418. Sacred Geometry, Healing Grief and Advancing the Soul Journey - Endre Balogh

Endre Balogh

 [00:00:00]

Kara Goodwin: Welcome to Soul Elevation, where you can guide your Ascension to new heights. I'm your host, Cara Goodwin, and I'm so excited about today's guest, Andre Balogh. If you prefer to listen to this podcast rather than watch the video, you'll get plenty from our conversation, but when you get a moment, I highly recommend checking out the video later.

In the video, Andre shows several of his art pieces and they're very activating and worth you engaging with visually. We talk a lot in this episode about the energy we receive from visual media.

And I love to hear about Andrei's process in creating these potent sacred geometries. Note his comment toward the end of the episode where he explains the grounded nature in which he receives the inspiration for this work.

He doesn't consider his creation process mystical in the traditional sense. And I feel this is a great reminder for all of us about how spirit moves through us, even when we aren't consciously [00:01:00]experiencing it in the mystical sense. Andre Belag is an internationally renowned violinist who has performed with top orchestras including the Berlin Philharmonic and Los Angeles Philharmonic, and collaborated with legends Mehta and Vladimir Horowitz.

A skilled chamber musician. He toured with a Pacific trio for nearly 30 years and now performs French and Russian popular music with Paris chanson.

I probably butchered that, but hopefully you get the idea. Also an award winning photographer and graphic artist Andrje's Sacred Geometry artworks celebrated worldwide are featured in the book center geometry. So you can dive into this episode in just a moment, but first, I'm so excited to share about my book, Your Authentic Awakening, a guide to everyday spiritual living, which will be available this spring.

And this book is designed to help you reach new heights of spiritual awakening. It's full of spiritual guidance, practical [00:02:00] tools, and captivating personal stories, all working together to expand your consciousness and open your heart. Find out more on KaraGoodwin. com. And now enjoy this episode. Well, welcome, Andre. I'm so excited to have you here today. Thank you so much for coming on. Y

Endre Balogh: Thank you. This is a delight to be with you and get to chat with you after we've, we've sort of known each other on email, but, but first time in person. So this

Kara Goodwin: Yes. Yeah. And you're out in, out west and you know, we've tried to connect and there have just been, you've been in the, the midst of all the chaos out there. So

Endre Balogh: The fires and everything. Yeah. And then, and then we had problems because our power was out for several days when we were supposed to do our interview, but, but now everything seems to have fallen together. So we're, we're in good shape.

Kara Goodwin: thank goodness. Well, you are just a fascinating person. Um, for people who are watching the video, rather than listening to the audio, you can see the beautiful image behind me, the sacred geometry behind me. You are the [00:03:00] artist that created this beautiful work, and you have thousands. of images, hundreds, thousands,

Endre Balogh: Well,

Kara Goodwin: least hundreds.

Endre Balogh: just made number nine hundred and ninety five, so I'm about five away from a thousand.

Kara Goodwin: Oh my gosh. I was just a little bit ahead then. So very nearly a thousand.

Endre Balogh: on my, on my website, there are over a thousand, because there's some of them are, are, I couldn't decide how I liked a color or certain, so some of them are the same one in two different ways, so it actually goes over a thousand

Kara Goodwin: Wow.

Endre Balogh: but eventually, five more and I'll, I'll make it to a thousand.

Kara Goodwin: Yeah. Well, you're, you are also a very accomplished classical musician. So All of this, you've got this incredible background. I'd love to hear how you have, tell us about your path, how you've gotten to where you've been, how sacred geometry has come into your life. Um, [00:04:00] how has your, how has your path led you to use your gifts in the way that you have?

Oh my gosh. Wow. Oh my word. What a protege.

Endre Balogh: joke my, in my musical biography, which I've, I've actually been a, the main part of my life, I've been a classical musician and, uh, playing concerts throughout the world as a violinist. I joke that I played concerts up until two weeks before I was born because my mom in the, uh, Los Angeles Philharmonic, uh, and I actually have the program from that, from the last concert she played before I was born. so, uh, and then when I was 11 days old, because my uncle, my uncle was a violin maker, so we had a whole, they had a whole collection of violins and they had a little 64th size violin, which is about. And so when I was 11 days old, I had my picture in the Los Angeles Times when my mom was putting this little tiny violin into my bassinet. And, and they were saying, here's a new [00:05:00]violinist that's just been born. And so of course, it's probably the only time the LA Times has been corrected, prognosticating anything. So. That was, uh, they got it right there. And so I started actually, I won't go into the long part of the story. They didn't want me to be a musician but I started demonstrating that I could There was a natural gift there. And so, uh, when I was, I started playing, started studying the violin when I was three and a half. then I played nine concerts in public when I was four. And yeah, and then after that, uh, the first time I played as a soloist with an orchestra, I was six years old. And then the first time I played with the LA Philharmonic. soloist, I was eight and then, uh, went on from there. I gave my New York debut recitals in New York Town Hall when I was 15. And, uh, oh, that's, that's what they said. And, [00:06:00] and

Kara Goodwin: goodness,

Endre Balogh: did the soloist with the brilliant Philharmonic and the Rotterdam Symphony and the New York Philharmonic and the, no, uh, yeah, the New York Philharmonic, Washington Symphony, uh, Seattle, you know, Los Angeles Philharmonic, all kinds of orchestras throughout my life.

