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The speaker discusses using the Aleister Crowley Tarot deck, painted by Freda Harris, which incorporates astrology symbols. They explore the significance of the Three of Cups card, emphasizing personal interpretation in tarot readings. The conversation delves into card meanings, such as the King of Swords, and the importance of masculine and feminine energies. They pull cards for guidance, interpreting the Two of Swords as a call for introspection and the Ace of Pentacles as a grounding energy. The Death card signifies letting go for new beginnings, leading to a discussion on inner transformation. The conversation ends with a reflection on the creative process during Mercury retrograde and a sacred pause for introspection. Well, I'm going to, you know, I use the, I use the Aleister Crawley deck, which is often very controversial, because Aleister Crawley was quite the character. But there was a woman who painted the deck, and her name is Freda Harris. And Freda Harris not only uses the symbology of, like, this says the higher font, and it's a Taurus card. It's got the symbol of Taurus. And so it has astrology in it, which I really love. Like the universe has the symbol of Saturn. And I like the, you know, there's so many Tarot decks, it's such a personal thing, right? So I tend to like, I'm still a big Rider-Waite fan. So what just came out, it just flew out, Abundance. Abundance. So I'm just going to leave it at that. And what does Abundance mean for you? What card is that? What's the, is it Major or Minor Arcana? It's the Three of Cups. Oh, Three of Cups. Okay, I couldn't quite see. Three of Cups. That was, that jumped out at me this morning, Three of Cups. There you go. Three of Cups, you know, can be that emotional, it can be emotional expectation, but it can also just be a letting go. Because to me, the number three invites yourself, somebody else, and God. Yeah, I love that. So within the Abundance, there's a letting go of God. And when you're alone, I might read it as me, my higher self, and God. Yeah. And I love the fact that these cards can do that, that it's, it can all be about my inner journey. The Lovers can be about my inner journey, the Two of Cups can be about my inner journey. Yeah. And there's this old way of reading the cards, it's like, you know, if I see King of Swords, it doesn't mean that there's a man coming into my life, it might, but it means can I be grounded in the clear thinking? Yeah, because the Swords is our, it's our mental mind, right? It could be an invitation for the archetype of a male, a male energy, for sure. Yes. Yes. And I love that, actually, connecting, you know, I've needed to do a lot of work about connecting to the masculine as well as the feminine over here. Yeah, and a king is different than a page, or it's different than a knight. A king is really stepping into the power of authority, where whenever I see a page or a knight, I'm like, oh, there's a real, there's a lesson within this to work through, because it can sometimes be an adolescent. Yes. Yeah, he's a beginner, he's an adventurer, he doesn't have a lot of experience. Right. No, but there's a pure essence to him. Yes. There's a youthfulness. So he doesn't know everything yet, so what? So you want to pull a card for your energetic frequency of the now, the present moment of now? Yes. So connecting as we already are to each other and to this present moment, and in this moment of ceremony, I love that, you know, we were just having this casual, we decided to keep it casual, but we're still having this moment of ceremony. Yes. Yes. We're kicking off the container. We're calling it in. So what muses, what guides, what support do we need as we open up this creative container? How does that sound? Sounds good. All right. So sprinkle your fairy dust on it, your intention, the intention of the universe. Let's see what we get. Hmm. Two of swords. Hmm. So what message? The immediate thing that comes to mind when I see that two go is also bringing in the energy a little bit of the high priesthood. Yes. Because that would be the higher arcana reflection, but we're working with swords. So we take, for me, it's an overarc of here's the high priestess, but what is in the mental mind? You know, whenever I see something that is going like this, she's got blindfolds on, right? So I'm going to open that for you for interpretation. Yeah. So as we begin this container, she does have blindfolds on, which is really interesting as we're looking to see into our creative world and she's not seeing anything yet. Right. Right. Well, what if that was a pause for us to get beyond the thinking and to ask, to ask how we can lift? Are there any thoughts that are running? And I know that artists have a series of thoughts that run, that go along with being an artist. What might there be some thinking that would limit someone from being able to lift off the blindfolds to see into their creativity? What came up for me when you said that is actually not preparing too much. You know, like it needs to look like this. And when you're opening a container, it helps about feeling the energy of a group and being