Frida Kahlo


We received so many requests to interview Frida Kahlo, and had also noticed how other mediums and channellers were asked on various other social media sites to contact her as well. So we did just that, and she gracefully answered our call. We met an incredibly deep, wise old soul who had many things to say about creativity, gender equality and spirituality. Keith Moon was hanging out in the background waiting his turn, and we felt his increasing restlessness and nervousness throughout (Frida’s a tough act to follow!).
​Enjoy and share!


Mimi: So this is very exciting. I’m very honored, actually. Hi Frida.

Alison: She’s got a lovely energy. It’s very bright energy, crisp. She makes me think of a crisp morning, where you go outside and it’s not too cold and you just breathe in all the smells. That’s what she feels like, just fresh and new.

Mimi: Wow, ok. Well hi Frida! Did you know anything about us before coming here today?

Frida Kahlo: No.

Alison: It’s a lovely accent, she’s got. There’s talk among spirits, and they’re all hearing little things and are curious. People thinking about her is what pulled her in, she’s saying. So it’s on the fringes, the information about what’s happening with various mediums doing this sort of thing. It sort of went from there, then people asking for her to come. She couldn’t ignore that.

Mimi: Beautiful. Well, I’m happy you came. So many people wanted to hear from her. She intrigues people a lot.

Alison: Yeah, I can see why. She’s not a delicate flower.

Mimi: No! And very unique.

Alison: Yeah. I see somebody who is just not afraid to put herself out there in whatever form she could think of. It was all about the art, and the message in the artwork. This is how it’s coming across to me. She would put something out there, and it wasn’t necessarily meant to shock; it was meant to show something other than what people considered to be normal. She’s showing me this eyebrow thing! [Laughs] The eyebrow is just as beautiful as the gap in the middle! It doesn’t matter whether you’ve got a mono brow or two eyebrows! It was all about showing that beauty is in everything, not just a certain a group of people.

Mimi: Yes, I certainly saw that in her work, and it’s also how she presented herself. She could be very androgynous and she embraced that. She had this little “stach” – natural mustache, and she didn’t care about how a woman was supposed to look like.  She didn’t care if she looked more like a man or if she was more feminine. She embraced both of those energies.


Alison: I don’t know what era she’s from, but…

Mimi: 20th Century.

Alison: Right, cause I’m getting an Andy Warhol influence. I don’t know which way, whether she influenced him or the other way around.

Mimi: It was most likely that she influenced him.

Alison: Right, yeah, well that’s what it is. Feels like a very strong Andy Warhol connection to her work. So you say the flow is from her to him, and not from him to her?

Mimi: Yes. She was before his time.

Alison: Yeah ok. I can see that.

Mimi: Wow ok, so if she’s telling you that she influenced Warhol, then I’m guessing there’s pride in that for her?

Alison: Yeah, absolutely! She’s saying he took what she did, and just made it into a phenomenon.

Mimi: I would have never made that link.

Alison: I know! Well, I can only tell you what’s coming to me. [Laughs]

Mimi: Beautiful! Ok, let’s start with the questions. Can you describe your personality to us in one word, Frida Kahlo?

Frida Kahlo: Everything.

Mimi: [Laughs] Yes! How perfect! One of my favorite paintings of her is just that, the everything that she’s talking about. It’s a baby with a third eye, a woman holding the baby, then mother earth holding the mother holding the baby. And next to them it is the moon and the sun. That to me is just…perfection. It’s everything.

Frida Kahlo: Thank you.


Alison: She appreciates that. She feels that, she says, when people look at her work. She feels the emotional response that they give, and that makes her feel – she’s giving me some emotions now – that makes her feel emotionally satisfied, no matter what those feelings are, because it’s what she set out to do, create things that people would respond to emotionally. They didn’t have to know what it meant to feel something. So she really appreciates that.

Mimi: I saw an exhibition of hers in Toronto a while back and saw that painting. I just stood in front of it in awe for at least 10 minutes, just staring at it.

Alison: Did she paint cows?

Mimi: She painted a lot of animals, yes.

