Susan Griffith-Jones, the creative, innovative artist, creates the most beautiful, transformative images. She has dedicated her life to travel the inner pathways of the yogis, investigating the nature of existence from many angles and communicating the like...
Susan organizes the findings of her explorations into exquisite symbolic representations.
Listeners will have the opportunity to hear about her process of creating these artistic pieces. They will gain an understanding of her extraordinary journey!
Listeners will gain a perspective of the transformational nature of art through Susan Griffith-Jones highly spiritual images. I was enthralled by her work!
Through our discussion, we will explore Susan's:
experience of traveling the"inner pathways of the yogis."
understanding of the "nature of existence."
explanation of her symbolic art.
description of the "Nature of. Consciousness" according to the "Tibetan Book of the Dead."
www.pyramidkey.com
:#TheMagician'sJewel #NatureofConsciousness #TibetanBookoftheDead
Tune in for this empowering conversation at TalkRadio.nyc
Music: https://meditationmusiclibrary.com/ The tune is "My Relaxing Piano."
In this opening segment of The A Train to Sedona, Linda Marsanico introduces guest Susan Griffith-Jones, a British-born artist whose life took a dramatic turn from an elite academic path to a soulful search for truth. Susan recounts a pivotal moment at age 18 when an intuitive voice redirected her from Cambridge University to an uncharted journey across Europe, eventually leading her to Florence and into a life of spiritual exploration. Her story reveals how stepping outside societal expectations sparked her awakening and launched a creative path guided by intuition and a search for deeper meaning.
Susan Griffith-Jones shares how her spiritual awakening deepened through an intuitive journey from Florence to Nepal, culminating in formal training under a revered Tibetan master. As she wrestled with inherited doubts about religion, writing became a spontaneous channel for cosmic and spiritual insights she could not explain—eventually leading her to call out for guidance and discover her teacher in the Himalayas. From there, she created symbolic photo collage art inspired by visions and elemental wisdom, assembling 1,200 photographs into sacred patterns to express the interconnected nature of reality.
Susan Griffith-Jones shares the evolution of The Magician’s Jewel, a monumental installation that synthesizes over 20 years of symbolic photo collage art into a three-dimensional sacred structure. Rooted in the Tibetan Book of the Dead and built on stupa technology, the installation is designed to illustrate the process of consciousness and bring energetic harmony to the land and its inhabitants. Susan envisions a central 90-foot structure with smaller global versions aligned to ley lines, offering not just artistic expression but environmental and spiritual impact.
Susan Griffith-Jones offers a detailed walkthrough of The Magician’s Jewel installation, which guides visitors through the six Bardos outlined in the Tibetan Book of the Dead using immersive, symbolic architecture and technology. The journey incorporates lucid dreaming, meditation chambers, Fibonacci spirals, and virtual reality, all designed to help people understand the process of life, death, and rebirth in both spiritual and experiential terms. With augmented reality, sacred geometry, and interactive elements woven throughout, the installation becomes not just an artistic piece but a powerful spiritual teaching tool intended to harmonize consciousness and environment.
00:00:48.360 --> 00:00:53.510 Linda Marsanico: Hello, everyone! Welcome to the A. Train to Sedona broadcast.
00:00:53.840 --> 00:00:55.670 Linda Marsanico: I'm Linda Marcannico.
00:00:56.290 --> 00:01:10.270 Linda Marsanico: The A. Train to Sedona is also the name of a memoir. I wrote about my journey to love and compassion. I share my failings, my successes in the hope that my journey will inspire yours.
00:01:10.550 --> 00:01:13.009 Linda Marsanico: You can buy a signed copy
00:01:13.120 --> 00:01:23.430 Linda Marsanico: on my website@lindamarsenico.com on. Buy the book page. You can also buy a copy at Walmart, Goodreads, Barnes and Noble.
00:01:25.190 --> 00:01:28.079 Linda Marsanico: I also have a free gift for you.
00:01:29.060 --> 00:01:38.239 Linda Marsanico: I call it the cheat sheet for high vibration, living a series of 7 exercises designed to have your energy be high and bright
00:01:39.450 --> 00:01:41.439 Linda Marsanico: one is prayer.
00:01:41.590 --> 00:01:55.340 Linda Marsanico: Prayer allows us to know in faith that we are connected to a most amazing oneness. I pray every day I talk to Creator in my own words. Thank you for this. What do you think about that?
00:01:55.810 --> 00:02:04.239 Linda Marsanico: It's precious, and I really do wish to share it with you. You can download a free copy@lindamarsenico.com.
00:02:05.810 --> 00:02:16.990 Linda Marsanico: I also have 2 disclaimers. One is that this broadcast does not establish a professional relationship, and 2,
00:02:17.750 --> 00:02:24.730 Linda Marsanico: that the opinions expressed here do not necessarily represent talk radio, New York City.
00:02:25.630 --> 00:02:28.360 Linda Marsanico: Now, I have a guest today.
00:02:28.880 --> 00:02:33.319 Linda Marsanico: Susan Griffith Jones and Susan. I want to ask you to unmute yourself
00:02:33.910 --> 00:02:35.669 Linda Marsanico: so that we can hear you.
00:02:35.900 --> 00:02:38.860 Linda Marsanico: I 1st want to introduce you more formally.
00:02:41.650 --> 00:02:43.060 Linda Marsanico: British born.
00:02:43.570 --> 00:02:50.750 Linda Marsanico: Susan Griffith Jones is a creative, innovative artist who has dedicated her life
00:02:50.960 --> 00:02:54.539 Linda Marsanico: to traveling the inner pathways of the Yogis.
00:02:54.840 --> 00:03:01.640 Linda Marsanico: investigating the nature of existence from many angles, and communicating the like.
00:03:02.800 --> 00:03:10.449 Linda Marsanico: she organizes the findings of her explorations into innovative symbolic representations
00:03:11.000 --> 00:03:20.240 Linda Marsanico: and into artistic documentaries whose timelines are built upon the sacred patterns embedded into them
00:03:20.610 --> 00:03:27.210 Linda Marsanico: and displayed within her large photo collage, art and art installation pieces.
00:03:28.410 --> 00:03:38.239 Linda Marsanico: Susan explains their meaning in her books and articles, as well as publicly at conferences, workshops, and relevant functions.
00:03:39.330 --> 00:03:51.450 Linda Marsanico: Susan has latterly combined all 9 photo collage, art and installation pieces made during the last 20 years into a larger installation
00:03:51.690 --> 00:03:58.670 Linda Marsanico: called The Magician's Jewel, whose shape and appearance symbolize universal truth
00:03:59.130 --> 00:04:13.119 Linda Marsanico: as a working device that's designed to revitalize the land and people in its environs, as well as describe the nature of consciousness. According to the Tibetan Book of the Dead.
00:04:13.830 --> 00:04:16.959 Linda Marsanico: Susan. Welcome to the A. Train to Sedona.
00:04:17.910 --> 00:04:30.889 Susan Griffith-Jones: Thank you, Linda. I'm so happy to be here, and from my humble abode in the Indian Himalayas. Here we are, I think, 9 and a half hours ahead of you. You see, it's dark outside.
00:04:31.090 --> 00:04:35.409 Susan Griffith-Jones: Anyhow, I'm very happy to be here and thank you for inviting me on your show.
00:04:35.410 --> 00:04:39.180 Linda Marsanico: It's my pleasure, Susan. My 1st question is.
00:04:39.890 --> 00:04:47.180 Linda Marsanico: what are the influences from your youth, your childhood adolescence, that bring you to where you are in your work?
00:04:49.240 --> 00:04:58.300 Susan Griffith-Jones: I love this question because the answer to this is a very surprisingly, absolutely none at all.