present within that as opposed to me putting on what my expectations and what this is going to look like and, you know, stating it like, here we go. In the mental, I'm going to be the priestess of my mental mind. I love that. I mean, I love that we're stepping into this container. And it would have been really nice to see like the priestess or the magician, but we got this one. Yeah. Can we be okay showing up just with the willingness to take off the blindfold? It's a lifting of the veil. And so within that, it's exploratory. It's when we when we take off the veil, we get to be a wondrous child and also feminine in the approach. Yeah. I mean, when the two of a sword shows up, it's got behind her the water, the unconscious. Yes. But she's sitting on ground. She's not in the water. She's okay. She can't see what's coming. So I'm also thinking about the moon where there's this intuitive path and we don't really know where where it's going. She's got kind of that watery energy going on, too. Yeah. I think that the creative processes don't know. And I just need to follow the path as poorly illuminated as it may be in this moment. That's correct. Yeah. Yeah. Well. What were you saying? I said it's a beautiful card in many ways. I was trying to remember what it is in the Aleister Crawley deck, and I think it's a form of peace, actually. Interesting. Yeah. There isn't a lot of drama. Those swords, I think they're the most dramatic cards in the deck. You know, those swords are stabbing and, you know, have people up in the middle of the night. She's okay. She's just really in this place of don't know. And maybe she'd like to know. Well, it's also the precursor to the Three of Swords, which is sorrow. So if you're going to take it too far, you're going to move into… That's true. That's blinded there. Yeah. Yeah. So it's a warning card. Or a reminder card. Yeah. A move to pull the next card to see what we got. You know, to have this story unfold. Yeah. Oh. Ace of Pentacles. Oh, that's a good one. Yeah, we're into it. I'm into it. I'm into it. Yeah. It's a very grounding card. It can be money, you know, or abundance or whatever it means for us internally to have a fertile ground. Yes. And the ace, this is an initiatory energy. Right. In the realm, in the earth realm, in the grounded realm, in the realm of what we value. I've looked at the Rider-Jack and this card can also be because the hand that is giving is coming from… It's not coming from below. It's not coming from above. It's actually coming from the middle. So it's like a hand out of nowhere, you know? It's, you know, as above so below, where are we in our expectations or abundance because of the ace is always something that is a gifted from the middle world. Let's pull one more. Let's do it. Oh. Okay. Beautiful card. Way to begin. How can I truly create if I'm creating from my old busted ideas of how things should be? You can't. So something is being reborn. Yeah. Something is being let go of. And I know for me, personally, something is being let go of. I just finished 40 pieces of work. Wow. 20 went to another gallery. I am here in the what is next, you know, in the process of allowing myself to… Like some of my dreams last night were I'm running in the dark. I'm running for something. I'm hiding and an ex-boyfriend shows up and I want him to save me. So all of this is dissolving. So something new can be reborn. And so I'm in an interim. And so when the death card shows up like that, it's like, okay, think even deeper. It's like an invitation to just let it go. So within our process of birthing something, we're still letting something go. Oh, that's very interesting. And that's very true, isn't it? Yeah. Yeah, we came here. We don't really know what we're doing. But there's this impulse. Yes, yes, yes. That's very alive and very strong. And the first step in our creative process in this creative container is for both of us, what has to die so that we can come together in creativity. This is true. You know, we already talked about this. In the areas in a tourist, walk into a bar. Go on. I don't know. The airy sets your drink on fire and the tourist goes, takes a nap. I don't know. I'm feeling another card. Let's see what comes after death. Sacred pause. A sacred pause. So we are in a sacred pause. And we are also, we have to remember, the energy right now is a moon void, of course, that is now just a drink into Scorpio, which can be plutonium and a death and a repose. We're also in Mercury retrograde in Leo. In Leo? Which is uncomfortable for Leo that wants to, you know, but... Yeah, that is true. So we're in this time of reflection. We're in the Re's. We're in the Re's. Today happens to be Sun conjunct Mercury, so this is about as clear as it's going to get. Right. Until the Mercury retrograde period ends. Yeah. Very good. So in this middle of this void, in the middle of the void, we're coming together to contemplate the creativity that comes out of death and the sacred pause. That was good. Yeah. I want to interview you. Okay. I want to pause this so I know where it begins, where it was beginning and ending with what we just did. Greetings, everybody. Lauren Montacon here from