And then I also had a trio, classical piano trio, and we toured around the world for about 30 years, performing, you know, trio literature, and making some recordings and things. And then that has changed and, and, uh, through one, one reason or another. And then now, actually what I do, uh, I, I'm playing in a completely different genre, which is terrific fun for me. I, I play with a group that's called Paris Chanson, Paris Singing, Paris Chanson. And, and we travel all around the country. There are seven of us and, uh, there are three singers. One plays guitar, and then there's, there's a drummer, bass [00:07:00] player, keyboardist, and me. I sort of would be, would be the equivalent of, of a lead guitar in the band, I guess, because I get to do a lot of the solos.

And I get to improvise all over the place. It's terrific, terrific fun. Something which most classical musicians don't like to do. Uh, but I love improvising. And so I've never had a chance to do that with Mozart sonatas and Beethoven sonatas. You can't do that. So, so now. We travel all around the country doing, doing shows, uh, which is focused largely on, or entirely on, French and Russian popular So, like, for those, those who would know it, uh, Edith Piaf and Charles Aznavour and Enrico Macias, and of course contemporary people, Zaz. uh, so this is terrific fun and we, we, every place we go, our shows sell out. And so we do shows in New York and in Boston. We're going to go to Philadelphia for the first time in July. Chicago, [00:08:00] Minneapolis. We go a lot to the place called the Dakota in Minneapolis. Uh, the City Winery has now become one of our, so anybody who's got a city winery in their town who's watching this, you'll know that we will come there eventually, I think. Uh, we're Boston, Boston, Philadelphia in July, then maybe the New York one, I'm not sure.

So, but we do go to New York a lot, play at the place called the Cutting Room, and then in Seattle, and of course we have a residency that we do, uh, we call it a residency because we're there every month. at uh, Herb Alpert's place called Vibrato that's here in Los Angeles. And that's kind of the high end jazz, jazz venue in town.

And uh, so we sell it out every time. As a matter of fact, next time we're going to be there, but we have to do two shows. One from 7 and then another one from 9 Which is kind of hard, but, uh, it's, it's still fun cause, but we'll sell them both out. And, uh, so people, people love our music and, and it's enormous fun.

And we were, yeah, we were just in [00:09:00] Florida and that's pretty much a brief summary of my musical career. And, uh, so, uh,

Kara Goodwin: So with that when you were talking about you're kind of like the lead guitarist, but I presume are you Doing the violin or or are you actually doing the guitar?

Endre Balogh: No, no, no. I entirely play the violin. So I play a

Kara Goodwin: Okay.

Endre Balogh: lines, intros, intros to songs, and I get to improvise in between and,

Kara Goodwin: Okay,

Endre Balogh: uh, But, people can go on to YouTube and look up Paris Chanson, P A R I S, and then C H A N S O N S, Paris Chanson. And we have a YouTube channel, and we even have a, I think we have our own website, and that has lots of clips from shows. And it's absolutely wonderful music. This is the music that, that, uh, largely existed in, in Eastern Europe, especially during the, the, during the years of the Cold War, because the Beatles and the, uh, Rolling Stones, all of that stuff was, was Western music was forbidden. What [00:10:00] was the music of the time was Aznavour and Elif Piaf and, and, and Macias and these, these, these people. And so that was the music that those people in, in Eastern Europe grew up on. And so this is, this is something that, that they don't get to hear very often anymore because nobody's doing it. All of those people have either died or retired. And then of course we have our own take on it because I'm improvising and I'm playing my own, own stuff as well. And so it's, it's a unique experience.

Kara Goodwin: Well, that's just beautiful. Amazing. So now you are also a photographer and you, so you're into the visual arts as well. Has that been consistent through your life? Like music? Or was that something that developed later?

Endre Balogh: Cause I, I really only started doing photography with any seriousness. You know, I, I used to like to take pictures. You know, a roll of film would have to go out and be developed and, you know, you get

Kara Goodwin: Yeah.

Endre Balogh: of bits and, and some of them would be good, some of them wouldn't be, all of our children, we homeschooled and, [00:11:00] and one of the, one of the things that they did as homeschoolers was they were involved in a sport called horse vaulting. I don't know if you know what that is, but that, that's essentially gymnastics on horseback. And, uh, so the horse goes around in a circle, and there's someone in the middle, it has a lunge line, and the horse either is trotting or cantering they have to learn how to onto the back of the horse gracefully and do certain, certain maneuvers, and then they also have freestyle, uh, where they can, where they can do handstands and all kinds of things on the, on the back of the moving horse, it's actually the oldest sport in the world, because it evolved out of warfare, where people used horses to protect themselves. And they had to know how to get on and off a horse and do certain types of maneuvers, and so, anyway, that, that's the long story of that. But, uh, photography, digital cameras were just coming out at that time. And so, I don't know if people remember way back when the digital first started, but there was a lag time when you push the button and it would be [00:12:00] almost, it would be a half a second or so before the shutter would actually fire or click.

And so, I had to learn how to, how to take pictures of my kids. a little bit ahead of time,

Kara Goodwin: Yeah.

Endre Balogh: well, now, of course, digital cameras are so much better.

And I took a, a photography 101 class with a, with a great, great teacher, uh, named Jim Zuckerman. And he says, you know, Your photography is, is so much better than everybody else's in the class. You really do some, some artistic work. You should pursue this. And so, then I, I took from him, Photoshop one on one course as well.