00:05:00.740 --> 00:05:13.470 Susan Griffith-Jones: I was brought up on a completely different comic track. I was groomed for the hallways of the British establishments. I was in an All girls boarding school for 7 years.
00:05:13.880 --> 00:05:24.309 Susan Griffith-Jones: and I was expected to go on to University, and, in fact, I had a place to study classics at Cambridge University, Latin, and Greek.
00:05:24.630 --> 00:05:37.029 Susan Griffith-Jones: Something did happen, though, that summer, to check my progress, which was at the time it seemed like a disaster, but in retrospect has been a great blessing.
00:05:37.190 --> 00:05:52.550 Susan Griffith-Jones: because I dropped a grade in my Latin a level, and Cambridge University said that they would keep my place open for the next year, but I would have to retake my Latin a level. This is like your high school diplomas. Yeah, in the Uk.
00:05:52.910 --> 00:05:53.900 Susan Griffith-Jones: so
00:05:54.990 --> 00:06:20.480 Susan Griffith-Jones: it stopped me in my tracks because I had never, ever thought of doing anything else in my life, except for going on and doing the normal thing which was coming out of school, going to university, maybe going on to do a Master's degree, or whatever whatever, and then finally ending up in some career, and we'd been groomed for this, I mean totally. I was hard and fast in the karmic track of of living a very ordinary British life.
00:06:21.120 --> 00:06:32.080 Susan Griffith-Jones: And then, when I dropped this grade and Cambridge said that I would have to retake my Latin a level. Although I had been offered places at 4 other universities
00:06:32.490 --> 00:06:34.939 Susan Griffith-Jones: which I could have taken immediately.
00:06:35.070 --> 00:06:50.979 Susan Griffith-Jones: it gave me a cause to to think, and, in fact, I remember the very moment when it happened, because I was driving around the curvy little country roads in Oxfordshire.
00:06:51.470 --> 00:07:03.700 Susan Griffith-Jones: and I remember going around this corner, and the sun was in front of me, and it was so bright, and it was summer, and it was green, and it was gorgeous, and the trees were hanging over the road, and it was just divine.
00:07:04.130 --> 00:07:08.799 Susan Griffith-Jones: And yet in that moment came a sort of voice in my mind.
00:07:09.070 --> 00:07:15.310 Susan Griffith-Jones: It was my voice. It was a voice of a higher power. I could not tell you to this stage.
00:07:15.720 --> 00:07:17.820 Susan Griffith-Jones: You don't have to do this.
00:07:19.410 --> 00:07:25.070 Susan Griffith-Jones: I don't, really. It was the 1st time in my life I'd been checked.
00:07:26.550 --> 00:07:34.330 Susan Griffith-Jones: Then comes this sort of panic. But what else would I do? I had no other idea how you lived your life except like this. I was 18 years old.
00:07:36.160 --> 00:07:41.509 Susan Griffith-Jones: and then came a sort of torrent of conversation between me and this so-called voice in my head.
00:07:42.770 --> 00:07:48.250 Susan Griffith-Jones: Well, just look left, and just look right each day.
00:07:48.420 --> 00:07:51.859 Susan Griffith-Jones: and you will find what you are looking for.
00:07:52.800 --> 00:07:58.729 Susan Griffith-Jones: What am I looking for? I mean, I was just looking for a normal life, a career, and blah blah!
00:07:59.280 --> 00:08:04.470 Susan Griffith-Jones: You will find what you are looking for and what am I looking for? I'm asking myself.
00:08:04.830 --> 00:08:07.300 Susan Griffith-Jones: You are looking for the truth.
00:08:08.320 --> 00:08:10.779 Susan Griffith-Jones: Boom! This hit me like a
00:08:11.010 --> 00:08:20.649 Susan Griffith-Jones: a concrete ball on the end of one of these, you know, mixer machines or something. I was like knocked over. I'm still driving, of course.
00:08:21.240 --> 00:08:22.530 Susan Griffith-Jones: the truth.
00:08:23.520 --> 00:08:39.750 Susan Griffith-Jones: And then a million different sort of ideas and thoughts came into my mind. The truth! What the truth, what the heck is the truth I have no idea. The truth, the truth, and I think of is it religion? Is it philosophy? Is it. And then came the voice again.
00:08:39.970 --> 00:08:45.060 Susan Griffith-Jones: this is your last chance to get out. If you don't leave now, you never will.
00:08:47.230 --> 00:08:56.940 Susan Griffith-Jones: So unbeknownst to my poor family, who had put me through rather an expensive private education, and had very high hopes for me, Cambridge, and all the rest of it.
00:08:57.600 --> 00:09:06.639 Susan Griffith-Jones: I cancelled my place. I told Cambridge I'm not coming, and I cancelled my place at the other universities that had offered me to start that autumn.
00:09:08.260 --> 00:09:10.950 Susan Griffith-Jones: and I left England.
00:09:12.270 --> 00:09:26.640 Susan Griffith-Jones: I bought myself a little rucksack well, an average size rucksack, and a pair of hiking boots. Having taken out my 250 pounds that I had saved in my post Office savings account.
00:09:26.740 --> 00:09:32.790 Susan Griffith-Jones: and I was sure this 250 pounds would stretch me as far as it would, and when it ran out I would stop.
00:09:33.010 --> 00:09:34.570 Susan Griffith-Jones: and then I would have to work
00:09:35.020 --> 00:09:42.580 Susan Griffith-Jones: my family. When they learned that I was doing this, I'd already organized all of this before I told my family.
00:09:42.960 --> 00:09:52.870 Susan Griffith-Jones: In fact, it's worth talking about, because it was at a Sunday. We used to have a Sunday dinner every week, where the family would assemble at one of the homes.
00:09:53.350 --> 00:09:56.130 Susan Griffith-Jones: and everybody was present that evening.
00:09:56.730 --> 00:10:04.449 Susan Griffith-Jones: and I remember waiting for a silence in the in the meal. And then I suddenly said, I have something to tell you.
00:10:04.610 --> 00:10:06.309 Susan Griffith-Jones: and all heads looked at me.
00:10:06.850 --> 00:10:12.140 Susan Griffith-Jones: I'm I've cancelled my place at university, and I'm leaving England next week.
00:10:15.140 --> 00:10:23.239 Susan Griffith-Jones: I had already bought myself a ticket from London to Calais, Calais being the 1st port on the French side of the English Channel.
00:10:23.930 --> 00:10:31.590 Susan Griffith-Jones: and I decided I would follow the instructions to the T. You go day by day, and you look left, and you look right, and you will find it.
00:10:31.780 --> 00:10:33.760 Susan Griffith-Jones: This truth thing that I was
00:10:34.070 --> 00:10:36.719 Susan Griffith-Jones: didn't even know what what it was and what I was looking for.
00:10:38.849 --> 00:10:55.369 Susan Griffith-Jones: They were very insistent. We're not going to fund this nonsense. No problem. I have 250 pounds. I will manage very well with that, and when I run out I will work. What kind of work. Will you do whatever I can do.
00:10:55.620 --> 00:11:08.730 Susan Griffith-Jones: looking after kids, dishwashing, working in restaurants, waitressing whatever. What kind of what kind of job is that we didn't pay for this kind of education for you, you know. By this point my heart was laughing.
00:11:08.870 --> 00:11:13.539 Susan Griffith-Jones: I was laughing, my heart was laughing. Inside. I was just I was.
00:11:13.760 --> 00:11:17.990 Susan Griffith-Jones: It was like I was released from a burden
00:11:18.130 --> 00:11:19.980 Susan Griffith-Jones: that I didn't even know I had.
00:11:20.400 --> 00:11:21.190 Linda Marsanico: Yes.
00:11:21.790 --> 00:11:29.239 Susan Griffith-Jones: 18 years old. I had no idea that what I was carrying was such a weight of a future that I of expectation.
