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Erin Claire Jones is one of the leaders of the Human Design resurgence and the Director of Programming at The Assemblage in New York City, where she helps her clients step into their highest potential. As a resident in the Scorpios Mind & Body program this summer, she will bring participants on a journey to understand their own essential nature through Human Design, learning about their shadow sides and strengths in an intimate, nurturing group setting.

“What I love about Human Design is that helps people tap into a space where there’s not much resistance and where it feels like life is really flowing for them,” Erin Claire says. According to her, the world is divided into one of four groups: Manifestors, Projectors, Reflectors, and Generators–who make up 70% of the population. Each type has a “strategy” and “authority” that helps them understand their true nature.

“It gives people incredible knowledge about themselves–both what they’re conscious of, but also everything that’s beneath the surface” A key aspect of Human Design is the geometric body graph (the Rave Chart) that visualizes this ancient and modern synthesis mapped onto our bodies and energy centers.

Whether looking to sacred geometry and its celebration of the mathematical perfection in nature, the mandalas of ancient cultures that represent microcosms of the universe, the intricate astronomical instruments of the Jantar Mantar in Delhi, and even Le Corbusier’s anthropometric scale of proportions, the  concept of surrendering to the symmetry and patterns of the natural order has long been a powerful one.

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The work of British artist Rachel Garrard explores sacred geometry, and is grounded in the state of flow that Erin Claire cultivates through Human Design. In her paintings and performance works–all of which are sourced through meditative states–she uses overlapping triangles and organic forms to explore movement and tension between the lines–an aesthetic similar to that of Human Design‘s body maps.

“The divine proportions in Greek, Buddhist and Hindu belief systems, the specific symbolism in Egyptian geometry and hieroglyphs–it’s all based on the idea that all these proportions don’t only have symbolic meaning, but they are actually holding within them the essence and energy of that meaning,” Rachel explains, charting some the foundational ideas that inform her practice.

Recently, in the nine-day performance Repeating Traces at Pioneer Works in NYC, she wove a map of golden thread plotting out sacred sites inspired by her time with the Kogi tribe in Colombia, and in an earlier work Star Dust Etchings, she used ground shells to create geometric astronomical maps.

“My paintings are maps of a pure vibrational space. The Kogi call it Aluna, it’s almost like a replica of the material world on an intangible plane of existence,” she says. “I’m tapping into an invisible realm of light and non-physical form and then translating that essence into something physical.”


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