It's essentially, it's learning just the basics of that. And that, that led me into being able to manipulate my own photos and make. So now, uh, forward, uh, about 20 years and I I've been doing photography and I just was the, second year in a row. I was the, uh, photographer of the year for the Channel Islands Professional Photography Association. actually I've [00:13:00] been four times. I missed one year.

And, and then also in the California, I entered the California Professional Photographers Association, um, uh, contest every year. So this year I was the number six. in among the top 10

Kara Goodwin: Wow.

Endre Balogh: as high as number two in various years, when COVID and everything, people were all locked up.

So I started doing macro photography. So now I do a lot of. Very tiny things. I have all the rigs necessary to do, uh, detailed photos of very tiny things. I can show you a little later when we're going through. I'll show you some things. Uh, one of them is a prize winning photo that I did of a yellow jacket wasp. You've never seen anything like that.

Kara Goodwin: Wow.

Endre Balogh: Uh, these are macro, macro photography shots. Often it's, it's a process called focus stacking. So sometimes that's very, very small will require hundreds of separate photos stacked together and then assembled in a [00:14:00] computer to make, to make the one shot be clear across the, across its length.

 I've done book covers, of course, for, with My Sacred Geometry. So now I should get into My Sacred Geometry. So how did that start?

Kara Goodwin: Well, let's, let's start with what sacred geometry is because there are, I mean, it's not like a hugely well known thing. And I know when you talk about book covers, Maureen St. Germain, you've done a book cover and she's very tied with sacred geometry as well. So that's a beautiful,

Endre Balogh: of her four of her book covers. So,

Kara Goodwin: yeah, that's perfect. Um, so

Endre Balogh: how we met because she was on your show and I said, Oh, gee whiz, we should, we should,

Kara Goodwin: yes, that's right. That's right. Yeah. Um, so how did, well, let's first talk about what sacred geometry is. Can you explain in case there's anybody listening, who's not familiar?

Endre Balogh: Unlike regular, artwork, mandalas, Sacred Geometry relies upon, a fixed set of symbols, starting from the circle, and, and these are, [00:15:00] these have resonance to people's Souls. We all, we recognize these symbols because they're universal. And so, so that's, that's what makes them sacred is, is because they, these are, these are resonant images. Uh, in terms of patterns, I, I believe, and I, I've been fairly confirmed that, that, that my, my sacred geometries and many others, peoples are essentially portals into the sacred realms. So if one meditates up on a sacred geometry. that would be a lead at a portal to, to going into, uh, deeper levels of meditation, deeper levels of, of, spiritual connection. lot of people who meditate have told me afterwards that they say, Oh, I encountered something very similar to that particular one that they happened to be seeing. Or when I was meditating, I would. So these are, these are sort of links into the, into the spiritual world. And, through sacred geometry and especially that what I do [00:16:00] specifically is that I like to combine a lot of different kinds of, sacred geometric patterns.

There's the Sri Yantra and the Venitron Star and the, I'm just going through a list, the Seed of Life and the Tree of Life, well, even the Tree of Life. These kinds of things, uh, and I combine them often Into one sacred geometry so that, so that, have a, they have a resonant power that goes beyond just one single, pattern.

But they'll have, they'll have residences in a number of different ways. And so people meditate with them, especially with my sacred geometries. And, and they will, they will become transformed into higher and higher realms of consciousness. There's, there's a website that's called sacredgeometryart.

com and that, that aggregates together think about 50 or 60 of the world's top sacred geometry artists, who are working in making, making sacred geometry throughout the world, . And, and I'm honored because my, my artwork is , on their homepage, on their cover pages as, as being, the featured artist. because I, [00:17:00] my sacred geometry seems to resonate so much with, with people and so,

Kara Goodwin: that's beautiful. And I love how you talk about the layering of it, because in the quantum or however you want to think of it, I have experienced like, um, other, it feels where it feels like other layers, almost like energy layers coming in, you know, so it's, it's not like sometimes I feel what we might call downloads that sometimes that's a, a new energy that's coming in and it has a new pattern that's coming in and it, it integrates with the energetic patterns that we already have.

So I love that that's visually represented.

Endre Balogh: also good as, as my, my sacred geometries that were up to almost a thousand, I actually see them almost as a continuum in some ways because they, they, they have evolved over time and, and become increasingly complex. And only because I'm entertaining myself by doing that, but, I believe I'm channeling them from, from another, I'm not, I'm [00:18:00] not particularly clairvoyant or a channel or anything like that.

But, uh, just to say how I got into making them in the first place, our precious son Antal away when he was just almost, uh, almost just a few days short of his 12th birthday. And that was a terribly traumatic event,

Kara Goodwin: sorry. Yeah.

Endre Balogh: he, he started actually leaving us many messages. Someday I'm going to have to publish it.

I have a, I have a. 250 pages of some very amazing, messages that he left for us. He had almost a signature style for some of his messages. He would leave us little BBs, and these BBs would show up, uh, in the house. Years later, that had just been scrubbed clean, and suddenly there would be a BB there.

Kara Goodwin: Oh my gosh, that gives me so many chills.

Endre Balogh: Yeah, so that's a, that's a whole separate conversation, but, but as sort of a self therapy at that time, I started, I started making these sacred geometries, and, and because they, they involve Photoshop, and I [00:19:00] could sit in front of the computer and just sort of zone out, and, I believe really that, In the larger sense, we may have had a contract for this whole event to happen so that he could help to channel those to me from, from a higher realm. And so I, I'm sure that he still connects in that process. And I can't say that really that I meditate a whole lot when I, when I start to make Sacred interested in my process is that I basically, I just start, I have a black square that's divided with a cross, with a cross so that I know where the center is uh, and then I just start to play around and they, they, they evolve and bit by bit by bit, they'd start to come together. Sometimes I started and I decide, oh, that doesn't work. And I throw it away. But most often they, they just, to evolve and then go for a while and then I say, ah, well, but now it's done and then it is. And so, that's how the process works.