00:11:29.440 --> 00:11:37.449 Susan Griffith-Jones: I must follow this path because I was so comically grooved into this and and groomed for this this path.
00:11:38.140 --> 00:11:47.859 Susan Griffith-Jones: So I did. I got on that bus that day from a Victoria bus station in London. Bus went to the south coast. I got on the ferry, and I landed in Calais.
00:11:48.840 --> 00:11:49.600 Susan Griffith-Jones: and then
00:11:50.060 --> 00:11:59.230 Susan Griffith-Jones: I travelled through Europe. I had no idea where I was going. I went left. I went right until I reached Florence, Italy, and I ran out of money
00:11:59.370 --> 00:12:22.839 Susan Griffith-Jones: in Florence, Italy. I mean. What a wonderful place to run out of money and to have to work, and it was easy for me to find work. I mean. I just walked around and I asked in places, and I got easily got to work, as a you know, waitressing. And I got some bar work, and I looked after kids. I looked after an old lady.
00:12:23.210 --> 00:12:42.440 Susan Griffith-Jones: and I had the most incredible, marvellous time. I cannot tell you. This was my introduction to the world away from the bubble of society that I had been brought up in, because I discovered that I was so ignorant about the way people lived. I've been kept inside this tiny little
00:12:42.600 --> 00:12:48.460 Susan Griffith-Jones: just as just a little chamber, and I was expected to stay in that chamber for the whole of my life.
00:12:49.600 --> 00:13:01.610 Susan Griffith-Jones: and now I was doing work and jobs that I was absolutely not meant to be doing, and I was meeting people that I absolutely was not meant to be meeting, and I was as happy as I could be
00:13:01.720 --> 00:13:06.260 Susan Griffith-Jones: if this was the 1st step on my path to the truth.
00:13:06.570 --> 00:13:11.179 Susan Griffith-Jones: just letting go of everything I knew and becoming happy
00:13:11.400 --> 00:13:15.360 Susan Griffith-Jones: then that was a very solid step.
00:13:15.510 --> 00:13:19.049 Linda Marsanico: And you knew in your heart that this was the direction for you.
00:13:20.090 --> 00:13:43.879 Susan Griffith-Jones: I knew in my heart. But then, of course, my mind would often interfere with. Are you sure? Are you sure this and that? And of course I would have to think again and again. Maybe I should go back. Maybe this. I had some insecurities, some doubts, of course, because I was so groomed to be in that in that scene. But to answer your question back to the beginning.
00:13:44.040 --> 00:13:57.089 Susan Griffith-Jones: Absolutely nothing, nothing at all. My family was not artistic. My family was not in any way spiritually minded, apart from, you know, going to church on Christmas and Easter.
00:13:57.410 --> 00:13:58.340 Susan Griffith-Jones: and
00:13:58.920 --> 00:14:08.140 Susan Griffith-Jones: absolutely not nothing at all. It was definitely a deeper Karma from a previous life that awoke in me.
00:14:08.310 --> 00:14:13.959 Susan Griffith-Jones: I don't think it would have been possible otherwise, because there was nothing at all to spur me on this path.
00:14:14.330 --> 00:14:21.830 Linda Marsanico: Well, this is very dramatic, and it's just the time that we will take a commercial break. And when we come back.
00:14:22.040 --> 00:14:34.580 Linda Marsanico: Susan, I'd like to ask you about the role of spirituality in your life. So listeners come on back after the break, and we'll speak with Susan about the role of spirituality.
00:16:19.640 --> 00:16:28.570 Linda Marsanico: Hello, everyone, and welcome back to the A. Train to Sedona. I'm Linda Marcannico with my guest, Susan Griffith Jones.
00:16:28.750 --> 00:16:32.679 Linda Marsanico: Susan, would you tell us about the role of spirituality in your life.
00:16:34.680 --> 00:16:42.139 Susan Griffith-Jones: Well, I mentioned previously that I'd ended up in Florence, Italy, and apart from working to earn my bread and butter.
00:16:42.400 --> 00:17:00.819 Susan Griffith-Jones: I had bought myself a large, a very fat guide to all the arts and symbols, artistic places, the churches, the museums, more like a sort of tourist guidebook, but a bit of a you know, a big fat one, so that it had a lot of information in it.
00:17:00.920 --> 00:17:22.820 Susan Griffith-Jones: And I started going around and go to all these amazing places, I mean Florence. It was the capital of art of Europe, the Medicis, and the I mean. You look in the churches. Every church is an ornate example of very, very beautiful and classical art, based on sacred geometry.
00:17:22.950 --> 00:17:29.000 Susan Griffith-Jones: and on, you know, with great depth of of the
00:17:29.210 --> 00:17:40.630 Susan Griffith-Jones: history streaming through it from Egypt, from Greece, from these ancient places so unbeknownst to me. I was starting to study sacred geometry
00:17:40.860 --> 00:17:42.890 Susan Griffith-Jones: subconsciously at this time.
00:17:43.620 --> 00:17:52.330 Susan Griffith-Jones: and I loved it. I loved it. I didn't know that this was a path of spirituality at that point, but today I do
00:17:53.652 --> 00:18:06.680 Susan Griffith-Jones: I think this was a little bit of a difficult thing for me to address in my life, because my mother, who had been a churchgoing lady
00:18:06.840 --> 00:18:15.389 Susan Griffith-Jones: and used to take me to church as a small child had completely revoked the idea of religion. When my father died.
00:18:15.670 --> 00:18:31.149 Susan Griffith-Jones: she said, I was only 12 years old, and my mother said, How could a God be so cruel as to take him away from us, and she completely revoked Christianity. So, of course, there were subconscious influences on me that caused me to
00:18:31.410 --> 00:18:34.709 Susan Griffith-Jones: just a little bit distance myself from religion.
00:18:34.990 --> 00:18:41.749 Susan Griffith-Jones: and it's not that I didn't like religion, I mean, we had to go to church at school, and I sang in the choir, and all these things.
00:18:42.060 --> 00:18:51.999 Susan Griffith-Jones: but I wrestled with the vicar. In fact, I had a few discussions with him
00:18:52.310 --> 00:18:55.580 Susan Griffith-Jones: when he would say that Christianity is the only religion.
00:18:56.320 --> 00:19:11.389 Susan Griffith-Jones: and I would say, but Christianity! Yes, I find Christianity absolutely fine, but I cannot believe that it's the only religion that is right. There must be the other religions. It's impossible that other religions would exist if there weren't some truth in them.
00:19:11.550 --> 00:19:18.660 Susan Griffith-Jones: And this had been the reason why I hadn't dived headfirst into Christianity in my youth.
00:19:19.050 --> 00:19:23.099 Susan Griffith-Jones: although I was sort of on fringe of it all the time it was there in my background.
00:19:23.900 --> 00:19:31.749 Susan Griffith-Jones: It was later, when I was 25 years old, that I'd been through a whole series of life lessons.
00:19:32.190 --> 00:19:35.909 Susan Griffith-Jones: and I had had a business which failed
00:19:36.560 --> 00:19:48.179 Susan Griffith-Jones: and I shut. I remember the day when I shut the door to that business to the office. I locked the door with everything inside. I said. I'm not going to take anything they can have the lot. Whoever wants it.
00:19:48.790 --> 00:19:55.230 Susan Griffith-Jones: I will never, ever again in my life chase money never!
00:19:55.430 --> 00:19:57.949 Susan Griffith-Jones: Now I'm going to do what I'm meant to do.
00:19:58.430 --> 00:20:15.980 Susan Griffith-Jones: So you see, between 18 and 25, 7 years, I'd had a lot of life experience. I'd lived in different countries, and, you know, had so many things that happened to me. Of course, by then it was a lot of life experience, and I said, I'm going to do what I'm meant to be doing with my life.
