What animates the world? The constant interplay of phenomena, from gross ones like our bodies or the body of Mother Earth to subtle ones like changing emotions and thoughts. As well as the very internal ones like intuitive moments of perceiving unperceived and unspeakable- are all these manifestations of one energy, prana, Qi?

The wisdom of ethnic people around the world brings us not only theoretical models but very practical methods of application of this energy for healing, enhancing our lives in all aspects, being better, fuller people, meditation, spiritual practices, and feeling connected to all that there is.

The stories of diverse groups may differ in the detail but the main theme stays the same. There is a primal Space (black ocean, Kali, Mother of all Buddhas, Silva - undifferentiated matter in permanent chaos) without a beginning or end. In this space the first move occurs (Prime Mover, the loges moving over the waters). Nobody knows what causes this first move. This leads to differentiation of four primar energies in very subtle form, unknown to most of us humans. Then the elements of Water, Fire, Earth and Air lower their vibrations and become a less subtle form like thought and then gradually a solid form.

All has characteristics of four elements (from Tibetan or Chinese perspective there are five elements - where Space is the most important element from which all others arise.) We exist because of the interplay of elements. The Earth element is our flesh (solidity), Fire - digestion, metabolic processes (temperature), Water - all bodily fluids (cohesion), Air - the exchange of gases, all movement (motility). Each element can be divided again and again in four (or five) elements.

Every aspect of the Universe exists because of the interaction of the elemental energies. This interaction is shown as a MANDALA. The mandala gives a holistic view and puts the chaos of its content in order. The mandala needs to be perceived intuitively in order to serve as a tool for healing, integration, entering transcendental reality, and becoming whole. The Navajo call the mandala a spiritual place of emergence.

The mandala of four (or five) elements is used very practically in many cultures. Traditional Chinese Medicine (TSM - acupuncture, Qi Gong) bases all its theory and experience of several millennia on it. Similarly, Tibetan thankas and sand mandalas are a very important tool in spiritual practice. In shamanic tradition, reverence of elements and the spirits connected with them is a daily practice and keeps alive the intuitive understanding of the oneness of ALL.

Ancient Greeks looked upon the universe from the perspective of the four elements, as well as the medieval people. Today in the western world, only astrologers use the four elements to cast charts (which are personal mandalas). As well, in psychology jargon the description of four humours melancholic (Earth), sanguinic (Air), choleric (Fire), and phlegmatic (Water) may be heard.

Westminster Abbey in London hosts one of the most exquisite examples of such a mandala in the western world. It is not a simple XIII century "schemata". It is an elaborate, rich and complex piece built by Italian craftsmen (Cosmati) from cut stone. It is probably one of the biggest treasures of XIII century medieval England. The pavement is located centrally in the church where every English king or queen was crowned. Where symbolical earthly power merges with the heavenly one. Through the language of sacred geometry and numbers, the divine order of the universe is presented. Depending on your views, one can see in the same mandala the unfolding process of creation from the most subtle to gross form. As well the death of the universe where the elements resolve to primar space (Divine Mind, eternity). One can see how time spirals from eternity to mundane time and back.

In medieval times only people with a certain education (mostly clergy) could read and contemplate the meaning of the pavement. Maybe it was not as necessary for mainstream people to understand very philosophical and esoteric ideas. They used to live in relative harmony with the natural elements anyway. In the XXI century our situation changed. The disharmony we created in Earth, Air, Fire, and Water forces is as if we were walking on a razor's edge. Bringing back the symbolism of the mandala might revive in us our connection to the cosmos (Greek-order) and to the web of existence we are all a part of. If we consciously and compassionately look at our individual mandalas of the country we live in and of our planet, soon perhaps we will awake to skillful action. This we can start to practice right now, in our own backyard.

I think it is no coincidence that the Westminster Abbey Pavement is hidden by carpet. It is a sign of our times. Of course one can argue that the fragile pavement needs protection from centuries of wear and tear, but for me it is only the rational side of the story. Anyway, whatever the reason, I decided after discovering Richard Foster's book on the pavement six years ago that I would recreate it in order to bring it back to the people, especially in the western world. The importance of this task was so burning to me that all the contras my mind fought with died. It did not matter that I work in textiles and I needed to present stone, that I was about to start on someone else's project (in fact I call the piece "Westminster Abbey Pavement - my apprenticeship with mediaeval masters", that I had no idea how I could technically achieve the desired minute detail, or that I had only a small picture of 11.73 meters in length grand square.

Little did I know that the pavement would grow with me for six years; witnessing my first solo shows, renovating and moving with me to my new studio, departing from the shiatsu practice, cutting my hair after 22 years, enjoying a few new meaningful friendships and meeting some wise people on my path, watching my stepchildren grow to mature individuals, and entering the XXI century.

The piece stretched my mind, my technical and problem solving skills, as well as my understanding of the Universe and myself. Somehow things are unfolding in a very organic way. All needed information comes to me at the right time. Only after I finished the piece did I start to see the whole picture. That is how I, as an individual, perceive. I start from the intuitive pull and grasp, and the logical stuff comes afterwards.

The process of recovering the pavement was about practicing being in tune with elemental energies. Especially the Earth element comes forth. The pavement by nature is a stone creation and something covering the ground is undoubtedly linked with the Earth. For me connecting to it meant laying the foundation, grounding myself consciously in life and in my commitment to textile work, to support my beliefs which I can make living by physical (in "flesh") manifestation of my highest ideals.

As an architect who never had a chance to practice, I also fulfilled my dream of many years of restoring an old, beautiful, and meaningful object, part of the exquisite masterwork that is the Westminster Abbey.

My journey is not finished yet. Physically the pavement is recreated but my wish is to bring it back to people as an inspirational tool to rekindle our connection with the elemental world within and without and apply it in daily life. It is time to claim our heritage before it is too late. How and where the pavement will surface to the light is yet to be discovered.