seedlings of generational repair. But Multidimensional Intuitive Surrealism is a different kind of offering. It doesn’t arrive on demand. It doesn’t respond to deadlines or discipline in the usual sense. It waits for the rupture. For the image that insists on being born. This genre—this transmission—requires intuition. Not just inspiration, but a kind of mythic listening. A surrender to the unseen. And that can’t be rushed. Sometimes the images come in waves. Sometimes they don’t come for months. Sometimes years. The muse doesn’t send calendar invites. She arrives when the architecture is ready—when the internal scaffolding has been shaped through other acts of repair, through other forms of creation that keep the channel clean. When I’m not working in this genre, I’m still creating. I’m sculpting with natural materials, shaping lineage-bearing brooches, restoring sanctums through folk art, and patterning ritual tags that carry transmission. These acts are no less sacred. They are the soil from which the surreal may one day bloom again. But Multidimensional Intuitive Surrealism requires a different kind of readiness. It requires the kind of silence that listens. The kind of pause that isn’t absence, but incubation. It’s not a lack of productivity—it’s a refusal to perform. A refusal to feed spectacle. A commitment to clarity. I don’t force it. I won’t. The long pause is part of the process. It’s how this genre works. It’s how the surreal arrives clean, not churned. When the image comes, I’ll be ready. But until then, I honor the pause. I honor the discipline of waiting. I honor the muse’s refusal to be commodified. This is not a loop. It’s a lineage. And when the next piece arrives, it will carry that clarity. It will ripple beyond me. It will be real.

Multidimensional Intuitive Surrealism (MIS) is not a genre of spectacle—it is a genre of testimony. Its visuals do not seek to convince or prove, but to invoke. To create unreal images that feel truer than realism requires a vow: not to deceive, not to simulate, not to use aesthetic distortion as disguise. MIS art is distortion as declaration. It is atmosphere over illusion, symbol over claim. Unreal Doesn’t Mean Untrue There is an unspoken hierarchy in the world of images: realism is often praised as truth, while abstraction is treated as obfuscation. MIS rejects that hierarchy. In MIS, distortion is a method of revelation—it clarifies what realism cannot name. MIS visuals soften sharp edges, mute the hunger for detail, and prioritize what lingers. The goal is not fantasy, nor delusion. It is poetic witnessing. Truth in MIS is emotional, sensory, and intuitive. Atmosphere vs. Illusion A defining trait of MIS visual work is the refusal to simulate. The genre may explore mythic landscapes, surreal compositions, or nautical overlays—but it does not use image to "prove" an experience. MIS honors intuition without making evidentiary claims. Textures, thresholds, fragments, and negative space are favored over spectacle. A good MIS piece leaves a door open, not a declaration sealed. The goal is not to show “what happened”—but to honor what swims, what stirs, what ripples. The Artist’s Code To create within MIS is to hold a delicate ethical line. These are some core vows many MIS artists keep: MIS art evokes what is felt but never insists what occurred . Its vow is emotional resonance, not visual validation. MIS art is hand-fashioned, ritual-laden, and deeply intuitive.    Atmosphere emerges through material presence, not algorithmic simulation. Style evokes emotion, not confirms experience. Visual ambiguity is sacred.  What is unfinished speaks more loudly than what is over-rendered. Images do not posture—they invite.  MIS is visual ritual, not aesthetic argument. These codes protect the genre’s integrity. They also form a quiet rebellion against the trend of visual persuasion: MIS resists the algorithmic push toward clickbait clarity. Case Studies in Ethical MIS Art MIS works often hide more than they reveal. A few forms that align with this ethos: Soft distortion photography : Blurred focus, natural grain, color bleeding—as if the image is being remembered, not recorded. Surreal seasonal illustrations : Archetypes half-visible in foliage, clouds, or decay. Nothing explained—everything felt. Composite rituals : A blending of emotion and memory across time—collage used not to juxtapose but to dissolve. MIS artists understand that the power of visual work lies not in clarity, but in cadence. An Invitation to Create If MIS calls to you, you are invited to create not with certainty, but with sensitivity. Ask yourself: What does an unanswered feeling look like? How do you represent the unseen without pretending to have seen it? Can you evoke presence without explaining its origin? MIS art welcomes those willing to distort reality for the sake of deeper truth—not louder claims. Let your visuals whisper. Let them ache. Let them resist the need to be believed, and instead become something more intimate: the visual language of intuitive resonance. Author’s Note:    This essay belongs to a living archive of genre-myths woven under the name Multidimensional Intuitive Surrealism . MIS is not a manifesto—it is a language of vision for those who dwell in atmospheres rather than explanations. The thoughts herein reflect one practitioner’s lens and vow, offered as calibration, not commandment. No proof will be found here. Only resonance.

