Van Gogh and His Multiverses

Van Gogh developed a spiritual iconography through color after moving to French village and finding the right color scheme. He believed color itself could communicate spiritual and emotional truths beyond what visible to the eye.

Vincent van Gogh, after failing as priest and missionary, redefined himself as visual seeker. He drew on Plato’s theory of forms, where the eye actively participates in perceiving deeper reality behind appearances.

Van Gogh found truth in the principle that it’s not the eye that sees but rather the eye that permits us to see. He was absorbed in the discipline of seeing, having an intense visual sensitivity where Vision was his preferred sensory modality for contact with the world.

Van Gogh frequently mentioned in letters feeling deep spiritual connection to landscapes he painted. He quoted his own observation: “There is something Indescribable in those aspects. All nature seems to speak. Nature or God does it for everyone who has eyes and ears and a heart to understand.”

Van Gogh entered art not as one entering a profession but as one accepting a spiritual calling. Despite rejection by his congregation, religious body, and even his father who disowned him, his undiminished passion for God became more pressing and urgent.

Van Gogh frequently merged his internal states—his dreams, fears, and spiritual reflections—with the external world in his paintings. This wasn’t confusion but deliberate exploration of consciousness.

Van Gogh’s work, created in specific time and place, continues resonating with people across cultures and eras. The Timeless quality of his art suggests transcendence of the fourth dimension: time.

Van Gogh’s mental health struggles brought him into contact with states of mind that were both agonizing and Visionary. His ability to depict emotions and spiritual truths often invisible to others constituted a kind of artistic Clairvoyance.