00:20:16.420 --> 00:20:18.570 Susan Griffith-Jones: I need to be writing.
00:20:19.680 --> 00:20:35.740 Susan Griffith-Jones: I had no idea how to write, what to write. What would I write, and I remember asking an old school friend of mine, I said, Look, I'm going to start writing. What should I do? She said. Well, buy an a 4 lined paper notebook
00:20:36.080 --> 00:20:37.570 Susan Griffith-Jones: and just write.
00:20:37.880 --> 00:20:43.819 Susan Griffith-Jones: and I'm like, but what anything whatever comes in your head, just write it down. I'm like, really
00:20:45.310 --> 00:20:50.340 Susan Griffith-Jones: so again, being the very obedient
00:20:50.500 --> 00:20:57.360 Susan Griffith-Jones: follower of the voices that come from both outside and from inside. I did exactly that.
00:20:58.580 --> 00:21:13.000 Susan Griffith-Jones: and I started writing, and the 1st 20 pages were like kind of boring stuff, just you know, I'm just writing bits and pieces. And then suddenly, out of the blue out of the blue, I start writing about serious
00:21:13.130 --> 00:21:15.090 Susan Griffith-Jones: spiritual concepts
00:21:15.940 --> 00:21:29.160 Susan Griffith-Jones: and scientific things. And I'm drawing diagrams and I'm writing these, and then the Pyramids, and then the this, and then the and then coming from the highest levels of the cosmos. And like like this, I mean
00:21:29.930 --> 00:21:41.870 Susan Griffith-Jones: and oh, my goodness! Did I enjoy this! This was every day I would sit down in the morning with my pen and my paper, and I would wait. What's going to come today? And it would always be exhilarating.
00:21:41.870 --> 00:21:42.190 Linda Marsanico: Hmm.
00:21:42.670 --> 00:21:48.850 Susan Griffith-Jones: But it got to the point. I would say about a year into the writing that
00:21:49.390 --> 00:21:51.690 Susan Griffith-Jones: it got all too much for me.
00:21:51.900 --> 00:22:06.979 Susan Griffith-Jones: because really honestly again, I had nothing to PIN this on to. I had no knowledge of where this was coming from. This was, although I spoke of the the Great Being as God, because I didn't have any other word for it, or
00:22:08.070 --> 00:22:09.500 Susan Griffith-Jones: we can't even say it.
00:22:10.703 --> 00:22:12.920 Susan Griffith-Jones: I did call it God.
00:22:13.740 --> 00:22:18.920 Susan Griffith-Jones: and I would refer to things like angels, because this is the language that I grew up with.
00:22:20.877 --> 00:22:23.570 Susan Griffith-Jones: I had no
00:22:23.700 --> 00:22:37.779 Susan Griffith-Jones: a way to say where this kind of knowledge was coming from. It was not stuff that I'd had to read in the Bible, or something at our church services at school, or whatever whatever. Not at all.
00:22:38.180 --> 00:22:44.610 Susan Griffith-Jones: So after some time I literally raised my eyes to the sky.
00:22:45.820 --> 00:22:50.899 Susan Griffith-Jones: I think there's a word for this, but I can't remember what it is. There's a specific word.
00:22:51.190 --> 00:23:01.939 Susan Griffith-Jones: and I called out to the whatever, whoever, however, it is up there out there in there, wherever and said I need help.
00:23:02.610 --> 00:23:04.479 Susan Griffith-Jones: I need a guide.
00:23:05.110 --> 00:23:16.029 Susan Griffith-Jones: I cannot go on with this any longer, you know. Obviously there'd been some kind of Kundalini awakening going on. And so strange things had started happening to me, and I was
00:23:16.660 --> 00:23:20.510 Susan Griffith-Jones: little bit freaked me out in some circumstances.
00:23:20.670 --> 00:23:25.410 Susan Griffith-Jones: so I really needed a guide. I said, I cannot go on with this path unless I have a guide.
00:23:25.950 --> 00:23:29.259 Susan Griffith-Jones: And, to cut a long story short, because it is a long story.
00:23:29.490 --> 00:23:33.049 Susan Griffith-Jones: 3 years later I ended up in Nepal
00:23:33.180 --> 00:23:41.300 Susan Griffith-Jones: at the feet of one of the really great old school masters of Tibetan Buddhism.
00:23:41.460 --> 00:23:50.349 Susan Griffith-Jones: whose name was as he passed away. Now his Eminence, Chubyutric and Rinbushy, one of the teachers of his Holiness the Dalai Lama.
00:23:50.670 --> 00:23:57.490 Susan Griffith-Jones: and one of the most revered masters of the let's say, old school masters of the Tibetan tradition.
00:23:58.870 --> 00:24:01.079 Susan Griffith-Jones: and he took me under his wing.
00:24:01.280 --> 00:24:17.539 Susan Griffith-Jones: and for the next 5 years, almost 6 years I studied under him, and he would guide me into different various retreats and give me various initiations into the path of the highest Tantric yogas of Tibetan Buddhism.
00:24:17.890 --> 00:24:29.999 Susan Griffith-Jones: and he would send me to other teachers for specific trainings, and Yoga and Yoga trainings and spiritual trainings, and
00:24:30.280 --> 00:24:34.649 Susan Griffith-Jones: I just I just lap this up.
00:24:35.010 --> 00:24:46.359 Linda Marsanico: Well, I feel relieved that you found your teacher because you had all this information, Susan, and it seems so lonely. And what do I do with it. So I'm go ahead.
00:24:46.620 --> 00:24:52.170 Susan Griffith-Jones: I was just going to say definitely lonely, because I thought I was going mad, and there was nobody.
00:24:52.330 --> 00:25:20.590 Susan Griffith-Jones: absolutely nobody that I could talk to about it. It was outside of everybody who I knew outside of their jurisdiction back home in the Uk. My family, even the people I was meeting on the road friends who people who'd become friends with me. Everybody was on a different track, you know, a normal material track. We've got to live. We've got to eat. We've got to find our mate. We've got to have some kind of career, and that was it. I mean.
00:25:20.640 --> 00:25:24.279 Susan Griffith-Jones: I was also groomed for that track, so I could relate to that. True. But this other thing.
00:25:24.280 --> 00:25:24.900 Linda Marsanico: Yes.
00:25:25.070 --> 00:25:28.900 Susan Griffith-Jones: This was something I had to keep very, very secret.
00:25:28.900 --> 00:25:40.900 Linda Marsanico: So I have a question. What made you decide to dedicate your life to traveling the inner pathway of the Yogis? Had you decided this at this point, under this teacher's tutelage.
00:25:42.270 --> 00:26:04.949 Susan Griffith-Jones: I think subconsciously, I decided this right from the beginning. When I left England, when I was 18 years old, although I wouldn't be able to say that to you like. At that moment I wouldn't have been able to say I am going off to become an inner Yogi traveller of the pathways that I didn't know. I didn't even know that existed yet.
00:26:05.670 --> 00:26:14.949 Susan Griffith-Jones: I had been told right at the beginning. You will find it. Just keep going. Keep left. Keep right, you know. Look left, look right and keep going, and you will find it
00:26:15.810 --> 00:26:22.479 Susan Griffith-Jones: so that's what I did. And every time something came in front of me, I would look at that, and I would say.
00:26:22.820 --> 00:26:23.810 Susan Griffith-Jones: Is this.
00:26:24.480 --> 00:26:33.449 Susan Griffith-Jones: no, I wouldn't even ask. Is this going to take me there? I would trust that it would. That's something that I always had in me. It was my inner guidance was trust.
00:26:33.800 --> 00:26:41.320 Susan Griffith-Jones: I didn't not do things because they seemed too weird or too dangerous, or too out there, or whatever.
