As an artist, I want to provide a sensory-spiritual connection through my creations so that the viewer may encounter very personal and private experiences leading to self-healing and growth. Every piece is intended as a healing tool because each embodies Universal Love and Compassion.

The work is grounded in the whole array of my life experiences and education. Rigorous training in the visual arts coupled with more than 30 years of daily meditation provided a strong support for studies in spirituality and self-healing techniques.

Inspiration from learning and practicing with many well respected spiritual leaders such as John Kehoe, Anthony Robbins, Zen teacher Thich Nhat Hanh, and Ihaleakala Hew Len added to my 15 years of professional level training in Black Sect Tibetan Tantric Buddhism Feng Shui with HH Grandmaster Professor Lin Yun, Rinpoche. The latter has had a most profound effect on my life, my strong Buddhist philosophy and these creations. The present body of work is based on natural laws as proven both by physics and spirituality.

The work session begins with a meditation session where an intention is accessed. It can be a spiritual reading, a life situation, or an identified healing need.  It then moves directly to the act of constructing the new piece. I stay with the piece until the session ends. This could be 6 to 10 hours or more. Although the pieces are never re-worked, a canvas may be continued for 2 or 3 days or more, depending on the materials used and their adhesive needs. These results in mixed media pieces dotted with reflective materials ranging from mirrors, fabrics, papers, metals, glass, semi-precious stones and acrylic paint both opaque and reflective. It is the use of reflective materials that is crucial to the art. The ability to look directly into a real mirror; to play with a person's effect on a reflective surface or to notice how the light catches and lingers on a faceted crystal lures the viewer to the art and initiates an interactive experience.

Every piece deals with a different spiritual experience but they all contain the power of the intention to offer unconditional love: the ultimate healing tool. If the viewer accepts such work into their life, there is a possibility of self-healing. At minimum it is an enjoyable journey with imagery.

The viewer's intended experience

Upon selecting a particular piece, viewers can connect at many levels. They may start at the cognitive level. The thinking or mental interaction with the theme may resonate with the viewer's intellectual understanding of the title or the words that may be scattered throughout the piece. A viewer may derive meaning simply by connecting the title and how the images relate to it. The tactile nature of the work may elicit a desire to touch the stones and feel the textures because they may help recall particular experiences with similar objects. In some cases, the realism of some images may stimulate taste. Playing with the strength of the images and the apparent realism of some is intended to invite a journey of self discovery. Something may trigger a life situation, a relationship issue, a painful recollection waiting to be dealt with. Lidia encourages viewers to run their hands 2" above the entire art work with eyes closed and to allow emotions, feelings, words to surface. This non-visual experience to purely sense the energy of the materials and the intention is created to lead the viewer to new understandings or to a new level of self-questioning. Interacting with the images may effect a change in thinking, feeling or direction about a personal issue because they may briefly journey to sense the mystery of our holographic connection to the Divine.

Philosophical and scientific bases for the art

Physics has demonstrated that there is no difference between matter and energy, and that every element in the Universe is energy, that depending on the interaction with other energies, it sometimes behaves as tight units and others as waves of pure movement. It is also clear that under certain circumstances, subatomic particles are able to instantaneously communicate with each other regardless of the distance separating them. No matter how close or far apart these particles are they all seem to know what the other is doing. Thus we can conclude that we are holographic in nature. We are all connected and as the Upanishads text says: "when a blade of grass is cut, the whole universe quivers." An art object is composed of energies that sometimes behave as tight units and others as waves of pure movement. Its very creation is also an attempt to interact and communicate with other energies.

Research has also shown that the mind is in fact energy at its finest and most dynamic form and plays a decisive role in constructing reality. Thoughts are real forces and they are ruled by cause and effect. Our thoughts, emotions and attitudes exist side by side with the elements of the outer world, and what and how we think has a dramatic impact on how we live our lives. When we encounter an object, we use our mind's energy to interact with the inherent energy of the object. If the object is imbued with a specific intention, or specific mind energy, the interaction now becomes directed and it alters the quality of the interaction. The law of balance regarding Intention energy presumes that a match to the intention is available. In the case of artwork created with specific intentions, when a viewer is a match for the intention, an interaction can occur. Depending on the quality of the match (the viewers needs) it can be profound or rather simple, but never meaningless.