Alison: Right, cause I’m seeing cows. She’s showing me pictures of cows. [Laughs] Painted cows.

Mimi: Yes, strong link with animals. Ok, what was your greatest challenge, Frida Kahlo?

Frida Kahlo: Being a woman in South America.

Alison: Oh, was she South American?

Mimi: Yes, Mexican.

Alison: She’s comparing her challenges with Eva Perron, as a woman also, because it’s a very sexist part of the world. They’re all about…what do you call it when they just focus on the female sexuality…not misogyny, but…another word that pertains to sexism…objectify! It’s a place where they objectify women for their sexuality and not for their talents.

Frida Kahlo: It’s a challenging part of the world to grow up in as an intelligence of any kind when you’re female.

Alison: [Laughs] And she’s saying it actually had a strong influence on her art…as you were talking before, it didn’t matter to her whether she was male or female, the androgyny…that’s what she was trying to impart to the community, that it doesn’t matter whether you’re male or female. You shouldn’t be placing one gender into a specific role. She was creating an androgynous persona in her work to get that message across, and she does understand that those messages really have had quite an impact on that part of the world. She knows that since she’s left, they are very grateful and very patriotic with her. They elevate her.

Mimi: Oh yes, she’s a national treasure for Mexico, for sure.

Alison: She does appreciate that. That’s what she intended to do.

Mimi: I was gonna say just that, that it sounds like that was her purpose, basically.

Alison: Yeah.

Mimi: Does she feel satisfied that she achieved it? Sounds like she did.

Alison: Yeah! Obviously there are communities that will just never get that message, but overall, the energies that she put out in her artwork have done the job that they were supposed to do. Opening people’s minds to the truth about equality, rather than allowing society to continue on as misogynistic.

Frida Kahlo: When women are objectified, it stifles 50% of the community, who is no longer able to perform or bring in any input because they are typecast. That was what I aimed to do, to give people a broader view of what it meant to be a woman or a man – because men are typecast as well. They put themselves in a role that takes charge of women. These things stifle growth for both men and women, and that needed to change.

Mimi: Yes, and we’ve made strides but obviously we’re not there yet and I’m assuming it’s still not the case in Mexico or South America…

Alison: There’s a long way to go, yeah. Her work has made a huge impact. They’ve embraced her, because she’s internationally recognized, for one thing. The international community recognized her art, and that’s made the South American community look at her and go “we’ve got something very special here. We need to honor it and keep it out there. This woman came from us, look how progressive we are.”

Mimi: So why Mexico for her? Why did she choose to come and serve that specific country?

Alison: She is talking about the location. It’s a location that is fairly untouched by international talent. There’s a lot going on within the borders, but internationally there is not a lot of recognition. Again, she’s bringing up Eva Perron as another South American woman to be recognized as a local force.

Frida Kahlo: America has a tendency to adopt South Americans as their own, once they are [involved] in the US industry.

Alison: She’s talking about actors in particular. They get adopted as Americans and that kind of cuts off their cultural origins. She sees that as a bit of a problem, so that’s why she’s gone to where she’s gone to. That’s her explanation.

Mimi: She has a lot to say, she’s quite chatty, isn’t she?

Alison: Very chatty. I love it when they’re chatty!

Mimi: Me too! What was your greatest quality, Frida?

Alison: Well the funny answer is the hairy top lip. [Laughs]

Mimi: She’s funny! I don’t know why that surprises me, I didn’t think she’d be funny! [Laughs]

Alison: She’s expanding on this: her face was her greatest quality, because it was an androgynous face and she could do so much with it. Her face was – she’s calling it the “postcard for androgyny”. So that was her greatest quality.

Mimi: So how does a Mexican woman with that face, who lives in a sexist society, how does a woman like that garner the strength to defy these things and find confidence in herself?

Alison: She had balls, she didn’t take any shit from anybody! [Laughs]

Mimi: I know, yeah! But how does that come about, that personality, if you’re constantly faced with adversity and gender expectations?