00:26:41.420 --> 00:26:45.179 Susan Griffith-Jones: If my heart was pulling me there, I followed.
00:26:45.400 --> 00:26:46.980 Susan Griffith-Jones: I really did follow.
00:26:47.840 --> 00:26:48.710 Susan Griffith-Jones: So
00:26:49.810 --> 00:26:57.510 Susan Griffith-Jones: I don't think I really decided on this path per se. But yes, when I started writing
00:26:57.670 --> 00:27:03.220 Susan Griffith-Jones: definitely, this was something that captured me 100%.
00:27:03.380 --> 00:27:13.390 Susan Griffith-Jones: And I knew that this was the way that I wanted to go, and what I wanted to dedicate my life to. So the answer to your question is a sort of yes and no.
00:27:13.980 --> 00:27:17.259 Linda Marsanico: On a deeper level, you knew, but you hadn't
00:27:17.560 --> 00:27:28.890 Linda Marsanico: brought it up to consciousness yet, and you followed your heart, which really has led you on your path for years, not following money, but following the truth, for you.
00:27:28.910 --> 00:27:30.560 Susan Griffith-Jones: And still does.
00:27:31.520 --> 00:27:55.479 Linda Marsanico: Now I want to know. You organize the findings of your exploration of the nature of existence into innovative symbols and representations. Could you tell us about the photo collage art that you do the installation that's embedded in sacred patterns.
00:27:56.740 --> 00:28:02.289 Linda Marsanico: and you've brought them into artistic documentaries. So could you tell us about that?
00:28:03.990 --> 00:28:06.219 Susan Griffith-Jones: Again I fell into it.
00:28:06.370 --> 00:28:17.569 Susan Griffith-Jones: I never decided on becoming a person who would make photo college art. I never thought that I would even make a movie.
00:28:18.200 --> 00:28:21.730 Susan Griffith-Jones: It happened it was part of what was going on at the time.
00:28:22.440 --> 00:28:35.469 Susan Griffith-Jones: because I was 1st of all invited to make a documentary about the life of my Guru, his Eminence, largely because of my British accent. They wanted me to do the narration of the movie.
00:28:35.930 --> 00:28:55.330 Susan Griffith-Jones: and I ended up in the editing studio, and I ended up sitting next to the editor, and I ended up helping to edit the movie and to write the narration and to read the narration. So again I'd fallen into learning, filmmaking without quite believing that that would ever happen.
00:28:55.820 --> 00:28:58.789 Susan Griffith-Jones: And then they wanted to make another one, and called me again
00:28:59.220 --> 00:29:06.019 Susan Griffith-Jones: like this. It went on, and I made 4 or 5 different documentaries with the monastery and with a few other people around. About.
00:29:06.420 --> 00:29:09.629 Susan Griffith-Jones: Once they got to hear about what I was doing.
00:29:09.990 --> 00:29:29.949 Susan Griffith-Jones: and then a fellow from Singapore, who was also a student of Rinpoche. He knew that I had this connection with this valley up in the high Himalayas, where Rinpoche had sent me on a journey back in 2,005, to do a meditation, retreat
00:29:30.360 --> 00:29:36.469 Susan Griffith-Jones: again to recount. That would take the rest of our interview. But it was extraordinary, extraordinary. With a capital E.
00:29:37.390 --> 00:29:44.180 Susan Griffith-Jones: And I came back, and I had taken 1,200 photographs of the valley.
00:29:44.580 --> 00:29:51.030 Susan Griffith-Jones: because, just as I was leaving Kathmandu and I'd been to my Guru for his blessing. Before going on this journey
00:29:51.240 --> 00:29:59.210 Susan Griffith-Jones: he had called out to me as I was leaving the room, take photographs, and again, quite by chance.
00:29:59.860 --> 00:30:04.849 Susan Griffith-Jones: another llama had given me an old camera.
00:30:05.840 --> 00:30:14.240 Susan Griffith-Jones: the best pentax of the 19 sixties that you would find in Japan. I think it's a pentax or something.
00:30:15.470 --> 00:30:17.280 Susan Griffith-Jones: But the light meter was broken.
00:30:17.630 --> 00:30:43.809 Susan Griffith-Jones: and that was the camera. I took with me to this valley and took the photographs. Now I was not trained as a photographer, but somebody had given me a very short training before I left. Like, if it's really dark, then you know, the shutter speed should be like this. If it's very light, then the aperture speed should be like that blah blah. And so, as a completely unprofessional photographer, I went out there with a broken light meter on my camera, took photographs.
00:30:44.190 --> 00:31:03.190 Susan Griffith-Jones: and some of them were again quite extraordinary, with a capital EI mean fantastic mistakes, because I hadn't had the shutter speed and aperture speed correct. So yeah. So I got rainbows pouring over temples like with like circular circles of
00:31:03.280 --> 00:31:14.239 Susan Griffith-Jones: light all over the valleys, and like the most extraordinary pictures, and when I came back to Kathmandu, and I had them all printed because this was a 35 click and wind.
00:31:14.780 --> 00:31:25.750 Susan Griffith-Jones: and I had a pile of 1,200 photographs of rocks and stones and mountains and monasteries and houses and trees, and everything you can imagine.
00:31:26.550 --> 00:31:31.680 Susan Griffith-Jones: I said I need to do something with these, because it would be such a waste just to throw them in a cupboard and do nothing.
00:31:32.970 --> 00:31:58.670 Susan Griffith-Jones: So I put them all down on my floor in my room that I was staying like sort of a little bit on top of each other, because I mean the room was large enough, but anyhow, and I started to walk. As I was walking in and out of the room, I would just glance at the photographs left and right and left and right, and a few would jump out at me, and I would pick up those photographs and put them to one side, and soon I had a little pile of what I call the special ones.
00:31:59.140 --> 00:32:08.950 Susan Griffith-Jones: And then I started to arrange these special ones into a kind of shape, and you know a cross is a very standard shape. And so they 1st of all went into a cross.
00:32:09.330 --> 00:32:10.790 Susan Griffith-Jones: And then
00:32:11.050 --> 00:32:28.640 Susan Griffith-Jones: I saw that because I was studying the nature of the elements, the meaning of the 5 elements, and I was studying the nature of absolute and relative reality. And I thought if I were to make a cross of these 2, and in the center would be the space and then wind, fire, earth, water.
00:32:29.110 --> 00:32:30.200 Susan Griffith-Jones: and then
00:32:30.800 --> 00:32:41.919 Susan Griffith-Jones: I would call it 2 keys, one lock, 2 keys, meaning the 2 sides of relative reality, let's say male and female. But just say, polarise the polarity of relative reality.
00:32:42.230 --> 00:32:54.190 Susan Griffith-Jones: which is actually one lock, one thing, so 2 keys, one lock. This was my 1st photo college art picture. So how did I do that? My photos were lying on the carpet on the floor.
00:32:54.390 --> 00:32:59.369 Susan Griffith-Jones: and I needed to stick them onto something so that they would stay in one position. Right?
00:32:59.720 --> 00:33:21.529 Susan Griffith-Jones: So I thought, Okay, I'll go to the local wood merchant and I bought some ply board, and I got them to cut it into shapes, which would represent the 5 elements at each end of the 2 keys, and then I stuck them onto well, I placed them. 1st of all I placed them onto the onto the ply board. Then I thought, this ply board is quite ugly, I should cover it with some cloth.
00:33:21.650 --> 00:33:30.129 Susan Griffith-Jones: so then I covered it with coloured cloth, I mean in India. This was in Nepal at this time, but you know, in India and Nepal plenty of cloth.
00:33:31.036 --> 00:33:42.819 Susan Griffith-Jones: You know, merchants everywhere. So I bought some cloth. I stuck the cloth on. I put the photographs. Then I stuck the photographs onto the cloth. And this was my 1st photo collage art picture.
