As the worship team at IHOP in Kansas City sang “100 Million on the Wall” I had a vision of the ground under the Land of Israel beginning to shake and break apart. Then the IDF sent in bulldozers and initially they rolled over the Land, setting it neatly back in place.
But then something huge rose up from the earth and tossed the bulldozers into the air as if they were little Mattel toys and the devastation was terrible. Suddenly a wave of clouds moved in and I recognized it as the prayers of the saints, which provided a covering for Israel. Then hope appeared where none seemed possible.
Today the puzzle pieces came together from the dream that led to our assignment from DC to MO. In DC Adonai said I’d find a key in the National Gallery of Art to carry to St Louis. While walking through the gift shop, He highlighted a magnet of the painting “GROUND SWELL”, which I delivered to a dear friend in STL. But suddenly she had to leave and then a door opened to come to Kansas City, where I’ve spent the last few days in unexpected meetings, raising up informed intercessors for Israel as we enter into the Isaiah 62 Solemn Assembly and fast.
This is from an art review of Edward Hopper’s painting:
“Despite its bright palette and seemingly serene subject, Ground Swell echoes the themes of loneliness and escape. The lone dark element in a sea of blues and whites, the buoy, confronts the small catboat in the middle of an otherwise empty seascape. Its purpose, to emit a warning in advance of imminent danger, renders its presence ominous. The cirrus clouds in the blue sky—often harbingers of approaching storms—reinforce this sense of disturbance in the otherwise peaceful setting. Although Hopper resisted offering explanations of his paintings, the signs of impending danger here may also reference a more severe disturbance: during the time that Hopper worked on Ground Swell, from August to September 15, 1939, World War II broke out in Europe.”