Alison: She brought the personality with her. She knew she would have to be tough. There are certain personality traits that you have to have in order to perform certain roles, so she could not be a shrinking violet, it would not have worked, her country would have destroyed her. So she had to come in with no self-image problems. Someone with a self-image problem can be a great artist, but it doesn’t equate with what she had to do. If she’d had a self-image problem about how she looked, she would not have survived the environment.

Frida Kahlo: This is who I am, take it or leave it.

Mimi: And what were you here to learn?

Frida Kahlo: Diplomacy.

Alison: She feels she could have been a bit more diplomatic when she dealt with people. But really, not much of anything. Her life had more of a teaching purpose.

Mimi: What did she teach, then? A lot of things, I know, but can she pinpoint it down to something specific?

Alison: Everything she just described about her life is what she came here to do.

Mimi: I figured as much! What are you most proud of, in that case?

Alison: All her achievements. She’s calling it a “phenomenon.” Her entire life is what she’s most proud of.

Mimi: And what are you least proud of?

Alison: [disgusted expression] Ugh…ok…I’m getting a video now. I’ll describe what I’m seeing, but I don’t know what it means. It’s sexual, it’s…I actually don’t want to say what I am seeing!

Mimi: Just say it! She’s giving it to you, so…

Alison: I know, but it’s…um…

Mimi: She’s owning it, so go for it.

Alison: Yeah…it’s not nice, though…it’s a sexual thing that happened…she’s with a man, and they’re in a toilet facility, and there’s sex going on. The nice word would be “fellatio.” And it doesn’t feel good, it feels like it was forced. It feels like she had to do something…there were some things she had to do to become what she became.

Mimi: Oh…ok.

Alison: It’s kind of an irony, she’s saying, because in order to break out of the objectification of women, she had to be objectified.

Mimi: So if she’s obviously detached from it now and willingly giving you this answer, can she tell us more about it?

Alison: It’s making me feel really sick. This is how she felt about having to perform to get what she wanted to achieve. So I’m just struggling with the emotions from it.

Mimi: Why don’t we move on then, and at some point we’ll get back to it.

Alison: Yeah, let’s move on…awful.

Mimi: Alright, I’m gonna skip over a few questions to lift the mood, and ask her for a favorite memory!

Alison: Favorite memories are when she was painting. Those were her favorite times in her life. That was her moment.

Mimi: I just got “meditation.”

Alison: Happy place. Yeah.

Mimi: Good, ok! What were her opinions about spirituality when she was alive? Because her paintings to me have a lot of metaphysical or spiritual connotations. Very earthy too, very grounded.

Alison: She said she was very connected to what she’s calling “Mother Earth,” so I will say nature. Very grounded, very connected to Mother Earth.

Mimi: That was pretty much in all her paintings, yes.

Alison: She’s showing me people in church, or what looks to be a group of Catholics, all dressed up in their Sunday best, but that didn’t ring true for her. What rang true for her was nature. The connection of nature and everything. How she felt when – again with the emotions! – how she felt when she sat with animals and in fields and the countryside, that was her inspiration. That was when she felt most spiritual. [Smiling and teary eyed] Sorry, I’m struggling with the level of emotions she’s giving me.

Mimi: Oh no, that’s ok. I love it.

Alison: It’s really intense what I’m seeing right now. I’m sitting near a tree, and there’s a white, two-bar wooden fence, there’s a field, and in the background there’s a mountainous region, and I’m just absolutely absorbed in this moment and it’s total perfection. [teary eyed] I’m glad I didn’t put eyeliner on! [Laughs]

Mimi: She was very sensitive, obviously, but the feelings she’s giving you…did she also get that emotional and overwhelmed in those moments?

Alison: She’s calling it her “retrospect.” That environment helped her go inwards and connect to all those things. That’s what she’s giving me. It made her look inwards in order to connect with the outwards. It’s kind of like if they fed each other, the external world of nature fed her internally, and internally that went back out externally. Kind of like a great big circle of connectivity, I don’t know how else to describe that.

Mimi: Well, you’re kind of describing the painting I was describing to you earlier, it’s exactly that: the sun, the moon, the earth, the mother, the child.