Kara Goodwin: Are you always working as one whole unit or are they, are you [00:20:00] fractalizing as you create? Like here's one, you know, one eighth of it and then repeating it or is it always the whole design? Because it,

Endre Balogh: well,

Kara Goodwin: um, symmetry, right?

Endre Balogh: do, I may begin with. Like I have some, I have some brushes, for instance, that I use with Photoshop. That are smoke. I will take like a smoke brush, for instance, and create one. One smoke and then repeat that, at an angle rotating around the center. So then that creates a, pattern. And then I will start to color that. I might duplicate it.

I, I might flip it the same pattern repeats outward. I can begin to show you some of these as we go.

you can see how that process happens, but they all are varied in so many ways. They're quite unique. If I do say so myself, they change. I also use a lot of Hebrew because Hebrew is a sacred language and the Hebrew lettering has sacred power to it not, not a lot of sayings in [00:21:00] Hebrew, but it just more Yud Heh Vav Heh, that sort of thing.

And , you can see some of that in my artwork, all of which has spiritual power. And, that's really , what I'm trying to capture in these sacred geometries , is as much energy as possible that is transmitted to the Those who view it and people, people resonate to different ones.

Kara Goodwin: What's interesting too with it is that, you know, these are things like sacred geometry is something that, , like you said, people can meditate on. Like looking at the image and kind of use that as a portal to higher consciousness. It also sacred geometry is so foundational to our reality, the structure of reality that, um, some people see it without , having been knowingly exposed to sacred geometry

Endre Balogh: Oh, yeah, well,

Kara Goodwin: state.

So it's really interesting because you can use it to kind of invoke that higher consciousness. And it also can come in organically.

Endre Balogh: that's the idea. [00:22:00] Some, so many of these patterns exist in nature. , the Fibonacci's spiral and all that sort of, all of which I use in my, in my work. And, , I've made sacred geometry starting, but with using a, a, uh, some of their, you've seen galaxies that are, are maybe some other side, and then they're there, I'll rotate them around and then that uses as, as the basis for.

some of my artwork and so, uh, the stars, I have stars in my work and, of the, the universe exists in microcosm and macrocosm in, in, in sacred geometry. And, it's really a, study of. Of both the internal and external world and, and, combined together in one, as you say, as I said, as you said, portal that can, it can bring people into a higher consciousness.

Kara Goodwin: When I first started meditating many years ago, the first kind of visual that I ever had was a rotating galaxy. And I wasn't very, you know, I didn't have any basis for why I would see that [00:23:00] because I, I didn't see visions. I didn't typically, you know, that was an unusual experience.

And then I'm like, of all things, why am I seeing a galaxy? Like I wasn't. At that time, very interested in the stars or anything. but it is, like you say, that's a reflection of the, Fibonacci sequence. And as above, so below, you know, it's, it's, we see those in hurricane patterns. We see it in sunflower patterns.

We see it in across nature. it's in our. anatomy, that ratio, the golden ratio. So it's really a fascinating subject if people are listening and they haven't dived into it, um, would you like to share some of your work because you've

Endre Balogh: Yeah, I selected a bunch of them together, and I have some, some of my angels, too. We'll get into those, too, as well, So that, this is actually Not the very first one that I did, but it's kind of, I believe this to be sort of a foundational sacred geometry. It's simple in its nature, and we just spoke [00:24:00] about so as above, so below. And so , here's like the water of life and the cosmos, everything all centered into one, glowing space moving in toward the, the presence of the divine.

Kara Goodwin: And that indigo is just brilliant as well.

Endre Balogh: yeah, well, colors also have a lot of, , resonance to frequency, and so, I use, what are, what would be sacred colors, purples and blues, of course all, all the colors of the spectrum are, are,

Kara Goodwin: Beneficial in their way.

Endre Balogh: have beneficial. Yeah. And again, that's why different people resonate to different kinds of energies.

 These are some of the early ones. They're all in order that I've made them. So you'll, you'll see them as they go. This has a lot of Metatron stars, the Metatron star in the center, but then it also has a, star of David.

There's also a flower of life in the background there. So this combines a number of different sacred geometric geometrical patterns into one.

Kara Goodwin: What's interesting is when you look at that, how you can perceive the, the three dimensional aspect of it, because of course we're looking at [00:25:00] 2D and if anybody's just listening to the audio, I do encourage you to look at the video. because then you can see what we're talking about, but you know, here's another one that you just brought up that if you kind of soften your gaze and you let yourself relax into it, you can actually kind of see parts of it pulling forward and get that more of a three dimensional because , these are like living energies, you know, they're not flat.

It's

Endre Balogh: This has Sri Yantras and Metatron starred and all together.

 It's a whole bunch of , different energies here. This one, of course, has, I often like to use an eye, which is the all seeing eye of wisdom, or of the divine,

this is one, this is probably one of my most purchased of sacred geometries. People really love this one because it's got a lot of energy.

Kara Goodwin: Mm hmm.