🌌 Multidimensional Intuitive Surrealism: A New Language of Vision and Knowing Kaleidoscope Eye Opening Invocation There are languages that do not begin with words. They begin with sensation—an image glimpsed in dreamspace, a symbol that shimmers just beyond the veil of waking logic. Multidimensional Intuitive Surrealism (MIS) is one such language. It is not a style. It is a way of seeing, a way of knowing, a way of remembering what the rational mind has forgotten. MIS emerges from the liminal: the space between dimensions, between disciplines, between the visible and the invisible. It is surrealism not as escape, but as return—to the mythic, the archetypal, the nonlinear truths that pulse beneath the surface of consensus reality. It is intuitive not as a rejection of intellect, but as its expansion. And it is multidimensional because it refuses to flatten experience into a single plane of meaning. What Is Multidimensional Intuitive Surrealism? Multidimensional Intuitive Surrealism is a genre of art and thought that integrates intuitive perception, symbolic language, nonlinear states of consciousness, and surrealist aesthetics to explore the layered nature of reality. It is a genre that honors the unseen, the ineffable, the nonlinear. It invites both artist and witness into a co-creative act of meaning-making—one that transcends traditional boundaries of time, space, and identity. MIS is not bound to a single medium. It can be visual, sonic, textual, somatic, or interactive. What unites its expressions is not form, but frequency: a resonance that bypasses surface interpretation and speaks directly to the deeper strata of consciousness. Core Principles 🌀 Multidimensionality    MIS operates across multiple planes—emotional, ancestral, symbolic, temporal. It acknowledges that reality is not singular or static, but layered and alive. 🌙 Intuition as Method and Medium    Intuition is not a supplement to reason—it is a sovereign mode of knowing. MIS centers intuitive process as both the source and the structure of creation. 🧠 The Role of the Subconscious and Nonlinear Mind    MIS honors the subconscious not as a shadow realm to be decoded, but as a co-creator. It invites altered states, dream logic, and nonlinear cognition to participate in the act of making. This openness allows the work to be shaped by what lies beneath and beyond the conscious self—by symbols that arise unbidden, by patterns that emerge without planning, by truths that surface only when control is relinquished. 🪞 Surrealism as Liberation    Surrealism here is not a stylistic homage, but a radical act of liberation from consensus reality. It is a portal to the mythic, the dreamlike, the archetypal 🧬 Symbolic and Archetypal Integration    MIS draws from the deep well of collective imagery—symbols, dreams, ancestral memory—not to replicate, but to recontextualize and reawaken. 🕊 Ethical Imagination and Aesthetic Sovereignty    MIS resists commodification. It is not designed to please algorithms or markets. It is an act of aesthetic sovereignty—rooted in integrity, discernment, and the ethical use of imagination. Origins and Lineage MIS is in conversation with many lineages: The dream-saturated canvases of classical surrealism The visionary art of indigenous cosmologies The speculative poetics of Afrofuturism and mythopoeia The intuitive abstraction of mystic modernists The nonlinear storytelling of diasporic memory But MIS is not a derivative. It is a divergence. It is a genre born of this moment—where the collapse of old paradigms demands new languages of coherence, new architectures of meaning. Expressions Across Mediums 🎨 Visual Art : Layered compositions, symbolic landscapes, dreamlike figures, multidimensional geometries 📝 Writing : Nonlinear narratives, poetic fragments, mythic memoir, speculative philosophy 🎧 Sound : Ambient textures, ancestral rhythms, intuitive vocalizations, sonic portals 🕯 Movement : Ritual gesture, intuitive choreography, embodied storytelling 🌀 Interactive : Participatory mythologies, symbolic exchanges, intuitive rituals, co-created experiences Why Now? Because we are living in a time of rupture and remembering. Because the old maps no longer suffice. Because intuition is rising as a necessary counterbalance to algorithmic logic. Because we need art that doesn’t just reflect the world, but reimagines it. Because the surreal is no longer a fringe—it is the texture of our daily lives. Because we are multidimensional beings, and we are ready to create from that knowing. Because the subconscious is not a place to fear, but a wellspring to honor. Closing Invitation Multidimensional Intuitive Surrealism is not a closed system. It is a living field. A genre still unfolding. A space for artists, thinkers, mystics, and makers who feel the call to create from the liminal, the layered, the luminous. If you recognize yourself in these words, you are already part of it. Welcome to the genre. Welcome to the remembering.