00:33:43.690 --> 00:33:44.200 Linda Marsanico: Beautiful.
00:33:44.990 --> 00:33:53.569 Susan Griffith-Jones: Quite simple, but it was. I called it Photo college Art, because this was a compilation of photographs into a picture.
00:33:53.820 --> 00:33:56.270 Susan Griffith-Jones: and that was the name that came out in that moment.
00:33:56.270 --> 00:34:20.150 Linda Marsanico: Now I want to hesitate here. Just need to hesitate, because I want to have enough time for you to talk about the magician's jewel. Now in between listeners, the commercials. Our engineer has put up 4 of Susan's beautiful images, including the magician's jewel. Is that correct, Susan? You gave us the magician's jewel as well, and when we come back
00:34:20.860 --> 00:34:28.950 Linda Marsanico: I'm going to ask you to discuss, describe. Tell us all about the magician's jewel, but for now we need to take a commercial break.
00:36:17.900 --> 00:36:19.460 Linda Marsanico: Hello, everyone!
00:36:19.640 --> 00:36:20.700 Linda Marsanico: Welcome
00:36:21.070 --> 00:36:39.569 Linda Marsanico: back to the A. Train to Sedona broadcast. I'm Linda Marcannico with my guest, Susan Griffith Jones. Now, Susan, you've mentioned to me that the magician's jewel is a compilation, a combination of all of your work. Would you tell our listeners about this.
00:36:42.230 --> 00:36:49.889 Susan Griffith-Jones: So we ended off our last segment of our talk by me, describing how I made my 1st photo college art piece.
00:36:50.730 --> 00:37:00.249 Susan Griffith-Jones: I just will very, very quickly go through how I decided to make more photo college art art pictures, because this is pertinent to the answer to your question.
00:37:01.050 --> 00:37:08.340 Susan Griffith-Jones: So after I made this 1st piece, the 2 keys, one lock, I decided, oh, wow! This is fun. And I think I'd like to do an exhibition.
00:37:08.670 --> 00:37:18.490 Susan Griffith-Jones: And I thought, maybe I'll do an exhibition in London, New York, Paris, Milan. I started dreaming, but 1st of all I should practice. Have a little practice. Go here in Kathmandu.
00:37:18.840 --> 00:37:24.250 Susan Griffith-Jones: One photo college art picture is not enough. I better make another one. So I made another one.
00:37:24.620 --> 00:37:40.970 Susan Griffith-Jones: And so the years went on, and I kept on making photocollege art pictures. As I was invited in on different projects, I would be taking photographs of particular themes. I made a picture of the photocollege art of the river Ganges in India.
00:37:41.080 --> 00:37:47.030 Susan Griffith-Jones: I did one using the plants and the foliage from Amazonia.
00:37:47.140 --> 00:37:58.460 Susan Griffith-Jones: I made a picture with sacred spaces and sacred people. There was the Mirror of Space, then the Rainbow Symphony, then the key of life.
00:37:59.180 --> 00:38:10.200 Susan Griffith-Jones: and then I did an exhibition in London with those 5 pictures. I was invited by the Indian High Commission to do an embassy in to do an exhibition in their cultural centre.
00:38:10.770 --> 00:38:16.849 Susan Griffith-Jones: and it was lovely with those 5 pictures. I had a beautiful exhibition.
00:38:17.050 --> 00:38:20.120 Susan Griffith-Jones: but it was a kind of closure of those 5 pictures.
00:38:20.370 --> 00:38:33.069 Susan Griffith-Jones: and then I was invited to make a movie in Bosnia, about the Bosnian Pyramids, by Dr. Samos Monedic, who found the Pyramids discovered or rediscovered rather the Pyramids back in 2,005.
00:38:33.320 --> 00:38:35.590 Susan Griffith-Jones: So this was the year 2016,
00:38:35.780 --> 00:38:38.390 Susan Griffith-Jones: and he invited me down to Bosnia to make a film.
00:38:38.880 --> 00:38:47.849 Susan Griffith-Jones: and then, while I was there, I decided I would need to collect all the information for this movie and put it into a photo college art picture.
00:38:48.900 --> 00:39:00.860 Susan Griffith-Jones: So here begins Series 2. I made one in 2018. Then I made another in 2020, and then I made another the 3 that you've just seen in between our dialogue.
00:39:01.350 --> 00:39:05.660 Susan Griffith-Jones: I made another, and that was completed last year in 2024.
00:39:06.330 --> 00:39:08.520 Susan Griffith-Jones: But what happened in between
00:39:08.680 --> 00:39:23.549 Susan Griffith-Jones: was, I had been invited in on a project at the Victorian Albert Museum in London to do an exhibition, or to help with the be involved in an exhibition with other people not just my own exhibition.
00:39:24.010 --> 00:39:27.670 Susan Griffith-Jones: and I would need to write a project report for this.
00:39:28.370 --> 00:39:36.579 Susan Griffith-Jones: and it was when I was writing a project report about my photo college art pictures, which is what they had asked me to do.
00:39:37.310 --> 00:39:47.500 Susan Griffith-Jones: that I started 2 word documents. I had one for the photo, college art pictures, pictures, and one for the Tibetan Book of the Dead, which was also one of the themes of the project
00:39:48.220 --> 00:39:52.450 Susan Griffith-Jones: at the exit at the at the Museum.
00:39:52.850 --> 00:39:56.879 Susan Griffith-Jones: So I had these 2 word documents, and it happened that
00:39:57.230 --> 00:40:07.910 Susan Griffith-Jones: the a paragraph from this word document would want to go into that word document, and a paragraph from this word document would want to go into this one. And slowly the word documents merged
00:40:09.550 --> 00:40:14.860 Susan Griffith-Jones: and was born the magician's jewel. In that moment
00:40:14.960 --> 00:40:39.760 Susan Griffith-Jones: I saw that I actually had a project which would combine the three-dimensional, because now I have two-dimensional, but the pictures would become 3 dimensional inside. This installation piece, which would support my would support, would give me a way to show the process of existence, according to the Tibetan Book of the Dead.
00:40:40.010 --> 00:40:48.160 Susan Griffith-Jones: and I had been searching for this for a number of years and boom! It came down in that moment, and probably for the next
00:40:48.960 --> 00:41:03.400 Susan Griffith-Jones: 21 days or so I was writing voraciously, and I was going to a local fellow who does my design work. And I was getting these computer generated images, one of which you have just shown.
00:41:04.260 --> 00:41:11.469 Susan Griffith-Jones: And I was writing a project report and filling it in with the images. So that's how it was born.
00:41:12.250 --> 00:41:29.739 Susan Griffith-Jones: But then it's developed a lot since then, because that was the beginning of 2021, and since then I've been going around the world. I've been making presentations of it, doing workshops about it, giving talks on it, and of course this has filled out a lot of the space that was there in the beginning.
00:41:29.900 --> 00:41:33.550 Susan Griffith-Jones: And now I'm moving into phase 2
00:41:34.620 --> 00:41:58.590 Susan Griffith-Jones: and phase 2 is to create a prototype. I have now got a model which is made of household materials that my husband actually kindly made for me. He spent one month. It was a labor of love, making me this beautiful model that I could take around and show at presentations and workshops and things, but that is now gravitating into a prototype.
00:41:58.790 --> 00:42:23.180 Susan Griffith-Jones: because these years I have been exploring the scientific, not just the let's say that the Tibetan Book of the dead really represents the process of consciousness. That's where the spiritual heart of it lies. But the shape and design of the pyramid of the installation itself is more what we would call like a stupor here in the Himalayas
00:42:23.180 --> 00:42:32.839 Susan Griffith-Jones: and the Stupas are not just pretty things that are built to look nice. Next to a monastery, they are technically built in order to
00:42:32.950 --> 00:42:41.360 Susan Griffith-Jones: quell the tremors in the earth to balance the elements and to have a beneficial
00:42:41.880 --> 00:42:52.449 Susan Griffith-Jones: effect on the natural environment, not just the natural environment, but on biological creatures, humans included any biological creature and the Earth herself.