Endre Balogh: Again, it's got a, it's got a flower of life, and a Sri Yantra, and it's got also a Star of David in there, so it

Kara Goodwin: And there's, there's just a lot of movement [00:26:00] in that. I mean, you talk about the energy, but really, if you, this is another one, if you soften your gaze, like it's, it is moving.

Endre Balogh: it moves, it jumps up, it jumps back and forth,

 This is, you know, again, using color, using light to have different energies.

Kara Goodwin: yeah. Now, for me, that one looked a little bit blurry, but was that just the, is

Endre Balogh: that was, that was, that was the style of it. Right. You know, I,

Kara Goodwin: Right.

Endre Balogh: Again, it, that, that gives, uh, because the center, central part is not blurry if you, if you look at it closely,

Kara Goodwin: Yeah,

Endre Balogh: the blur as the energy is, it's moving forward. So I, you know, I, this was, these were all, I don't know why I chose to do it that way, but I did.

So this is one of my personal favorites. I use this sort of as my own logo. [00:27:00] Okay.

Kara Goodwin: and you're going through a tunnel. Those are great exercises for people who want to work on developing their third eye sight.

So if you're listening and you're like, Oh, I wish I could. Open my pineal gland or activate my pineal gland or strengthen my, my inner sight, working with your physical eyes. That's one of the tricks of the trade is using different colors, using images like this, where you're drawing it toward you with your eyes, drawing it toward you and going into the tunnel, spending time doing exercises like that, like these would be amazing images.

To work on that.

Endre Balogh: yeah, well, exactly. I mean, that's what, that's really what, what their purpose is.

Kara Goodwin: Yeah. beautiful. You can see how they get more [00:28:00] complex.

Endre Balogh: Yeah. This one really has a lot of movement to it. If you let your eyes sort of get lost and it'll, it'll start spinning.

Kara Goodwin: Yeah, this is, this would be another great one you could use for, you know, eye exercises like, you know, using your eye to draw. Like, follow the circles, like the different circles in the different rotations. Great, great, pieces for that.

Endre Balogh: this, this is one that I, was started out with a, uh, galaxy. If you, notice, the, you can see the stars that sort of rotate around it, around it. And then I started with a, flat galaxy and then evolved into that.

Kara Goodwin: For me, that one looks like a top down. Like you're above it, like looking down on something.

Endre Balogh: And then this one is, this one really has a, sort of a tunnel

Kara Goodwin: Mmm, yeah.

Beautiful.

Endre Balogh: has a lot of sort of Fibonacci spirals. [00:29:00] Yeah,

Kara Goodwin: Wow.

Endre Balogh: this one is Let's see, 501. Number 501. So, we're already sort of in the middle.

Kara Goodwin: Mm hmm. That's beautiful.

So this one's very, um, oh, Mandelbrot. It looks like a Mandelbrot sequence.

Endre Balogh: Yeah. well, again, I, I, I have ways of, manipulating the, each, each little figure and making it, it, I, actually, what I did, I started with a large one and then created a sort of a curve , then when I had that done, then I, Move that around the circle center and then so that's with the different colors and, think those are Metatron stars or something like that. So,

Kara Goodwin: Oh, wow.

Endre Balogh: has different kinds of power. There's a Metatron star in the center.

So,

Kara Goodwin: Ooh.

Endre Balogh: one, this one, actually, the company that, has my website where, I sell all of these that you could buy these in any number of different configurations. As far as prints , or [00:30:00] they could be on mugs or shower curtains or what? And, and you can have a duvet cover.

And our bed has , this as, as it's duvet cover. So imagine sleeping on

Kara Goodwin: my gosh, are you able to sleep?

Endre Balogh: Yeah, no, it's just

Kara Goodwin: I'm so activated. I can't fall asleep. There's like a um, like a Mother Mary quality to the center of that. Like it just feels as though there is like an open armed kind of Divine being in the center.

Endre Balogh: well, that's, that's good for protection while you sleep, I guess. So,

Awesome.

So this is quite different because this is sort of more square, but then it also a lot of different, angles and, and patterns to it.

Kara Goodwin: And in the very center of that, is that like a, is that geometry or is, are those some symbols or?

Endre Balogh: That's also, it's sort of a grid pattern of, triangles, but the way they're set up, they go in on [00:31:00] themselves. This has a lot of spin.

Kara Goodwin: Yeah.

Endre Balogh: Here you can see what's called a tetragrammaton in the center. That's, it's, Yud Heh Vav Heh, the holy name of, of God, but then it, it's a, it's a very mystical symbol. This has been used by, by mystics from, gosh, going back hundreds and hundreds of years, and so I started using that a lot because I like it.

Kara Goodwin: Mmm. Beautiful. Ooh. That

Endre Balogh: one looks like bees.

Kara Goodwin: it looks like what?

Endre Balogh: Like beads.

Kara Goodwin: Oh yes. Yeah. Well I was thinking, I get like the DNA. I see a lot of like the DNA genetic. Yeah.

Endre Balogh: But then there are also Merkabahs around the edges. You

Kara Goodwin: Oh yes. Okay. Yes. The purple.

Endre Balogh: you know, yeah. [00:32:00] And there's a lot of, so I mean, there's a lot of energy from it because if one realizes that each one of those Merkabahs Has a, has its own energy. You multiply it by having many of them, so.

Kara Goodwin: Wow.

Endre Balogh: this one, this is using that same triangular as a, as a base, but then there's also, there's also a galaxy behind it.

Kara Goodwin: Yes. Beautiful.

Endre Balogh: This one is sort of eye popping

Kara Goodwin: Yeah.