Montacon Studio. So today I am interviewing Andrea Casola for Inside the Mind of an Artist. And welcome, Andrea. I'm so glad to have you. Thank you, Lauren. Great to be here with you. We're doing something a little different. Andrea is a creative for sure, and she is an intuitive guide, which we talk a lot about in the process of making art. And she's a Tarot reader. She's a facilitator of the work of Brian Cady. And with the Tarot cards, she uses it as a mirror and mute. And she invites a deeper relationship with the human experience where the sacred meets the ordinary and life reveals itself as a creative unfolding. And as many of you out there know, what I like to encourage, especially with the interviews I do with other artists, is to ask questions of what does it mean to be an intuitive guide? What does it mean to work with symbols and signs? And I think the Tarot, which I've been using since I was 15 years old as well, is a great introductory way to start using your own intuition. So, Andrea, through inquiring symbolism, and that's actually a good question that I'm going to ask you of what is the difference between a symbol and just content of nonsensical making, if that made any sense. She supports a return to clarity where painful thinking is the only thing that matters. And we become open to the creative force that longs to move through us and as us. That's a good one. That longs to move through us and as us. Her work is a gentle invitation to remember what is real and to rest in the immovable peace within. Welcome, Andrea. Thank you. So, one of the first questions I have is how did you come to the Tarot through the work of Katie Byron? And could you tell people a little bit about what the work of Katie Byron is? Sure. Let's see where I start with that. So, the first thing that happened was I found the work of Byron Katie. And to condense a timeline that's full of all kinds of stories, the work of Byron Katie came into my life in 2013. The night I thought I was going to kill myself. I used to be an extremely sick, depressed woman. I had a chronic pain condition. I was severely depressed. You know, they talk about love your neighbor like you love yourself. I hated myself. I hated everyone. I hated everything. No one could understand my pain. And I couldn't change my situation. I couldn't change the pain. I couldn't change the people in my life. I couldn't change these situations. And one night I thought, I've had it. I'm done. And as I was counting out the pills in my hand, I was figuring out the how. I hadn't gotten that far before. But I had decided. The thought came in that if I killed myself, it would hurt my daughter. And in that moment, that was over. There was no way I was going to do that. I never considered the impact it would have on anyone else. I was too caught in my own selfish depression. And at that moment, that night, that was not good news to me. It was like, so what now? Now I just suffer until I die? Is that what's left for the rest of my life? And at that moment, a prayer came out of me. And I was not a praying person. I didn't think I believed in God. And the prayer was, if I can't make the pain go away, please show me a way to make peace with the pain. And what came flying into my awareness was a conversation I had with someone else that I had blown off about this book called Loving What Is. That it's not what happens to me that's the problem, it's the place is what I'm thinking and believing where I'm arguing with reality. So that night, I downloaded this book from this author. I wasn't a spiritual person. I didn't trust those people. I didn't trust those gurus. But I read this book, and I did the work, and I questioned the thought, I need to be out of pain to be okay. Is it true? Now, who wrote Loving What Is? Byron Katie wrote that book. And that is her foundational book. So anyone who's interested in this process, that's one way to access it is through this book. And the work of Byron Katie is a way of questioning what I'm thinking and believing. It's this really precise way to undo this confused thinking. You should be different than you are. Yes, let me give you an example. She shouldn't judge me. Have you ever had the thought that she shouldn't judge me? So there's somebody spewing their judgments all over the place. Meaning the self, because you're the one thinking she shouldn't judge me? Well, let's find a situation. Well, you know, let me ask you. Let me put you on the spot. Let's find a situation from you. I invite you to connect to a moment in time, where you felt stressed, big or little. And it could have been, it's in the past. Obviously, it could have been, you know, five minutes ago, or it could have been when you were five years old. It doesn't matter. Can you find a moment in time where you were feeling stressed that you're willing to talk about, you know, on a surface level on this call? Sure. And so, hey, wait a minute. What? Yes. Okay. I can get up to this morning feeling stressed with the pressure of time. Oh, my God, I've got to, I can't be late for this. I've got to hurry. And then another internal voice coming in and saying, no, just slow down. It's all okay. No, you're