Alison: There you go, that’s quite amazing. It’s very intense, what she’s giving me. She’s quite a force.

Mimi: Was she that intense in real life? And deep, also…she was a very deep, wise soul, wasn’t she?

Alison: Yes. She found that some people couldn’t relate to her – they kind of just saw her as this alien weirdness. [Laughs] They couldn’t come and talk to her in a room because they found there was something really odd about her. Not in a bad way, they just couldn’t connect on her level, so there was a bit of awe towards her. But there were all kinds of people.  There were people who did not like her at all.

Mimi: Could she relate to people? Or did she also have issues and feel separated from people as well?

Alison: She’s showing me a space around her. I guess we all have it, our personal space that people can’t come into. Hers was quite wide. She liked keeping a wide personal space, she didn’t like people getting in there too closely.

Mimi: Boundaries, basically. Ok, what does she know now about God? How has her perception changed, or has it?

Alison: Not really, in the sense that she already knew that she was connected to everything when here. It’s the same now, except it’s more intense, there’s more of it. It’s just more. She’s equating it to living in an orgasm. [Laughs]

Mimi: [Laughs] Well, that’s the first time I’ve ever heard it called THAT!

Alison: [Laughs] The energy, the force…she says if you want to call it a force, it’s just…you’re…alright, she’s showing me a picture. It’s cheesecloth. You know cheesecloths, and how they have little imperfections in it? The cheesecloth is quite loose, but you get the perturbations in it, and she says that the source of everything is that cloth, and you are the perturbations in it.

Mimi: Colorful answers, just like her. I love her! Can she tell us about her transition, her passing? What was that like for her?

Alison: She’s showing me…[laughs] and I think she’s making this funny on purpose, but she’s showing me a rocket leaving the planet at high speed – phu-tew! “Bye!” [Laughs]

Mimi: [Laughs] Couldn’t get there fast enough?

Alison: [Laughs] Yeah, exactly! She’s not looking back, she’s just like Superman, like when Superman was leaving the planet.

Mimi: So what happened after that, what was her experience like?

Alison: Immediately, she saw her family, and many other beings…angelic type beings…it was a welcoming party, a big “welcome home” party. “Hurray, look what you’ve achieved!” Really wasn’t a big soul review, from what she’s telling me, it was quick. There really wasn’t a lot to…review. Everything was more or less settled before she left. She didn’t really have all that much to absorb because she was so well connected to her higher self [when she was alive] that the lessons had really already gone.

Frida Kahlo: The soul review is about integrating the lessons of the life into the higher self, so the more distance you put with your higher self, the more you’ll have to integrate when you get across. The more connected you are to the source of everything, your higher self – the perturbation in the cheesecloth – the less there is to bother with absorbing, and that’s really what the purpose of the soul review is, to absorb what you’ve learned. If you’re fully connected to your higher self while you’re here, you’re already getting that flow backwards and forwards and are fully integrated into the life that you’re having. So there is no need for any reviewing, because you’re already getting it. I want to take away some mystery around what you call the “life review” on that level. If people actually start to fully connect to their higher selves and stop trying to have this separate life, then they won’t have to sit in this theatre environment experiencing all their lives again from other people’s point of view.

Mimi: When she says “higher self,” what does that mean for her?

Alison: She means that there is no difference between the part that is on the other side, and the part that is here. There’s no separation. Just the because there’s a physical body around it doesn’t make it separate. That’s a perception. That’s all it is…the river that flows into this life.

Frida Kahlo: It’s like putting on a shoe. The higher self is the body. Then you get dressed and put on a shoe. The human is the shoe.

Mimi: That’s such a great image! [Laughs]

Frida Kahlo: It’s part of the whole.

Mimi: I love that analogy. She has nice angles on things, I’m enjoying it. Ok, so I’ve had a few other interviews where the answer to this next question was “love,” so I want to spin it differently. I know that love is all that is manifested up there, but how is that love manifested for her? What is the greatest thing that she has created in the afterlife?

Frida Kahlo: You can’t manifest love because it already exists.

