4 
The poem of the Earth is the inexorable surrender of the inner experience by earthly means. Thought
gives way to thought, creating an emotional structure that draws out or inspires those who have felt or
experienced it. But the creation of a poem takes place according to the same law (or principle) that is
analogous to that within the sphere. So, the poem of the sphere is also the coming together of
spherical waves of joy, in which the otherworldly eye works with the otherworldly materiality. The
spherical inhabitants express themselves in coloured forms, since they are spherical waves and made
of otherworldly material, and colour is the strongest expression of the otherworldly, accompanied by
sound that we might call, ‘music’.
The importance of (cosmic) light is a common theme. Almost inevitably, this light – which
equates with life as well as spirit – occupies only a fragment of the composition. Large, dark
forms dominate. For example, in the case of Faith in the Protection of the Light (fig.11), a blue
glowing jewellike form resists the dark subterranean landscape and the unblinking eyes of the
troglodytes that inhabit it. Similarly, in Fear of Light (fig.12), the yellow rays in the top left corner
render immobile the large zoomorphic form that dominates the composition. “Light is truth,” she
writes on the verso, “How many people suffer from this fear when they lose the path of truth for
the sake of material gain and bend before the moment that will expose them?” In only one of the
known works does the light of the spirit dominate the composition, in an untitled gouache
painting featuring a huge, corn-dolly cruciform shape that seems to part the spiky landscape
made up of daemonic figures on either side of it (fig.13).
    A recurring form resembles pointed flower petals. They are clear in Propeller Amoeba Pair (fig.
14). In other works, they undergo various biomorphic transformations. A human-like visage in 

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