going to be late. I'm judging myself. I'm acting in time. Yes. And judging time. And so, it's like, let's go. There were a couple of thoughts in there. They were all related, like, I'm going to be late. I have to hurry. I don't have enough time. There's often multiple thoughts. And it's often what I just thought of is often related to even the bigger picture of what I do. Like, for instance, I'm working on this commission, and it's taking longer than I thought it was. And I'm already creating scenarios of the clients judging me because I'm not getting it done on time. It's taking too long. Exactly. Exactly. There's this whole world that we create. So, you know, let's say that, you know, you're working on something, and it's taking, you have the thought it's taking too long. So, there are, when I feel stress on anything at this point in time in my life, I, that was the cause of my physical pain, it turned out. It turned out that that was my guidance system, that if I believe a thought that isn't true, I feel pain. It turned out to be, go from being a curse to a blessing in my life. But for us sensitive beings, as creatives, as intuitives, we are sensitive beings. That's just part of the deal. So, it's like if I experienced any stress, so it's not going to get done on time. So, there I am, there you might be working it out, and you realize things are taking longer than you thought. And then the four questions that I meditate on, it's a meditation is, it's not going to get done on time. First of all, is it true? Second, is it true? Second, can I absolutely know it's true? Those are yes or no questions for everyone. Third, how do I react? What happens when I believe that thought? So, that's some of what you were just describing. You know, I get stressed, I make myself wrong, I project a future that's not what I prefer. And I really take my time. It's like this little wounded inner child who wants to have her say. And then the fourth question is, who would I be without that thought? What did I say? It's not going to get done on time. Without the thought, it's not going to get done on time. What happens to the body? What happens to my ability to create and be present and show up for myself? You know, I don't, I just thought of this, that when I'm teaching or facilitating workshops, I've noticed that when people show up to their canvas, wherever they're at in life, usually they show up there on the canvas. So, if they're timid or they're shy or they think they're not good enough, there it is. If they've had a fight with their husband and they're stuck and they don't know what to do, there it is on the canvas. And I usually say, I invite them to just be. No judgment, just make a horrible painting. Just go through it. And what that does is it brings you to present time. So, I think, I'm not sure, but I think what you might be saying is it's opening up the space between of not past, not future, but just present moment. Exactly. Everyone talks about getting into the present moment. This work is kind of the how. It's one of the ways for the how, because we're so caught up in that illusion of past and future as if it's real. Right. The whole world acts as if that's real. So, it is. It's this simple way to come into the present moment. And that's where all the creativity is accessed, where all of the intuitive knowing is accessible. All of my best qualities are accessible in that point, where they can't possibly be when I am putting my judgments on anyone or anything, because they always turn into judgments on me. So, it's a download. Like, your ability to download, or where someone will say, well, where did that painting come from? Well, usually, I'm an abstract painter. I mean, this might be different for representational artists that are trying to produce a site, so you're using a different part of your brain. I'm not going to say it's not creative. It is. But, now I lost my train of thought. But, it's the best work comes when I'm not thinking. So, it's so hard. I mean, I was, you know, the conditioning I grew up with was to really give me the gold star for the thinking. And then the results of that thinking in the forms of grades on my report card. And we all had our journey with it. I got great grades on my report card. And so what? I was a miserable person who then learned how to get great grades. But, that had nothing to do with my ability to be happy, or creative, or in service, or, you know, do the things that I valued. So, I'm understanding that this work has been very deep for you, personally. And you've seen it as a guide for others. But, you're going another step further. Like, your website is the Friendly Universe Tarot. So, how does this integrate? And how did that happen for you? So, fast forward a 10-year practice with the work. Because this one, I had a lot of stressful thinking. I had a lot of crazy thinking to work through. And I started to notice that everything that was happening, was happening for me. Even the worst things turned out to have tremendous gifts when I was able to stop and really get clear and take the higher perspective. That's not to say that everything that happened was what I preferred. But, I