Endre Balogh: and moves a lot.

Kara Goodwin: Yes. 

Endre Balogh: Now this one's entirely different. This is now, these are, oh gosh, now offhand I forget the name of this triangular, there's a name for it, each of the triangles gets smaller and smaller, but I use that as a basis anyway. I, I'm not concerned so much with their, their intrinsic meaning

Kara Goodwin: Mm hmm. Mm

Endre Balogh: as, as with the, with the spiritual meaning.

And so I, I make them [00:33:00] for their aesthetic beauty, but, and also their, their spiritual power. But I, I'm not really focused on, oh, I'm going to use this one and, and combine it with that to, to make something specific. it's an evolutionary process. These are all sort of channeled.

Kara Goodwin: That's beautiful. You've really captured the gold quality as well, like the reflective quality of the gold, and in this one too. Beautiful.

Endre Balogh: Yeah. So these are now already, we're at, this is number 818. So they, they've evolved a lot from the first ones.

Kara Goodwin: Right.

Gorgeous.

Endre Balogh: this has a Merkaba is the central.

Kara Goodwin: Fantastic.

Endre Balogh: now this one is entirely different. That says it's also, I like to use a lot, it's called the impossible triangle. So if you notice that, that Actually can't exist because it has no sides or it has, it's, it's inside and out. It's hard to see

Kara Goodwin: hmm. Yeah.

Endre Balogh: particular version, but,

Kara Goodwin: Very [00:34:00] Escher.

Endre Balogh: the triangle, has an extra, has an outer side and an inner side, but both of them are the same.

So the way, the way, and this also has a lot of power because that, that triangle repeats several times. I've got all the yud he vav he. And that's, it's just. Yeah, it's a lot of stuff going on. There you can see that triangle better in the Seder here. This one is very peaceful. Some of them are more energetic.

Kara Goodwin: Yeah.

Endre Balogh: This is entirely different.

Kara Goodwin: Oh, yes. It's like a lion's heart. It's got a lion quality to it. me.

Endre Balogh: it's very But it, but it's also, it's a heart. So sometimes, a few times I've used a heart as a, as a central,

Kara Goodwin: Ooh.

Endre Balogh: you know, this becomes very complicated.

Kara Goodwin: Yeah.[00:35:00]

Endre Balogh: Triantras and Metatron stars. Gosh, all kinds of things are in this

Kara Goodwin: Yeah. The tetrahedron.

Endre Balogh: There's a flame up at the top.

Kara Goodwin: Yeah. Tetrahedrons. Yeah. What, what did you say was at the top?

Endre Balogh: Well, uh,

Kara Goodwin: The flame?

Endre Balogh: see that flame up at the top. See that?

Kara Goodwin: Yeah,

Endre Balogh: One actually, I have, I have three, three letters if you read from, right to left as as would be Hebrew. The three letters at the top, uh, are, uh, olive, that spells Emmett, which is truth.

So you can see, I, I really get, I've gotten complicated with them.

Kara Goodwin: Yeah,

we're just receiving so much energy just from gazing upon them.

Endre Balogh: This is, yeah, well, no, this is almost the last one. I just, I made one since then. This is [00:36:00] 9 94. and it's actually, this is started with a, a natural. It's a, it's a natural photograph of, of, that looks like an eye, but it was, a formation in the clouds that someone had taken a picture of,

Kara Goodwin: Oh, really?

Endre Balogh: eye. And that's, that's what I use as the basis for it.

Kara Goodwin: Because I was going to ask if that was meant to look like an eye. Ha ha. But it started as a cloud. Like a lenticular cloud is at the top half of the eye.

Endre Balogh: Yeah. I have to go back and look at what it was. ,

Kara Goodwin: And then it looks very like, um, you know, quantum web coming out of that, too. Wow.

Endre Balogh: And of course the Yud Heh Vav Heh. Here I have Emet going from right to left, and then going from top to bottom is Yud Heh Vav Heh. So, that's, you know, particularly powerful. Now, the next one is gonna, we're gonna start to see some of my angels. So now I know, I know you talked about my angels. Uh,

Kara Goodwin: Yeah, I've given a couple of these as gifts to people because they're, they're just so

Endre Balogh: wow, [00:37:00] okay. There, you know, I, I'll, I'll use some of my, some of the sacred geometry forms like this, the, uh, this, um, the Kaaba symbol that's down, that's getting smaller and smaller down in the center.

Uh, and then I have that, that, uh, impossible triangle up at the top. And so that I'll incorporate sacred geometries into the angels as well.

Kara Goodwin: And then tell us about these angels and, you know, do you feel that you are connecting with beings and then representing them or what, what is the impetus when you create them? Like

Endre Balogh: well, first of all, I love angels and angels love me and as as angels love everybody and and so I just started making them because again, it's part of the process because I I just wanted to represent them. Now, actually, we've spoken about, you and I have spoken offline about my colleague, Ness Carroll, who is a real channel, and she channels all kinds of [00:38:00] amazing stuff, and she has there's 77 angels that she has channeled. particular energies to it. So I'm going to eventually try to make 77 because she attaches these, these, sacred qualities to each one. What I've done is , the face of the angel remains in the same position throughout and the angels changed.

As we go,

Kara Goodwin: that's gorgeous.

Endre Balogh: So it's always going to be the same face as the same angel, and if we were to line them up back to back, they would morph from one to the other. I've done that, there's a, I think there's a YouTube video of someone having done that.