What happens when something living demands a name, but flinches at containment? When the impulse to define is met with the refusal to be pinned down? This is the paradox at the heart of Multidimensional Intuitive Surrealism —a practice born not of classification, but of emergence. It speaks not in statements, but in whispers and echoes: instincts made visible, memory made tactile, time turned on its side... dreams not yet dreamed. To name something is to help make it known. Without a name, understanding floats—partial, elusive. We reach for language not just to express but to orient, to ground something that might otherwise remain senseless or invisible. Still, some things resist being fixed. Multidimensional Intuitive Surrealism  is one of them. It asks not to be simplified, but it does ask to be shared. Naming, here, isn’t about control—it’s about recognition. It’s about giving form to a way of working, feeling, seeing. A way that already exists, but hasn’t always had a name to live in. Multidimensional Intuitive Surrealism  came to me not as a term to brand, but as a rhythm to follow. It resists the clarity that comes from boundaries and embraces the murk of becoming. It honors representation while fracturing the lens. It is both map and wandering. The intuitive element is not chaotic. It is structured by listening. Not by external expectation, but by internal constellations—those ancestral, emotional, symbolic threads that pulse beneath conscious decision. I do not always know why an element appears when it does in my work. But its presence is always right. MIS gives me permission to trust the unseen architect. The surrealism within MIS is not about escapism or absurdity. It is the surrealism of reconstitution—of reality broken open to reveal multiplicity. Dolls, lace, eyes half-open, symbols receding and returning—these motifs do not serve a single idea. They shimmer across meanings. They suggest something deeper than depiction. An intuitive realism, perhaps. But it is the multidimensional that shifts the terrain. MIS is a portal. It is not just about what a viewer sees, but how the work feels across time . Layers accumulate. Meaning flickers. The work is always fluid and intuitive. Genre, in this case, is not a boundary but a language taking shape. Naming isn’t about defining limits, but about making space for something to be seen, spoken, shared. Multidimensional Intuitive Surrealism  isn’t a fixed idea. It continues to shift, deepen, unfold. It’s the form my work has chosen, for now open to change, open to others who find themselves moving in similar ways.

Multidimensional Intuitive Surrealism isn’t a style I chose. It’s a way of being that revealed itself—through the brush, through silence, through the spaces in between definition. It’s how the unseen becomes form, how the inherited becomes invented. It emerged not as a genre but as a response: to complexity, to sensation, to the impossibility of explaining truth in linear terms. At its core, this is not just an approach to art. It’s a philosophy in motion. It’s the murmur of ancestral memory. It’s the moment when intuition overrides intellect. It’s symbolism not as illustration, but as felt presence . And it resists the tendency to pin things down too tightly—because transformation lives in fluidity. Art as a Living, Breathing Organism When I create, I don’t begin with a concept. I begin with listening—sometimes to color, sometimes to a fragment of emotion, often to something far less tangible. The pieces evolve in conversation with themselves. They shift mid-process. They refuse completion until they say they’re ready. This instinctual unfolding feels like the truest honoring of the moment. I don’t seek to depict dreams in the Freudian sense, nor to stylize fantasy. Instead, I work from a quiet center that understands meaning doesn’t always arrive with language. Sometimes it arrives in gesture, or in tone. This is why the “multidimensional” aspect matters. My work occupies many planes at once—emotional, intuitive, symbolic, ancestral, aesthetic. No single dimension can hold the full truth. A Genre That Refuses to Flatten Traditional categories fail to account for the kind of creative process that is nonlinear, emergent, and deeply personal. “Surrealism” alone doesn’t capture it. Neither does “intuitive art.” Together—with “multidimensional” holding the tension—they begin to describe something that reflects both freedom and form, instinct and structure, sensation and intention. This is why I felt compelled to name it: Multidimensional Intuitive Surrealism . Not to box it in, but to give it space. Naming it is a way to acknowledge that something real is happening here, even if it resists traditional language. An Invitation, Not a Rule I don’t claim to own this term. I offer it as an evolving framework. As a reminder that we’re allowed to invent our way of seeing. That lineage and intuition aren’t opposites. That sometimes, what we create becomes a bridge between who we’ve been and who we’re becoming. If you see yourself reflected in this—if your own process hums with something unnamed—you’re welcome here. This is not a movement driven by theory, but by resonance. Multidimensional Intuitive Surrealism is not a doctrine. It’s a pulse. A feeling. A permission.