A two day class

Part 1 - Friday February 5th 2027 @ 6pm

Part 2 - Saturday February 6th 2027 @ 6pm

Tuition: Early Registration runs through January 1st, 2027 $100 ($60 workshop fee for both days, plus a material fee of $40 due the day of the workshop) - After that it is $75 plus a materials fee of $40

Dowsing has been around for 1,000s of years. It can be found in the form of many diverse methods and applications, scientific forms of inquiry, cultural communications with spirits, and for 100s of years it was part of the scientific process. 

In this two day workshop ,participants will learn what dowsing is, different tools, methods and strategies for using dowsing for navigating, the seen and unseen worlds. Advanced techniques will include mitigating energy lines, finding water, reading geopathic lines and energies of a place and how to use dowsing as a means to understand the body. 

This workshop will have lots of charts, handouts and participants will build their own dowsing tools ( Pendulum, L-rods, bobbler....) and learn how to use them.

There will be a materials fee of $40 paid at the day of the workshop.

About Dr. Adhi Two Owls:

My work begins with curiosity about how the natural world organizes itself. From geological formations down to cellular structures, I'm drawn to the patterns and forces that appear across scales—how matter transforms, connects, and communicates. I work in painting, drawing, and sculpture, often using organic and reclaimed materials that carry their own history and meaning.

What keeps me engaged is the intelligence embedded in nature's design: fractals, wave patterns, crystal structures, the rhythmic cycles that repeat throughout living systems. These aren't just visual interests; they're metaphors for how we exist within interconnected systems, both physical and human. My process balances research with intuition—I study, observe, and then allow materials to guide the work as much as planning does.

Beyond fine art, I make functional objects: handmade books, leatherwork, jewelry with symbolic elements. These pieces ask similar questions about form and purpose, but they also invite tactile engagement. They live with people in ways that gallery work doesn't.

As an educator teaching drawing, painting, and art history, I try to show students that art isn't separate from other ways of understanding the world. It's a method of inquiry—one that helps us notice, reflect, and locate ourselves within the complexity around us.

I continue to evolve through research, experimentation, and working across disciplines. My goal is to create work that makes visible something true about the universe, in material form.