Kara Goodwin: So do you ascribe particular angels to different pieces of work?

Endre Balogh: I'm a mystic only in the sense that I'm mystical. I'm not I wish, I wish I would have more mystical experience than I do. I, my mysticism is I know that it's true, but I don't, spend any time [00:39:00] meditating other than the time that I'm making these.

That's my meditation.

Kara Goodwin: Mm hmm.

Endre Balogh: it's very odd, I think, in, in, in some respects because people really pursue, deep spiritual experiences. But, , my experience is to create these. It would be nice if I would, leave my body and go out into other realms or something.

It would be great fun. But, but I don't think that's, I'm not sure that that's my path in this particular incarnation. So

Kara Goodwin: I feel too that for some people, they have more of a conscious awareness of like, Oh, I experienced my consciousness connecting with this angel or whatever. And for other people, it comes through and it feels like imagination or it feels like they're driving it more, but there's actually a lot more going on behind the scenes.

Beautiful.

Endre Balogh: what I said earlier is that , different people resonate to , different things. Here, you know, I have a, a galaxy down at the bottom and, and, way the light is, this is a whole, I want to create these light beings.

Kara Goodwin: That's really what they are. They're beings and they have different energies because, [00:40:00] because different angels have different energies.

I love that they have the sacred geometry represented in them as well. You kind of get so much with them, with each one.

Endre Balogh: Yeah. Those are the signatures of that particular angel. Now, I don't know what it is, but, but the angel does. So

Kara Goodwin: Beautiful.

Endre Balogh: yeah, the different colors and the different kinds of power that exists in each one, and they're, they're all going to be different as everybody's going to resonate differently to themselves.

Kara Goodwin: Beautiful. 

Endre Balogh: Oh, okay. So now we've gone past the angels. Now I'm just going to show, if you don't mind, a few of my just regular photographic artworks. We were talking about sunflowers earlier, and so this is a base of sunflowers. Unfortunately I can't zoom in on these because, because they're not [00:41:00] of the way I'm displaying them.

But these are called light paintings, and they achieve an amazing kind of light. It's a complicated process. It's all done in the dark and with flashlights and stuff. I assemble it all later. But, uh,

Kara Goodwin: gonna say this looks like a painting not a photo. So yeah,

Endre Balogh: These are, that's why they're called light paintings. Because they, they are, it's a, it's very complicated.

Sometimes it will take me several days to put one together. Um. But here we have the sunflower, and if you were to zoom in, you would see the sacred geometry inherent in the sunflower's pattern in the center of each one. So, this, well, you know, being a violinist, I did a light painting of my violin, and a book that it's shown in. Again, this is done as a light painting.

Kara Goodwin: Yeah, it's just amazing. I mean, it's hard to believe that that's a photo.

Endre Balogh: yeah, the detail, and yet the quality of light is, the [00:42:00] detail is that of a photo, and the quality of light is of a painting. So, combines the best of both worlds. Okay, now here's my,

Kara Goodwin: The yellow jacket. Wow That's incredible

Endre Balogh: Now that was 77 separate photos,

Kara Goodwin: Really? That's the second time 77 has come up too.

Endre Balogh: Yeah, yeah,

Kara Goodwin: Wow. That's fantastic.

Endre Balogh: yeah. So this one of a number of, of awards,

Kara Goodwin: I can imagine. Wow

Oh, wow,

Endre Balogh: the hibiscus flower.

Kara Goodwin: gorgeous

Endre Balogh: Yeah, I have lots and lots of flowers. Books published with my flowers photos. I have a number of books that are available for sale and then this is also just my regular photography taking a picture of a

Kara Goodwin: A running, a goose running on

Endre Balogh: Canada goose.

Kara Goodwin: Wow. That's

Endre Balogh: Yeah, taking off. Yeah. Well, [00:43:00] that's that's all the ones that I've collected

Kara Goodwin: Wow. Thank you for sharing. Those are just remarkable. You're so talented.

Endre Balogh: Oh, thank you.

Kara Goodwin: Well, and so you, you have a collective project as well called Center Geometry.

Endre Balogh: Yeah, Synergeometry, which I did with, with, with Ness. Hopefully you will have a chance to interview her at some point, because she said she'll be an amazing person for you to talk to. Uh, we did a book together that's called Synergeometry. I can show it here. It's available.

Kara Goodwin: Oh, wow. Look at that.

Endre Balogh: I this is, this, my, Dear friend and collaborator, Ness Carroll, is an amazing And she, has spirit downloads to her little, little poems that go with each of the sacred geometries that are in this book.

And each, I've seen her do it. It's fascinating because what she'll do, I will show her a new one. So she'll have a piece of paper and a pencil and [00:44:00] she looks at it for like 10 seconds and then and they immediately they download it for her and she gets it in a minute and so these beautiful little little poetic compositions.

Thank you. Uh, statements that go with, with the sacred geometries. So this, this book is available on Amazon, for if anybody wants to go and see it and buy it.

Kara Goodwin: Wow. And then you get the artwork. Well, you get a ton of artwork and you get the downloaded message

Endre Balogh: you get this meditative, these meditative poems. Like, well, so here we're talking about portals. So this one, I'll read you this one so that you have an idea. It says, Portals, Splendor, Planets, Peace. Graceful, generous life of ease. Watch all negativity cease as you appreciate the greater release.

