Resonance is not a product to purchase

In recent years, concepts such as frequency and resonance have increasingly appeared in popular and commercial contexts. Often, they are presented as something transferable, or even marketable - as if resonance were a static end-product that can be purchased.

From the perspective of my research practice, The Human Resonance Project, I take a different stance. Resonance cannot be sold.

Resonance is inherently relational and dynamic. It arises only through interaction: between observer, artwork, maker, and context.

This understanding is informed by several scientific and philosophical traditions:

• Carl Gustav Jung’s synchronicity: inner processes align with outer events in meaningful ways. My drawings emerge as interpretations of encounters, not as fixed or universal outcomes.

• Quantum physics: observation influences what is observed; subatomic particles exist in probabilities until witnessed. Consciousness does not stand outside creation but actively participates in it.

• Bioenergetics & neuroscience: human experience is never static. Breath, heartbeat, vagal tone, and emotional regulation are in constant flux. What is sometimes called “frequency” is, in truth, only a snapshot of a dynamic system.

• Phenomenology (Merleau-Ponty): experience is always embodied and contextual. Resonance is not an objective given, but a relational phenomenon - shaped by body, context, and consciousness.

For that reason, I see a crucial distinction:

- A commercial interpretation, where “frequency” is treated as a static, salable product.- An exploratory practice, where frequency is engaged as a dynamic process, embedded in the interplay between art, science, and human experience.

Within my work, each drawing is not an endpoint but a beginning - a visual frame for reflection, integration, and deeper resonance.

Borrowing and meaning

What I sometimes find painful is when elements from my work , such as- circular forms or golden accents , are borrowed merely as decorative tools to make products more marketable. Inspiration and borrowing are part of art and culture; that is not the issue.

But when deeply considered symbolism is reduced to a sales argument, something essential is lost.

In my practice, gold is never decorative. It refers to Kintsugi - the Japanese craft of repairing broken porcelain with gold. It symbolizes that our scars and fractures do not diminish us, but instead add depth, beauty, and value to our lives.

Gold, in my work, is thus a philosophical and existential anchor: a reminder that vulnerability, pain, and healing are integral to being human. The same applies to the circle -which in my practice embodies resonance, connection, and wholeness - not ornament or style.

Closing

My intention is not to criticize or diminish others. On the contrary: I believe our world needs more collaboration across disciplines - science, psychology, philosophy, healthcare, and art - to engage with the often invisible yet fundamental processes that shape human life.

Awareness is not a commodity. It is a process - often complex, sometimes painful, always transformative. A spiritual bypass, through ready-made products, undermines the very essence of transformation.

That is why I position the Human Resonance Project not as a product or trend, but as an interdisciplinary field of research - ultimately, a life’s work. A space where art serves as an interface between science, psychology, and human experience.