MAG logoMid-Atlantic Geomancy
White background Pink background Yellow background Green background Blue background Grey background
Home
First Time Visitor
An Introduction to Geomancy
Geomantic Roots - The Early Movers
Geomantic Roots - Second Generation
Geomantic Roots - The Seventies
Geomantic Roots - Other Americans
Geomantic Roots - Back to England
Astronomy
Introduction
Archaeoastronomy
Introduction
Cross Quarter Days
Interdimensional Travel
Ritual Time
Orthographic Projections
Introduction
Solstices & Equinoxes
The Cross-Quarter Days
Elevated Horizons
Major & Minor Standstills
Quarter & Cross-Quarter Days
Introduction
Samhain
Winter Solstice
Imbolc
Spring Equinox
Beltane
Summer Solstice
Lughnasad
Autumn Equinox
The Sixteenth Days
Quarter Days Dates & Times
Sunfinder
Introduction
Sunfinder Calculator
Sunfinder Formulas
Winter Solstice at Stony Littleton
Sacred Geometry
Introduction
Why Sacred Geometry?
∏ - pi
√2 - Sq Root 2
√3 - Sq Root 3
√5 - Sq Root 5
Ø - phi
The Great Pyramid
The Earth & The Moon
Numbers
Sacred Space
Introduction
Old Sacred Spaces
Silbury Hill Panorama
Glastonbury
Easter Aquorthies
New England
Old Labyrinths
Archaeoastronomy
New Sacred Spaces
New Sacred Spaces
Sacred Crops
Labyrinths
About Labyrinths
Construction & Terms
Where are they found?
Locating & building your labyrinth
Using Labyrinths
The Classical 7 Circuit
Chakras, Colours & Music
Chakras & Labyrinths
Final Terms
The Pilgrims' Path
11 Circuit Labyrinth
The Appleton
Using the Chartres Type
New thoughts on Classical vs. Chartres
Old Labyrinths
15 Circuit Labyrinths
Old Europe
Nazca & N. America
Gothic Cathedrals
Viking & Sweden
England
New Labyrinths
Older New Ones
USA
New Chartres Types
Modern European
Glastonbury Tor Labyrinth
Labyrinth Types
Mazes
Secular Space
Introduction
Dowsing
Earth Energies
Technopathic Stress
Sacred Crops
Dowsing
Introduction
Dowsing
Gnowing
The Pendulum
L Rods
Y Rods
Bobber/Wand
Aurameter
Earth Energies
Sacred Crops
Resources
Bibliography
Introduction
Anthropology & Mythology
Archaeoastronomy
Archaeology
Dowsing
Earth Mysteries
Geomancy
God/dess
Labyrinths
Sacred Geometry
Sacred Sites
Secular Geomancy
Books by Sig
Books & Supplies
Downloadable Books
Ethics
Events
Links
Professional Geomancers
Introduction
Ros Briagha
Marty Cain
Alex Champion
Peter Champoux
Richard Creightmore
Ivan McBeth
Patrick MacManaway
Chuck Pettis
Related Organisations
MAG E-zine
Index
2000
No 19: Autumn Equinox
No 18: Summer Solstice
No 17: Spring Equinox
1999
No 16: Winter Solstice
No 15: Samhain
No 14: Summer Solstice
No 13: Spring Equinox
1998
No 12: Winter Solstice
No 11: Autumn Equinox
No 10: Summer Solstice
No 9: Spring Equinox
1997
No 8: Winter Solstice
No 7: Autumn Equinox
No 6: Summer Solstice
No 5: Spring Equinox
1996
No 4: Winter Solstice
No 3: Autumn Equinox
No 2: Summer Solstice
No 1: Spring Equinox
Occasional papers
Those Enigmatic Stones
Musings on Burnt Hill
MAG Mailing List
Who Are We?
Contact Us
Site Map
Sunnybank Centre
Study with Sig Lonegren
Dowsing & Labyrinths
Tarot Readings
Work with Karin Lonegren
Psychic Bodywork
Orbs
Gallery
Blog
Store

Art by Karin Elisabeth Schlüter Lonegren

Karin LonegrenKarin was born in The Netherlands in 1954. She grew up in an artistic family in "het Gooi" where her grandfather Carl Schlüter was well known for his still life and landscape paintings.

Karin studied art with Frieda B. Kole, Martin Stam, Harry Hendriks and Igor Kuszmirak. She now lives in Glastonbury, England, and works in her studio at home. She studied printmaking with British artist Bronwen Bradshaw.

Karin's first show in the United Kingdom was at the Priory Art Gallery, 240 Bellsize Road, London in June 2000. Since then, she has exhibited at Somerset Art Week 2002, and at the Goddess Conference in August 2003. She works regularly at the Phoenix Project in Glastonbury making installations and working together with other artists.

Her abstract paintings are the result of her experiences in the land and her intuitive internal visions of those landscapes, "In my paintings, it is my intent to depict the presence of another dimension, a different reality. One way I do this is through what the naked eye might see as the unusual use of colour."

For information on any of these paintings, prints and cards, please contact Karin by email:

kaatje [at] geomancy [dot] u-net [dot] com

Go to the Gallery