Kara Goodwin: wow,

Endre Balogh: That, that gives it a window into how one might meditate on that particular sacred geometry. So this is about, I think it's a hundred and thirty separate different ones in [00:45:00] here.

Kara Goodwin: That's gorgeous. Now does Ness have any insights into where you're getting the inspiration from in terms of are there star systems or ascended masters or

Endre Balogh: Spirit,

Kara Goodwin: okay.

Endre Balogh: just, you know, that all of, all, which encompasses all of the above, right?

Kara Goodwin: but does she ever look at particular ones and comment like, Oh, the Pleiadians are, you

Endre Balogh: oh, I don't, I, I, I'm not sure, I think she's just such a pure channel that what they download to her is, is that.

Kara Goodwin: don't have those individual characteristics? Yeah. Wow.

Endre Balogh: so that's, that's one of the books that, I've done, and then also I did a book with, a wonderful person, Deidre Haid, , that's called The Not So Little Book of Surprises.

Um, that's all, that's also her spiritual teachings, cause she does a lot of, she does a lot of seminars and [00:46:00] teachings and then poems and things that, that have been taken from her. And every page is illustrated with photographs. Of mine, you can see one of my sacred geometries that we saw earlier. but it's all put together.

This is also available on Amazon. It's a fantastic book. ,

Kara Goodwin: That's amazing.

Endre Balogh: yeah, it's called The Not So Little Book of Surprises. Her husband is, uh, Will Arnst. So this is by Deidre Hayne and Will, William Arnst. And a lot of people who listen to you will know that Will Arnst was the producer director of a very famous documentary called What the Bleep Do We Know?

Kara Goodwin: Oh, right.

Endre Balogh: And I'm sure a lot of people remember that. So he is, it even says so on the cover here. He's from the creator of What the Pleat Do We

Kara Goodwin: Oh, wow.

Endre Balogh: . And I think they'd get a lot out of it because it's full of my artwork and full of Deidre's wisdom.

So, um,

Kara Goodwin: Well, I love this. Thank you so much for sharing [00:47:00] because, , just to reinforce, you know, for people who are listening to this or wanting to strengthen their connection to the divine, to source, to their own soul. And these are like, they're pathways that maybe. You know, maybe we think that we've got to, you know, really work our way through it, do our meditations, do our breath work and yes, yes, you know, there are things like that that are going to really help us along our path.

But then there are these things that we can also utilize that we can gaze upon these, images that create or that contain this resonant energy and it affects us just by the gazing at it. So,

Endre Balogh: Well, beauty, a famous person that I, a very, very well known rabbi that I know said that the four aspects of God, of the divine, are love, justice, truth, and beauty. And so, I try to incorporate all [00:48:00] of that, you know, beauty is, comes from, order and, and, and, and harmony, and which are musical terms too, and, and, and so that's what's in the sacred geometries that I make is, is I want to have color harmony, I want to have order, , and then that reflects upon truth, , and then the outpouring of that, comes from love and so love, justice, truth and beauty all combined together , into these images.

And, and so that's really what I'm working with at a higher level is to try to, bring that, those aspects into something that people can then relate to in their own. way and that's why I have a thousand of them already because some everybody's going to relate to something differently at their at their own level and So I would encourage people to go to my website and take a look at all of them where I have all my other Artwork as well.

Kara Goodwin: Please tell people how they

Endre Balogh: Andres Art, it's Andre is E-N-D-R-E. So it's endres art E-N-D-R-E-S-A-R t.com. It's very easy to remember. [00:49:00] Andres art.com and there's a whole gallery there for sacred geometry.

 For anybody who wants to go to my website and purchase one of these for like you have behind you there, um, they have a discount code.

I made a discount code that's good all the way through till the end of this year. End of 2025. So anybody watching this between now and December 31st of 2025, if you put, if you put in the following letters, I, I don't create this. So don't, don't blame me, but it's the letter U like umbrella, Z like zebra, L like lion, P like popcorn, N like Nancy, and again, U like umbrella.

That's not the, that's not the right set of designations. But anyway, U Z L P N U, you'll get 10 percent off on anything that you purchase from my website.

Kara Goodwin: Fantastic. Are those lowercase letters?

Endre Balogh: Uh, I don't think that it makes any difference. Uh, they, yeah. They have a, it's just, those, those, one, two, three, six letters.[00:50:00]

Yeah, U Z L P N U. And that will, that will get 10 percent off on, on anything, any configuration you could buy as a, as a duvet cover to sleep under or, or, Or shower curtain or automag or whatever. So,

Kara Goodwin: Wow. Well, that's amazing. Thank you for offering that. Well, is there, do you have any final thoughts that you want to leave with listeners as we wrap up here?

Endre Balogh: I just, it's such a joy to be able to speak with you and to be able to share my artwork with you and your listeners, and I look forward to sometime coming back and getting to talk more about these wonderful things.

Kara Goodwin: Beautiful. Well, thank you so much. This has been fascinating and just like how all of your art holds so much energy. I feel like we packed a lot into this short amount of time. So there's a lot in here, even though it went so fast. So thank you so much.

Endre Balogh: So we'll have to do it again.[00:51:00]

Kara Goodwin: Thank you.

 Thank you for listening to this episode of soul elevation.

Kara Goodwin: Please take a moment to think about someone in your life who might be uplifted or have their curiosity sparked by this content and send it on to them. Let's keep sharing high frequency empowering content to reinforce the highest potential for humanity. I also invite you to subscribe to this content.

Thank you for your support and I'll see you for the next episode of soul elevation.