‘Born into a family of Swiss weavers under poor conditions in 1892, Kunz created mandala-like grids with colored pencil on graph paper that she regularly used as instruments of healing.
‘When Emma Kunz was about 18 she started practicing healing. She claimed to have telepathic and prophetic capabilities. Later, her work made her go looking in the Swiss countryside for materials with healing properties. The search was a success. In the beginning of the 1940s, Kunz discovered a stone that she said was unique. The stone, which she found in a quarry in Würenlos, was named AION A. She was convinced of its power to heal, and felt that it had to be known to the whole of humanity. The cave where the stone was found is called the Emma Kunz Grotto.
‘Between 1923-1939 Kunz worked for the artist and art critic Jacob Friedrich Welti. It was at the end of this period, in 1938, that she started to make her typical square metre sized drawings on graph paper. The artworks were created using graphite and colour pencil, as well as wax crayon. At that point, Kunz was in her mid forties and had no formal art education. Instead, Kunz was posthumously included in art history, and today she is looked upon as a visionary artist.
‘Each of Kunz’s diagrams were drawn in a single sitting, some of which could reportedly last over 24 hours at a time. The drawings were used to help her visualize the invisible realities that exist beyond the tangible, everyday world, and were composed with the aid of a divining pendulum that allowed her to plan the ultimate structure of their geometric configurations.
‘They operated both as documentation of research into and as conduits for patterns of vibrational energy that could be used to realign the psychic imbalances underlying her patients’ medical conditions, and thereby to cure them. She believed that art, nature, and life were all interwoven: drawing allowed her to take part in a world of forces, seize that world and orient it for an energetic sum leading to cosmic consciousness.
‘Her pieces were never meant to be displayed on a museum wall, but to lie on the floor between Kunz and one of her patients to function as diagrams and aid to meditation for the locating of a patient’s lifeline.
‘At the time of her death in 1963, Emma Kunz left behind about 400 works of art. But it wasn’t until the 1970s that her images were beginning to be exhibited in museums. It’s not unlikely that more people will pay attention to her art. This was something Kunz herself prophetically stated: “My art is destined for the 21st Century”.’ — collaged
The Emma Kunz Center
‘Art for the Third Eye’
‘MASTER OF THE MONTH: EMMA KUNZ’
Emma Kunz @ Facebook
‘EMMA KUNZ PFAD’
‘The time will come when my pictures will be understood’
‘Une artiste visionnaire et spiritualiste : Emma Kunz ou la géométrie thérapeutique’
Emma Kunz’s books
‘In 1942, the financial adviser to the royal family of Lichtenstein asked the artist Emma Kunz if she would attempt to repolarize Adolf Hitler from a distance. Citing excessive negative energies, she at first declined. When she later relented, the 63-centimeter metal spring Kunz used as a transmitter flew up and began to slash at her body, before wresting itself from her grip and flying across the room. As is often the case, art had failed to make an impact on worldly events.’ — Doug Harvey, LA Weekly
‘This special place of power and vitality in the Roman Quarry in Würenlos constitutes the heart of the Emma Kunz Center. It has become a spiritual and energetic meeting point for mankind. The rock Grotto is a large wide space, a place of contemplation with strong and at the same time subtle forces. Emma Kunz visited it repeatedly in order to, as she herself said, “to recharge her batteries”.
‘The fascination that this retreat of stillness and contemplation exercises on people has a quite special reason. Countless biophysical measurements endorse the amazing level of energy, which, originating in the inner mantle of the earth, has been permeating the rocks for millions of years.
‘This pulsing, energetic force is concentrated especially here in the mighty Grotto. It is sought out by visitors in order to utilize the equilibrating and harmonizing effect on body and mind. What effect does a visit to the Emma Kunz Grotto have? Just expose yourself to the experience. Everyone coming here can experience stored biodynamic powers, for the Grotto holds for each of us its own personal language and its own messages.’ — Emma Kunz Museum
p.s. Hey. ** _Black_Acrylic, Hi, Ben. Thanks, for the cool add. YnY really covered all the bases. I hope your haircut is suitably pert and that the writing went well, and good news on the vote last night although fuck knows what’s going to happen now? ** David Ehrenstein, Hi. Yes, it was a bit of a PGL wish list in hindsight. ** Sypha, Hi. Ha ha, Stewart loves to annoy people. ** Bernard Welt, Hi. You know, I do recall coming across a slave or two who characterised the destruction they wanted in piñata metaphoric terms, but, strangely, I also recall that their profiles dropped the ball linguistically to the point where I ultimately declined to reify them, or de-reify them? Expert, you are. Have I not restored your Dream posts? Hm. Well, if you’d rather update them, I’ll hold off until you do? Say the word? I really do envy your dreaming. My dreams are literally just samey illustrations of some deep anxiety that I don’t realise I feel when I’m awake. A collection of descriptions of my dreams would be the book equivalent of a Ramones album. ** Okay. So quiet you are of late. Interesting. Well, then, how about the curious art of Emma Kunz? Any takers? See you tomorrow.