It Takes One to Know One
By Anna Biela
The Echo of Karmic Contracts: Duchamp, Banksy, Baroness Elsa, and the Heart Art Movement
It takes one to know one, and yes, I am referring to myself as being a wise woman, a visionary. I see history repeating itself, and let me try to explain to you how karma works according to the Dolores Cannon perspective.
Although I am not yet convinced whether she is here to do good or to mix things up and take me away from God and the Catholic perspective, I do resonate with much of what she is saying. You see, I was engulfed in the New Age spiritual movement since high school. Since 1997, I was already a Reiki practitioner, which, by the way, I recommend people not go down that path—perhaps only the hand placement. I am a prime example of someone who messed around with energy and drugs in high school and found herself, three decades later, dealing with what I understand as energetic attachments.
Dolores also goes into that quite nicely, saying that if you are a drug addict, an alcoholic, or an angry, jealous, hateful person with any sort of addiction that blocks you from creating Heart Waves, after you die you may not know that you are dead and instead attach yourself to people who carry a similar vibration.
I was definitely a cannabis addict—not only physically, but mentally and spiritually.
Regardless of one’s addiction, it is the Heart Art Movement’s job to generate a Heart Wave strong enough to shift perspective and vibration toward what Dolores calls the New Earth. She even makes reference to the Bible as well as New Age doctrine.
I will be very careful about promoting her ideas, but I do like using them as a reference point because they spark my imagination and propel my ideas into a new dimension.
I am writing here today because I had an “aha” moment this morning as I woke up.
This is about what I have been writing for the past two days: Banksy, Duchamp, Baroness Elsa, and the Dada movement that sent ripples through our collective consciousness that are still felt in art today.
Banksy, in my opinion, continues the lineage of Dada through work that is far more expansive than simply street art. The street is the urinal turned upside down and made into a Fountain—made into art.
Banksy, not single-handedly but collectively, has brought art to the people, to the street, to the collective everyday, as I called it yesterday, and I like that idea.
What I propose is that now we bring the Heart Wave to the collective everyday and lose both the street and the museum as our primary focus. Instead, we concentrate on vibration, positive thinking, fearless creation, and the Heart Art Movement, whose focus is not the object at all, but the intention, the prayer, the energy, the vibration—actually bringing God back into our creations so that we may help shift society’s perspective and reprogram the mainframe of our perception.
What brings me to reflect today is that Dolores Cannon speaks of karma. If we don’t work something out, we have to come back with the same people and the same situations and work them out in another lifetime—or perhaps another dream.
Now, this is simply my creative investigation into why I feel so pulled toward Banksy. He is anonymous, and I am trying to understand what inspires me so deeply.
Could it be that he is helping me give the Heart Art Movement light in the same way Duchamp gave light to Baroness Elsa’s creation, Fountain, where there is still debate over its authorship?
My personal theory is that together they gave birth to what may be the most important piece of conceptual art ever created. It was their merged energy that propelled the idea into time and space, and we are still feeling its effects today.
But stay with me.
What if Duchamp and Elsa decided to come back together in another lifetime to correct that wrong and finally give Elsa the credit she deserves?
What if Duchamp is Banksy… and Elsa is Aner?
Banksy, even though everyone thinks they know his name, remains anonymous. In a way, you could say he is not fully given credit for his work either.
But what if he planned it that way so that one day we could meet, right an old wrong, give Elsa credit where credit is due, and push the idea of art one step further?
Art is not about the object.
It is about the energy the artist puts into it.
Everything is energy, and even Dolores says that what we see is an illusion. Quantum physics has also shown us that, at the quantum level, everything is energy.
I also cannot help but point out that Banksy’s art has already shown the world that art continues to exist even after it is gone. The nature of street art is that it is temporary, but look at the impact it continues to have long after the work has disappeared.
In my previous reflections, I explained why I think this is the case with Banksy.
He has grown his seed of potential into a beautiful tree, and the reach of his energy sends ripples around the Earth.
This is why I believe Banksy is the greatest artist living today and perhaps one of the most influential artists who has ever walked the Earth. His work has an extraordinary cultural impact.
I previously concluded a series on Banksy by calling him Adam and myself Eve. I wrote that we are both saints, equipped with souls capable of helping propel humanity in a new direction.
I have been given a seed to grow, and that seed is the Heart Art Movement.
Part of that mission, as I see it, is also to shed light on people like Banksy—to recognize how powerful his creative energy is and how much potential he has to inspire humanity.
I also feel that no one can do something of this magnitude alone. It requires a strong Divine Masculine and a strong Divine Feminine. Whether that woman is me or someone else is not the point.
The fusion of the Divine Masculine and Divine Feminine creates ripples in our universe that continue to be felt long after both are gone.
Duchamp and Baroness Elsa are examples of this, and they remain one of the greatest inspirations behind this reflection.
Author’s End Note
This reflection moves between art history, spirituality, philosophy, and imaginative speculation. It is intended as a creative investigation rather than a statement of historical or factual certainty.
When I write “What if…” or “My personal theory…”, I am intentionally exploring possibilities that inspire my artistic process. These reflections are not presented as established history or objective fact, but as questions that open space for imagination, dialogue, and new ways of seeing.
My intention is not to rewrite history, but to explore how ideas, symbols, and creative energies may echo across generations—how artists, movements, and visions can become connected through time, inspiring new perspectives on art, consciousness, and the role of the artist in society.