00:42:53.230 --> 00:43:18.060 Susan Griffith-Jones: So now I've got something which is like an art installation which shows a process of existence according to the Tibetan Book of the Dead. I've picked out key symbols and shapes from each of my photo college art pictures, and I've combined it into this one installation piece that will have this beneficial effect on the environment.
00:43:18.260 --> 00:43:21.169 Susan Griffith-Jones: Obviously, when it's built and at a later stage.
00:43:21.560 --> 00:43:28.860 Susan Griffith-Jones: I'm aiming high. I literally high. I want it to be around 90 feet.
00:43:29.170 --> 00:43:43.079 Susan Griffith-Jones: I know that sounds big, but I want people to be able to walk on it. Go into the chambers of it. I can describe a little bit a bit more about its construction.
00:43:43.190 --> 00:43:54.940 Susan Griffith-Jones: because it's it's a little bit of a lengthy process. I can just take you through a visual description of the magician's jewel. In the next segment of our of our discussion.
00:43:55.270 --> 00:44:00.279 Linda Marsanico: Yes, I would like that. And where did you say the installation would be.
00:44:00.910 --> 00:44:05.110 Linda Marsanico: where will it be? Have you not? I'm so curious.
00:44:05.110 --> 00:44:20.979 Susan Griffith-Jones: Well, it's a very good question, and it's the question that everybody asks, and so far, with my wanderings of the world and doing presentations and stuff. I have been offered 2 very special places to put it.
00:44:21.600 --> 00:44:34.020 Susan Griffith-Jones: but I think it's also something that will. Once I've actually built it, there will be one main piece, and then there will be many, many smaller versions of it.
00:44:34.740 --> 00:44:36.869 Susan Griffith-Jones: in many, many different places.
00:44:37.470 --> 00:44:40.289 Linda Marsanico: When you say many, many different places, many
00:44:40.820 --> 00:44:46.749 Linda Marsanico: countries, or within the primary location of the installation.
00:44:47.590 --> 00:44:56.699 Susan Griffith-Jones: Definitely within many countries and definitely on key main ley lines within those and earth grids within those countries.
00:44:57.000 --> 00:45:06.929 Linda Marsanico: On the ley lines. How wonderful to stabilize and to embellish the ley lines, to support that! It sounds
00:45:08.700 --> 00:45:13.940 Linda Marsanico: like a most co-creative endeavor.
00:45:15.400 --> 00:45:20.300 Susan Griffith-Jones: Well, Tibet was traditionally seen as the body of a demoness.
00:45:20.600 --> 00:45:36.739 Susan Griffith-Jones: and in order, because there was a lot of fault lines there right? And there would be a lot of earthquakes and different kind of tectonic movement. I mean, it's the Himalayas. It's moving. These plates are moving. Yeah, between the Tibetan plateau and the Indian side of the Himalayas.
00:45:37.720 --> 00:45:49.639 Susan Griffith-Jones: So Tibet was known as a great demoness, and in order to quell her they would puncture the earth in very key places, in order to
00:45:49.920 --> 00:45:51.409 Susan Griffith-Jones: calm her down.
00:45:51.410 --> 00:45:51.840 Linda Marsanico: Nice.
00:45:51.840 --> 00:46:14.250 Susan Griffith-Jones: And this is stupid technology. This is how the stupid technology was created. And of course it's moved into many different styles and types. The Nepalese ones look different than the Indian ones, and look different than the Tibetan ones, but they all have a fundamental purpose, and they all have a similar technology behind them.
00:46:14.850 --> 00:46:33.989 Linda Marsanico: Well, I want to understand more about this. We need to take a break, and I want to mention that in Sedona I would say, about 10 years ago a stupa was finished right off Highway 89, a back behind Holmes, a most beautiful testimonial.
00:46:34.410 --> 00:46:48.440 Linda Marsanico: So we need to take the break, and we will come back, listeners, and we will be talking about this wonderful co-creative project, because when I say co-creative, I mean between you and Creator, so we'll take it away. Jess.
00:48:29.590 --> 00:48:32.790 Linda Marsanico: I haven't muted myself, and now you can hear me
00:48:33.450 --> 00:48:47.879 Linda Marsanico: welcome back everyone to the A. Train to Sedona broadcast. I'm Linda Marsanico with my guest, Susan Griffith Jones. Susan is going to tell us about the project. The installation of the magician's jewel.
00:48:50.220 --> 00:49:03.909 Susan Griffith-Jones: Well, although we've established, we're not sure where it's going to go yet, but we do know that it would. We would want it on key ley lines, or also, you know, on earth grids and other very sacred
00:49:04.050 --> 00:49:22.810 Susan Griffith-Jones: places on the earth. It could also be at different scientific and spiritual institutes as their front piece kind of thing. So it's not only for the ley lines and for the earth grids, although primarily, that's where its technical function would do the job.
00:49:23.880 --> 00:49:34.630 Susan Griffith-Jones: So what I want to describe to you is the process of existence, according to the Tibetan Book of the Dead, and I'm sure that many of you have read or have come across the Tibetan book of the.
00:49:34.630 --> 00:49:35.040 Linda Marsanico: I believe.
00:49:35.040 --> 00:49:40.459 Susan Griffith-Jones: It's such a famous piece of literature that I think it's hard to escape our ears.
00:49:40.780 --> 00:49:49.789 Susan Griffith-Jones: It's also a very complicated book, and without the symbolic training, or rather the training in the symbology
00:49:49.860 --> 00:50:18.019 Susan Griffith-Jones: of the highest Tantric yogas of Tibetan Buddhism. It's really rather difficult to understand it. Why, there would be these funny headed and deities, you know, animal creatures and other very strange objects that they're holding in their hands again. You see, we come back to my own subconscious training back in the churches of the Renaissance, Florence, where I learned about symbology so deeply.
00:50:18.130 --> 00:50:22.419 Susan Griffith-Jones: I resonated very well with this kind of symbology.
00:50:23.550 --> 00:50:34.450 Susan Griffith-Jones: So in this piece we start off in what the Tibetan Book of the Dead terms as the Bardo of life.
00:50:35.330 --> 00:50:39.869 Susan Griffith-Jones: Now there are 6 Bardos Bardo means in between.
00:50:40.260 --> 00:50:50.280 Susan Griffith-Jones: and we are in between birth and death. This is the Bardo of life, and as we've
00:50:51.360 --> 00:50:56.910 Susan Griffith-Jones: are going to meet with either something that's going to cause our death.
00:50:57.260 --> 00:51:02.490 Susan Griffith-Jones: or we meet with, say, an accident, or something that may happen. Suddenly
00:51:03.040 --> 00:51:05.590 Susan Griffith-Jones: we enter into the Bardo of dying.
00:51:06.610 --> 00:51:18.199 Susan Griffith-Jones: and once we come out of the Bardo of dying, and we leave behind our physical human body. We continue as a consciousness into what is termed as the Bardo of reality.
00:51:18.620 --> 00:51:25.089 Susan Griffith-Jones: Now in the Bardo of reality we have. This is where we have a number of options. It's almost like the crossroads.
00:51:25.350 --> 00:51:31.900 Susan Griffith-Jones: So if we can recognize the nature of our mind.
00:51:32.120 --> 00:51:38.440 Susan Griffith-Jones: Let's call it I mean, I know there are a lot of other terminologies for it, but I'm just sticking to the Tibetan terms here.