couldn't have had the knowing and the seeing that I have now if I hadn't had the chronic pain condition, or lost my home, or, you know, become homeless, or all the things that happened to me in my birth school. So, I started to notice that there was nothing that could happen in life that wasn't happening for me. And I started to use the cards as a meditative practice. You know, what do I need to know on my soul's journey? What do I need to know for the next step in my healing? And I started to notice that, just like there's nothing that could happen to me that I needed to be afraid of, there was nothing in the cards that I needed to be afraid of. No matter what the cards were, they were simply showing me the distortions that I needed to clear to be my fullest expression of myself. Now, the history of Tarot, it's the Italians, the 14th century. How do you view the history of the Tarot? Because many people say, Oh, that's magic. Oh, it's predictive. Oh, that's bullshit. Oops, excuse my language. But, there's almost a science to it, and the science of intuition, I guess I would say. How do you see it? Like, how would you explain the Tarot for those that don't know? Well, there's so many different ways to look at them, and they depend on your level of consciousness and where you're coming from. So, you know, if someone is coming from a fear-based reality about this is right and that is wrong, they might be afraid. And to those people, I would say, you know, be gentle with yourself with everything you're afraid of, and there's no need to go near what isn't for you. But if you want a little more peace in your life, you might want to look at what scares you. For me, what I love about the Tarot, and the place where I've chosen to take it, is it was designed as a game. That was its first use before any of the predictive stuff came up. It was a game, right? It was a game. What kind of game? How do you? I don't know, but, you know, to me, it's like, you know, all of these little cards are just these archetypal little slices. Did you hold one up for the audience? I was just having them in my hands, and let's see which one wants to come up. These little slices. You're using the writer deck. Yes. So, I would invite the audience, without, like, Andrea, like, saying what that's about, hold it up a little closer to the screen. Let me move it so I can see it again. So, it's filled with symbolism. And so, any painter out there, we have a circle. We have, what's this? A little blurry. We have a child on a horse. We have, I'm not, it's a flag. Yeah. Let me get him to focus. Yeah. He's naked. On a horse. There he is. And he's naked. So, I'm just going to, like, this would be an intuitive guide. Let's say we were painting, and we were using the Tarot just to give us some information, you know. So, you're the one pulling it, so it's personal to you. You have sun, and I would invite you, I think maybe, Andrea, you might say the same, but you might have a different interpretation. What does the sun mean to you? Yeah. What does a child naked mean to you? And it wouldn't, you know, and then inviting you to make a painting, not so much what you see, but what you feel. Yeah, what you feel. And we can talk about what it means, and that's a helpful place to start, but we can also connect to the energies of the card. What does it feel like to connect to the sun? What would it be like to bring that expression into form on a canvas, on a piece of paper, as a way of being? So, the sun is, it's light, it's not dark, it's full light, and it's probably midday, so it's something that is at its abundance. Yeah. You know, I'm thinking, gosh, what would it be like to feel it as it came through me? What wants to be expressed? These sunflowers in here, they're all facing, you know, sunflowers usually face the sun, but in this card, they're facing the person who pulled it. Like, this is an opportunity to make it all about me. I, oh, am I the sun? So, in my own life, I am the star of my own show here. Where am I being invited to be this radiant, brilliant light? And this is part of the major arcana, you know, the major arcana is the fool's journey. The first card is the fool, the one who knows nothing. What's the major arcana for people who don't know, versus there are, what, 59 cards in a deck? The major arcana is the major archetypes, the major parts of our journey of being human. There's a progression. And if you look at the fool, he's got tattered sleeves, and again, I'm working with the rider weight, so they could be different, but he's on this journey. This is where his journey begins. He doesn't have armor on. There's that sun. He's not particularly well prepared. He's only got that little sack. His sleeves are tattered because he's been on this journey before. It's this circular journey of being human. So, we don't just do it once. We're just constantly going through this cycle so that we have more to learn. So, the major arcanas are the... I'm sorry? The fool isn't really a fool. The fool is... I think he's the smartest guy in the deck. Why is that? When I think I know anything, I've limited the possibilities. 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