I encountered Anna and her priest, Moises, who practice Candomblé.  Moises delivered a lecture about his work, which deeply fascinated me and opened my eyes to their unique way of life. Despite the language barrier—Anna spoke no English and I no Portuguese—we forged a profound friendship based on intuition and shared feelings. She taught me the significance of seeking permission from the ocean and the forest before entering them. Observing her daily activities was enchanting; she moved through life with a grace that suggested she held secrets unknown to others, engaging with everything around her in a spiritual communion.I am particularly drawn to the practice of wearing white in Candomblé. Having spent considerable time with practitioners of Kundalini, I reflected on the impact of colour choices in clothing on our mood and state of being. This contemplation ties back to my academic research, where I aim to weave themes around clothing, the body as a vessel, and the concept of layers into my current artistic endeavours.

Candomblé is an African diasporic religion that emerged in Brazil during the 19th century, blending various traditional West African religions—especially those of the Yoruba, Bantu, and Gbe—with elements from Roman Catholicism. My research emphasises a fluid approach, focusing on surrendering control and seeking divine guidance which was a personal experiment I was exploring at the time of the painting. 

The genesis of my painting coincided with an interview I conducted for my podcast with Jennifer K Hill, who shared her practice of speaking to God aloud each morning. Inspired by her, I began doing the same as I embarked on this painting project. I followed my intuition without hesitation. One day while painting, Jennifer sent me a podcast featuring Neale Donald Walsch, known for his writings on communicating with God. Captivated by his insights, I noted them down in paint on my canvas, intending to remove them later.A visitor to my studio noticed these writings and expressed curiosity about their meaning. When I explained their significance, he remarked that they resonated with the core beliefs of Candomblé practitioners. This revelation connected my creative process to a mystical experience that enriched my understanding of the painting's development.In terms of material choices and their influence on my work's evolution, I have embraced various textures and colors that reflect the themes of spirituality and connection inherent in Candomblé. Looking back, I would approach certain aspects differently now, perhaps allowing for even more spontaneity in my artistic expression while maintaining fidelity to the spiritual journey that informs my art.