00:51:38.870 --> 00:51:41.790 Susan Griffith-Jones: then we will jump into this
00:51:43.830 --> 00:51:49.110 Susan Griffith-Jones: again. I don't really want to term it as a light, but it may seem like something like a light.
00:51:49.690 --> 00:51:55.850 Susan Griffith-Jones: and we will merge with our nature, our the source of our
00:51:56.000 --> 00:52:04.470 Susan Griffith-Jones: being, so so to speak. Again I stumble with the language, because there is no language at this point.
00:52:05.830 --> 00:52:06.770 Susan Griffith-Jones: but
00:52:07.030 --> 00:52:28.129 Susan Griffith-Jones: if we are not equipped to understand what this great light is, we might be quite afraid of it, because it's very awe-inspiring, and we might be like, oh, I need to get back to what I'm familiar with, because where's the tangibility? I need to touch something I need to hold something. I need some sensual support.
00:52:28.200 --> 00:52:41.289 Susan Griffith-Jones: Then we will see that there are different colored lights that are lurking in the background, and we will start to gravitate towards these different colors depending on the frequency of our mind.
00:52:41.520 --> 00:52:44.289 Susan Griffith-Jones: So, for example.
00:52:44.792 --> 00:52:52.650 Susan Griffith-Jones: if we are more prone to go towards the realm of the gods, we would gravitate towards a yellow light.
00:52:52.840 --> 00:52:57.020 Susan Griffith-Jones: This, as it mentions in the Tibetan Book of the dead, etc. Etc.
00:52:57.140 --> 00:53:02.750 Susan Griffith-Jones: Not to go into too much detail, because there's a lot of detail. In fact, the Barder of Reality has the most detail in it.
00:53:04.034 --> 00:53:10.809 Susan Griffith-Jones: Then will come these huge angelic like creatures, and they will be like. Don't
00:53:10.960 --> 00:53:23.469 Susan Griffith-Jones: go into those doorways of light. Remember who you are. Remember who you are. You are, and they'll go off into great dialogues about nature of your existence, your mind.
00:53:23.950 --> 00:53:31.979 Susan Griffith-Jones: and then, if you, then they will give you the option to jump into their heart, at which time they'll take you off to some pure land somewhere.
00:53:33.450 --> 00:53:41.820 Susan Griffith-Jones: Then, if you miss that opportunity, then will come the slightly more wrathful looking beings.
00:53:42.050 --> 00:53:55.349 Susan Griffith-Jones: They're not demons, but they look quite demonic. They're wrathful. They're like, remember who you are. Don't go on into it. Come out, come out, jump out of the system. I'll take you. I'll take you kind of like this.
00:53:55.940 --> 00:54:14.350 Susan Griffith-Jones: and then this is quite awe-inspiring as well. So you mean like none of that. None of that. And then you will gravitate to one of these doorways, in which case you'll be taken into the environment that you are going to be born in, say, human realm. There are 6 realms, as mentioned in the Tibetan Book of the Dead.
00:54:14.870 --> 00:54:28.050 Susan Griffith-Jones: and you will just say, be taken into the human realm, and then you will see creatures and people.
00:54:28.490 --> 00:54:39.290 Susan Griffith-Jones: people of different types copulating, and you will jump into that orgasmic space, and you will
00:54:39.640 --> 00:54:41.600 Susan Griffith-Jones: enter into the Bardo of becoming.
00:54:42.050 --> 00:54:46.489 Susan Griffith-Jones: and then you will wake up again after a certain period of time.
00:54:46.590 --> 00:54:49.799 Susan Griffith-Jones: As in the Bardo of life.
00:54:50.800 --> 00:54:56.150 Susan Griffith-Jones: So this is the this is the cycle. 6 bardos, 6 realms.
00:54:56.260 --> 00:55:00.830 Susan Griffith-Jones: you know there's a lot of symbology here also in the numbers as well.
00:55:01.310 --> 00:55:13.339 Susan Griffith-Jones: coming back to the magician's jewel. So what I have done is that I have created a pathway through this installation that will take us through each of the Bardos.
00:55:13.520 --> 00:55:22.300 Susan Griffith-Jones: So we start off in a beautiful park. It's the Bardo of life, and then we enter onto the main structure that's at the center and we go underneath it.
00:55:22.740 --> 00:55:34.959 Susan Griffith-Jones: and we will learn about lucid dreaming. This is the bado of sleep. I didn't mention that in the Bardo of life there are 2 other Bados, Bado of sleep and Bado of meditation, which makes the 6.
00:55:35.380 --> 00:55:44.220 Susan Griffith-Jones: Then we will go up the Travelator, which is the Bardo of meditation, ending in an aum chamber where there's a recitation of Aum.
00:55:44.440 --> 00:56:09.019 Susan Griffith-Jones: Then we will come down and go through a Fibonacci spiral, which is the Bardo of dying. So now we're leaving the Bardo of life, we will enter into the heart of it, which is the Bardo of reality, that I described in quite some detail with the angelic and beings and the wrathful beings. We will come out of that in another Fibonacci spiral, one being black, the one Bardo of dying, this Bardo becoming being white.
00:56:09.500 --> 00:56:18.330 Susan Griffith-Jones: and then we will get back down to the park again, at which point we'll enter into the Bardo of living Bardo of life again.
00:56:18.490 --> 00:56:24.239 Susan Griffith-Jones: Now in between, we have virtual reality
00:56:24.660 --> 00:56:40.569 Susan Griffith-Jones: simulations. We have augmented reality simulations. We have sitting in bibing this great chanting, we have this explanation of the lucid dreaming. And again, virtual reality displays.
00:56:40.730 --> 00:56:48.410 Susan Griffith-Jones: And we have this beautiful harmonic park that's been, you know, describing sacred geometry. And
00:56:48.770 --> 00:56:51.259 Susan Griffith-Jones: I mean, this is really in a nutshell. It's.
00:56:51.260 --> 00:56:59.099 Linda Marsanico: And I wish we I wish we had. Another time we'll have to do this again, but we are at a time where we need to
00:56:59.330 --> 00:57:15.800 Linda Marsanico: get ready to close, Susan. The description of the Bardo is absolutely amazing, and I've enjoyed your presentation so much. Thank you very much for joining us. Would you let our listeners know where they can find you?
00:57:17.020 --> 00:57:30.860 Susan Griffith-Jones: My website is www. Dot pyramid as in PYRA. mid.com www dot sorry pyramidkey.com pyramidkey dot com.
00:57:31.710 --> 00:57:35.279 Linda Marsanico: And I want to say to all of us, say again.
00:57:35.930 --> 00:57:50.000 Susan Griffith-Jones: I was just going to say. You can find my details there, and all of my work, my films, my books, my photo, college art pictures, my installations, the events that I'm doing, and the events that I've also done in the past.
00:57:50.620 --> 00:58:02.559 Linda Marsanico: That sounds so wonderful. Listeners, if you like this, podcast please share it with your friends and family, if you like the caliber of my guests, and they've been
00:58:02.710 --> 00:58:06.489 Linda Marsanico: just so informative and amazing.
00:58:07.190 --> 00:58:08.263 Linda Marsanico: Do a
00:58:08.980 --> 00:58:13.680 Linda Marsanico: Write a review and celebrate what we offer.
00:58:13.830 --> 00:58:32.450 Linda Marsanico: I wanted to say. Next week my guest is going to be Jared Rosen. He is the publisher of my book, The A Train to Sedona, one of the publishers. He started Dreamwave Press, and he will be very interesting and entertaining. Thank you so much for joining us.
00:58:33.570 --> 00:58:37.559 Susan Griffith-Jones: Thank you to you, too, Linda. Thank you very much. I've enjoyed it immensely.
00:58:37.560 --> 00:58:38.520 Linda Marsanico: I'm so glad.
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