Mimi: Oh! That’s a beautiful spin! Thank you.

Alison: But you do bask in it. It’s like swimming in the ocean on a warm day. So there’s always love, there’s no need to question any of that. It just is. So what was the question again, sorry? [Laughs]

Mimi: Yes, it’s the question the Marquis de Sade suggested we should just get rid of. It’s “what is the greatest thing you’ve manifested for yourself in the afterlife?” I guess the purpose of the question is to understand what are the great things we can create up there, the infinite possibilities, and the answers that can come from that.

Alison: I don’t know if she understands the question.

Mimi: [Laughs] I have a feeling she doesn’t, and it’s true, I think the question is no longer necessary.

Frida Kahlo: If you want to live a life in a fairground [in the afterlife], then you can do it.

Mimi: Oh I know that! But I want to know if you’ve done that, Frida Kahlo! But I feel that this question is no longer necessary.

Alison: It’s almost like there are certain things they don’t feel the need to talk about.

Frida Kahlo: The afterlife is a personal experience, but it’s not separate. Everybody knows about your manifestations, it’s not a private experience, but it’s a personal one, it’s a personal journey. There is nothing stopping you from doing absolutely anything you want. There are no limitations. And so to answer that question would put limitations on what we are.

Mimi: Aaaaah…click! Best answer we’ve ever had. Thank you Frida Kahlo! She just perfectly nailed what was wrong with that question, I get it now! So it’ll be interesting to see what she’ll have to say about this: tell us about an experience that shaped your spirit, whether on earth or in the afterlife?

Alison: Ok, so this is the answer to your question: she’s showing me Frida, but Frida looking in an infinity mirror, and it’s kind of moving backwards and forwards. So all these infinite images of her, the forwards, are the influence. Not just the Frida that we know – it’s all the versions of Frida. Now she’s showing me…oh my God…now she’s showing me that this infinity mirror doesn’t just go backwards and forwards, it’s actually 360 degrees, left, right, front, back. I’m just like, sitting in…there is no number…even the word “infinite” doesn’t describe what I’m seeing…

Mimi: Eternal.

Alison: Yeah. And as I’m sitting here, there’s different beings, which are all aspects of her. There’s a little girl standing at my feet, there’s a man standing here with a bowler hat, an umbrella and the full suit, there’s a mother on a sowing machine…so what she’s suggesting is that every single one of her incarnations and all the multiple of those…

Mimi: She’s about the whole.

Alison: Yes, she’s very much about the whole!

Mimi: I got that from the first question. [Laughs] She’s incredibly deep, and intense and amazing. My kinda gal.

Alison: These creative answers are so wonderful.

Mimi: Has she incarnated as anything other than a human being? [Laughs] Of course she has, what a seemingly silly question now! [Laughs]

Alison: [Laughs] She’s showing me a cow.

Mimi: What is it with her and cows? To me a cow is very feminine.

Frida Kahlo: They are the gentle giants of the animal world. They consistently live in the moment. They just chew and look around, and are never unhappy, unless of course humans make them unhappy. They just exist in this huge body.

Alison: She’s showing me a rabbit now…so she’s been animals, she’s been a rabbit. I’m seeing this gorgeous little rabbit just hopping around. And also a tree. So I think this sort of explains why she’s so close to nature, cause these things might have come before Frida. So she’s been all these things that she’s connected to as Frida. 


Mimi: What lessons are you learning now in the afterlife?

Frida Kahlo: The lesson I’m learning now is how to just be as a spirit, one that doesn’t need to continually have expanding experiences. In and of itself, how to just be is an expanding experience. You don’t have to get up and go do something in order to expand; there are lessons to be had in not doing that. Just being is a unique lesson because it’s actually very hard to achieve, this state of simply just existing.

Mimi: Um…yeah. [Laughs] ​
Alison: So even in the afterlife, that’s a difficult one.

Mimi: Fascinating!

Alison: It sounds as though she’s really trying to understand it.

Mimi: I have an urge to ask her if she’s here right now, I don’t know why.

Frida Kahlo: Yes.

