My What A Pretty EMF Shield You Have There
I hand-craft energetic instruments that look like art or function like craft. These objects work in a similar way to Feng Shui to harmonize rooms. They also protect the body with an EMF shield. I apply the energy science once widely-used throughout ancient Egypt. It took me two years and extra training but I applied BioGeometry to my Master’s thesis and successfully learned how to work with the ancient design science to make two and three dimensional artwork.
This technology doesn’t stop at artfully shielding electromagnetic radiation.
Through a careful design, making, and testing process, I come up with original pieces that transmute electromagnetic fields into healthful frequencies and open a doorway to co-creative communication with the Devic realm of Nature.*
You might be wondering what these two achievements even mean.
What Did Ancient Egypt Know?
The ancient Egyptians had and used a sophisticated grasp of physics. Their entire civilization was based on this understanding. And they lived in balance with Nature for thousands of years by using it.
One of the most important parts of ancient Egyptian culture was a core understanding that matter is energy and energy vibrates. They discovered that they could use design to make this fact of physical reality work in their favor. This is why Egyptian art never changed much over the millennia that their culture flourished in the Nile Valley.
The precise use of harmonic geometry in the design of relief carvings, furniture, jewelry, and architecture allowed the ancient Egyptians to live in a harmonious environment. The positive and healing energy emanating from their buildings, artwork, and objects brought them their legendary prosperity.
Do you know how I know? Because history shows that Dr. Ibrahim Karim was entrusted by a group of Jesuit priests with an entire room full of documents on radiesthesia showing how the ancient Egyptians utilized this precious spiritual science, and he brought it forth to the world. You know how else I know? Because nobody can make my instruments register.
I remember thinking that when I first felt one of the instruments move.
I thought, now it would be unrealistic of me to hold onto such a silly doubt, because I know I am not moving this thing, and there’s no way that Dr. Karim could move it. It took a bit of adjustment, but after a while my brain grokked that there is a point at which, once I get quiet and relax, the instruments register energy quality. They clearly indicate the presence of waves coming off my artwork.
I tested plenty of attempts that didn’t make the instrument budge. The process of designing and making artwork that effectively acts as an EMF shield using this ancient science is rigorous. It involves repeated testing using highly calibrated tools from the ancient technology.
Ancient and Contemporary Training
While earning my MFA in Portland, Oregon, I traveled to Asheville, North Carolina, to complete the Foundation Training in BioGeometry with Dr. Robert Gilbert, the first BioGeometry instructor in North America. I developed my Master’s thesis and practicum project around applying that science to making physical objects. I was honored when the founder of BioGeometry and world-renowned Egyptian architect and engineer Dr. Ibrahim Karim took unprecedented time to test my sculptures in his Cairo lab and found them “very effective.” Read his full analysis here.
Following graduation, my fiber sculpture series was selected to be exhibited at the Port of Portland from 2015-2016, where millions of visitors and Portland residents engaged the artwork and its energetic patterns emanating an EMF shield.
The power of the technique, developed over two years at the graduate level before an audience of professional local and visiting artists, professors, mentors, and peers, is applicable to any media and type of object. Using the ancient technology, I have created jewelry, furniture, paintings, ceramic pieces, and even a cat tower. I currently produce work in my Ashland, Oregon, studio for various buyers and for my local brick and mortar shop Lucky You.
What Does an Artful EMF Shield Look Like?
Harmonic artworks take a variety of forms, from three dimensional fiber sculptures to colorful paintings to little geometric planter boxes to furniture. I work mainly in fiber, metal, wood, and paint. I utilize one or more of seven different harmonic scales, from sound to proportion, and the cooperation of myself as artist with Elemental Intelligence as spirit guide. The result is uniquely patterned object-instruments in all media. See my Tested Products page and subscribe to my blog to catch new work.
What Is a Deva?
Elemental beings are the architects of natural forms. They have been contacted by luminaries and sensitives throughout the history of the human race. Messages they’ve shared with such people are direct, clear, and powerful. Those who have followed the guidance offered by these beings have achieved success such as record vegetable sizes and the reversal of disease.
Plants, rivers, crystals, insects, birds, and other parts of Nature are shaped and formed by these pattern makers, and there is much for humanity to learn from them.
My main interest in the benefits of applying BioGeometry to artwork is the ability it gives me to co-create with Nature, something I’ve felt called to do from the time I was a little girl. Having a deep regard for the natural world, I always felt the greatest thrill whenever I shared communication with a wild creature. I am currently working on a collection of non-fiction accounts of these experiences.
It seems to me that there has never been a better time to learn the secrets that the ancients knew and apply them in order to survive in a world being demolished by wasteful resources extraction. As a permaculture designer and artist trained in the creation of aesthetic EMF shield devices, I hope to help reverse such destruction by making harmonic artworks widely available for personal healing and connection. Visit my shop here.
About the Artist
Jadene Mayla is a multimedia artist with an MFA in Applied Craft + Design from both Oregon College of Art and Craft and Pacific Northwest College of Art, a BLA in Landscape Architecture from the University of Oregon, and a certificate in Permaculture Design from Cascadia Permaculture Institute. She maintains an active studio practice and has exhibited at the Port of Portland, Gresham Arts Committee Industrial Show, Findlay Group, Spectacular Design, Legacy Modern, Furthermore Gallery, Horsehead Gallery, Bar Maven, Launchpad Gallery, Cascade Gallery, Seven Virtues, Stylus Grooves, The Mansion, the Division Design Initiative, and the Synesthesia and Burning Man arts festivals. Her work has been published in Nothing Sacred, the Clearwater Environmental Connector, Lake Oswego Neighbors Magazine, Alternatives Journal, the Portland Mercury, and Natural Awakenings Magazine.
Her awards include May 2016 Artist of the Month for Findlay, first place in the H.O.P.E.S. national design competition in 2005, and Eco-Biz status since 2007. She has served as Vice President for the American Center for Sustainability; been invited to speak at Clackamas Community College and Ujima Center; lead workshops at the Northwest Regional Permaculture Gathering, Village Building Convergence, and SE Portland Permaculture Convergence; serve on the National Honor Society, and write art reviews for Untitled Magazine; she was a co-founder of the Eugene City Repair Project.