announced, "All the knowledge that is not of the senses, not of the intellect, not of the heart but is the property that exclusively belongs to the deepest aspect of your being...the knowledge of your spirit". Through her work with The Five, Hilma af Klint created experimental automatic drawing as early as 1896, leading her toward an inventive geometric visual language capable of conceptualizing invisible forces both of the inner and outer worlds. She explored world religions, atoms, and the plant world and wrote extensively about her discoveries. As she became more familiar with this form of expression, Hilma af Klint was assigned by the High Masters to create the paintings for the "Temple" – however she never understood what this "Temple" referred to. Hilma af Klint felt she was being directed by a force that would literally guide her hand. She wrote in her notebook: The pictures were painted directly through me, without any preliminary drawings, and with great force. I had no idea what the paintings were supposed to depict; nevertheless I worked swiftly and surely, without changing a single brush stroke. In 1906, after 20 years of artistic works, and at the age of 44, Hilma af Klint painted her first series of abstract paintings. The works for the Temple were created between 1906 and 1915, carried out in two phases with an interruption between 1908 and 1912. As Hilma af Klint discovered her new form of visual expression, she developed a new artistic language. Her painting became more autonomous and more intentional. The spiritual would continue to be the main source of creativity throughout the rest of her life. The collection for the Temple is 193 paintings, grouped within several sub-series. The major paintings, dated 1907, are extremely large: each painting measures approximately 240 x 320 cm. This series, called The Ten Largest, describes the different phases of life, from early childhood to old age. Quite apart from their diagrammatic purpose the paintings have a freshness and a modern aesthetic of tentative line and hastily captured image: a segmented circle, a helix bisected and divided into a spectrum of lightly painted colours. The artistic world of Hilma af Klint is impregnated with symbols, letters, and words. The paintings often depict symmetrical dualities, or reciprocities: up and down, in and out, earthly and esoteric, male and female, good and evil. The colour choice throughout is metaphorical: blue