Mimi: I figured yeah.

Alison: She said that straight away, yes. She’s got multiple incarnations here now.

Mimi: That’s the first time a spirit has told us that. Usually it’s just one.

Alison: She’s in England and she’s in the US. I think she might be in Europe as well. She’s showing me on a map the three different locations looking down from the North Pole, and I can see Europe, which is lit up, England, which is lit up, and the US, which is lit up, so at least three that she’s showing me.

Mimi: So how does that work? Are these three people sharing an aspect of her?

Alison: Yes, because…try not to think singularly. Try not to think that one soul equals one incarnation because it doesn’t. She says you’ve got to see the soul as a river with estuaries coming off it. They’re shared estuaries as well. It’s just a web of energies coming in. But for our human understanding, we really have to look at it as an individual experience because that’s what we’re having. She’s reminding me about what she said earlier: while you’re here, [focus on] connecting or reconnecting with your higher self. That’s what you should be doing. Getting a full human experience.

Mimi: Ok so how can we do that, according to her?

Frida Kahlo: Meditation.

Alison: And if you can do meditation where you feel a calm presence like she used to in the countryside, do it in that environment if you can but if not, do it anywhere.

Frida Kahlo: That’s how you find your flow, the river that flows from you to the spirit world.

Mimi: I agree. Ok, so when there are multiple parts of our higher self who are incarnating at the same time, I’m assuming that it would be natural for them to be drawn to her or her art while they are here? Or no? Or is that even relevant?

Frida Kahlo: They may have that curiosity towards me on a conscious level, but it doesn’t necessarily equate a full-blown interest.

Mimi: And are they mostly there to learn creative lessons as well? I’m just curious as to why she chose to have three different aspects of herself incarnate at the same time.

Alison: She’s not going into it any further! [Laughs] That’s it, that’s all you’re getting!

Mimi: Aaaaah! Ok! Does she have a special mission up there, then?

Alison: She’s bringing me back to the answer she gave you before about what she’s learning, which is to just be. So there is no…what you are interpreting as a special mission: no. In actual fact, everybody’s on a “special mission” of sorts, but from your perspective no. She doesn’t have a “job.”

Mimi: That’s fine! Ok, talk to us, Frida. What messages do you have for us?

Frida Kahlo: Keep working on [gender] equality. Be mindful about the things that you say about gender. Whether you are objectifying a male or a female, just remember the consequences of that. And the consequences of that are that you limit people, you limit their creativity. You are actually cutting yourselves off, because whatever you do to others, you are doing to yourself. When you box someone into a role, you not only limit them, but you are limiting yourself because you are stopping the flow of creativity, and creativity is the pathway to learning why you are here, what you chose to come here for. There is no possible growth without creativity, and there is no possible room for creativity when you judge others.
Alison: I’m glad I got all that out! [Laughs]

Mimi: My gosh, she’s such a bad ass! [Laughs]

Alison I’ve got Keith Moon sitting over there (the next spirit in line for an interview) and he’s like, “fuck.”[Laughs] ​
Mimi: [Laughs] I know, I got that from him earlier! He’s nervous about it now.

Alison: He’s jokingly asked “What the hell do you want with me?!”

Mimi: I know, earlier during the interview I was trying to not laugh, cause I was getting that. Aw! [Laughs] I would just talk to her forever. Thank you Frida Kahlo.

Alison: She just feels like such an advanced being.

Mimi: Yeah, very much. Frida, maybe you can hang around for Keith Moon’s interview! [Laughs] That should be interesting!

Alison: She says Keith was being creative in a different way to her, but he was still being creative. [Laughs] And he was still creating avenues to reach his higher self, it doesn’t matter that he did it through drugs and alcohol.

Mimi: Yeah, we all do.

Alison: It was through music. The goal was still the same. Just perhaps not coming across as beautiful and pretty as how she did it. [Laughs] She’s laughing.

Mimi: Yeah, so is he. He’s happy. But there was joy in him and people did get that energy. Or, I guess we’ll find out! 


Look for our Keith Moon interview coming up soon. 

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