Devotion More Reliable Than Magic
On presence, practice and the magic that follows
The first time I watched Ilya paint, I thought he was a wizard. Ilya Ibraev, a Russian watercolour artist, has a way of conjuring light and space that seems to bypass all reasonable explanation.
That satin grey-blue appearing from nowhere. Warm and cool somehow alive in the same stroke. The water just being water, holding light the way real water holds it. I watched agog, the way you do when you can't locate the mechanism behind the miracle.
And then I tried it myself.
What followed was eighteen months of devotion — though I didn't call it that at the time. I called it practice, and frustration, and starting again, and not quite, and why won't it do what I can see. I called it early mornings and late evenings and dreams about wet edges and the moment pigment blooms into water and becomes something you didn't plan.
We live on a magical path, I think. The reservoir I drove past yesterday, its tree banks doubled in still water. The way evening light lands differently on the same field depending on the hour. The bee moving through salvia as if it invented the colour magenta. Magic is ambient, constant, entirely free — if only we would slow down enough to notice it.
But when we are learning something new, we temporarily lose access to it. We can only feel the gap — between what we see and what our hands can make, between the wizard's stroke and our own uncertain mark. And into that gap, so many voices arrive, offering to sell us the secret. The shortcut. The formula that bypasses the difficult middle.
I bought a few of those, in my time.
What I've found instead — what eighteen months of watercolour has quietly taught me — is that devotion is more reliable than magic. Not instead of it. Through it.
Because devotion does something that shortcuts cannot. It builds an interior place: somewhere the self can breathe regardless of what the day brings. Not an escape from life, but a ground within it. I have painted on difficult days, on days when external circumstances made everything feel unsteady. And the practice held me. The brush met the water, the pigment bloomed, the breath softened. Whatever was happening outside the my kitchen table studio, inside it there was this: the patient, generous, utterly reliable return of the practice itself. That place where I can breathe and feel at peace both are hard to find elsewhere.
That peace doesn't come from mastery, it comes from presence and practice.
The practice opens the perception, too. The more I painted, the more I could see. The more I could see, the more the world offered itself — light, water, the held breath of a still hour just before dark. The ambient magic I'd always felt strongly connected to, I began noticing in an amplified way, constantly, quietly, like a conversation that had deepened the more I noticed.
You don't watch the wizard from the outside forever. At some point you pick up the brush. You get it wrong. You understand why. You go back.
And one day the satin grey-blue is in your water, and you put it there, and you know — not as theory but as lived knowledge — that it cost exactly what it was worth.
I have much still to learn. I am so looking forward to it.
Magic that comes from devotion can look like wizardry. But it's just the practice of devotion — and the peace that, quietly and reliably, it brings home.
Amanda Heenan is an artist and healer based in Scotland, working under the name Art for Healing.











