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Interactions on Worlds largest HDTV screen @ Suntec City Singapore
INSPIRATION
“The Mandala”
Mandala comes from the ancient Indian language Sanskrit meaning “Encircled essence”. A mandala has a concentric structure even if it may be dominated by squares or triangles. Mandalas offer balancing visual elements, symbolizing unity, harmony, cosmic and psychic order serving as a tool (Yantra) in our spiritual journey, representing wholeness and a model for the organizational structure of life itself; a cosmic diagram that embodies our relation to the infinite, the world that extends both beyond and within our bodies and minds.
The mandala appears to us in all aspects of life, the Earth, the Sun, the Moon and in our interactions, the circles of life encompassing friends, family and communities. It represents an integrated view of the world, transcending all religions and continents.
Cross-cultural patterns of the mandala are seen in many religious traditions all over the globe, from Hindu temples, Buddhist Stupas, Muslim mosques and Christian cathedrals to Native American teepees. The principle of a structure built around a center "axis mundi" or world axis is a common theme in Architecture.
Creating mandalas helps stabilize, integrate, and re-order inner life. Its symbolic nature helps one to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises. It serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique. The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point.
In the Americas, Indians created medicine wheels mandalas. The circular Aztec calendar was both a timekeeping device and a religious expression of ancient Aztecs; In Asia, the Taoist "Yin-Yang" symbol represents opposition as well as interdependence; Tibetan mandalas are often highly intricate illustrations of religious significance, that are used for meditation suggesting the impermanence of life.
In Hinduism A ‘Yantra’ is viewed as an astronomical map or diagram representing the position of the planets over a given date and time and is considered auspicious. A Mandala is one of the key representations of the universe with Mount Meru as the axis mundi in the center, surrounded by the continents, a microcosm and a macrocosm, we being a part of its intricate design.
In Christianity forms evocative of mandalas are: the Celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon.
In Islam, sacred art is dominated by geometric shapes in which a segment of the circle, the crescent moon, together with a star, represent the Divine. The entire building of the mosque becomes a mandala as the interior dome of the roof represents the arch of the heavens and turns the worshipper's attention upwards.
In Buddhism the mandala is interpreted as an outer circle of fire usually symbolizing wisdom with a ring of eight charnel grounds representing the Buddhist exhortation to be always mindful of death, and the impermanence with which samsara (The world) is suffused: Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.
It can be can be used as a vehicle to explore art, science, religion and life. The lotus depicted in mandalas is sacred not only because it transcends the darkness of the water and mud where its roots are, but also because of its perfectly symmetrical petals. The Triangles represent the male and the female.
“The Mandala”
Mandala comes from the ancient Indian language Sanskrit meaning “Encircled essence”. A mandala has a concentric structure even if it may be dominated by squares or triangles. Mandalas offer balancing visual elements, symbolizing unity, harmony, cosmic and psychic order serving as a tool (Yantra) in our spiritual journey, representing wholeness and a model for the organizational structure of life itself; a cosmic diagram that embodies our relation to the infinite, the world that extends both beyond and within our bodies and minds.
The mandala appears to us in all aspects of life, the Earth, the Sun, the Moon and in our interactions, the circles of life encompassing friends, family and communities. It represents an integrated view of the world, transcending all religions and continents.
Cross-cultural patterns of the mandala are seen in many religious traditions all over the globe, from Hindu temples, Buddhist Stupas, Muslim mosques and Christian cathedrals to Native American teepees. The principle of a structure built around a center "axis mundi" or world axis is a common theme in Architecture.
Creating mandalas helps stabilize, integrate, and re-order inner life. Its symbolic nature helps one to access progressively deeper levels of the unconscious, ultimately assisting the meditator to experience a mystical sense of oneness with the ultimate unity from which the cosmos in all its manifold forms arises. It serves the creative purpose of giving expression and form to something that does not yet exist, something new and unique. The process is that of the ascending spiral, which grows upward while simultaneously returning again and again to the same point.
In the Americas, Indians created medicine wheels mandalas. The circular Aztec calendar was both a timekeeping device and a religious expression of ancient Aztecs; In Asia, the Taoist "Yin-Yang" symbol represents opposition as well as interdependence; Tibetan mandalas are often highly intricate illustrations of religious significance, that are used for meditation suggesting the impermanence of life.
In Hinduism A ‘Yantra’ is viewed as an astronomical map or diagram representing the position of the planets over a given date and time and is considered auspicious. A Mandala is one of the key representations of the universe with Mount Meru as the axis mundi in the center, surrounded by the continents, a microcosm and a macrocosm, we being a part of its intricate design.
In Christianity forms evocative of mandalas are: the Celtic cross; the rosary; the halo; the aureole; oculi; the Crown of Thorns; rose windows; the Rosy Cross; and the dromenon.
In Islam, sacred art is dominated by geometric shapes in which a segment of the circle, the crescent moon, together with a star, represent the Divine. The entire building of the mosque becomes a mandala as the interior dome of the roof represents the arch of the heavens and turns the worshipper's attention upwards.
In Buddhism the mandala is interpreted as an outer circle of fire usually symbolizing wisdom with a ring of eight charnel grounds representing the Buddhist exhortation to be always mindful of death, and the impermanence with which samsara (The world) is suffused: Inside these rings lie the walls of the mandala palace itself, specifically a place populated by deities and Buddhas.
It can be can be used as a vehicle to explore art, science, religion and life. The lotus depicted in mandalas is sacred not only because it transcends the darkness of the water and mud where its roots are, but also because of its perfectly symmetrical petals. The Triangles represent the male and the female.
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THE COLOUR WHEEL A color circle, based on red, yellow and blue, is traditional in the field of art. Sir Isaac Newton developed the first circular diagram of colors in 1666. Since then, scientists and artists have studied and designed numerous variations of this concept.
Primary Colors: Red, yellow and blue. In traditional color theory primary colors are the 3 pigment colors that cannot be mixed or formed by any combination of other colors. All other colors are derived from these 3 hues. Secondary Colors: Green, orange and purple, are the colors formed by mixing the primary colors. Tertiary Colors: Yellow-orange, red-orange, red-purple, blue-purple, blue-green & yellow-green. These are the colors formed by mixing a primary and a secondary color. That's why the hue is a two-word name, such as blue-green, red-violet, and yellow-orange. As a representation of racial harmony and interaction I decided to conceptualize my creation around the color wheel, which essentially represents the mandala, the interaction of colors creating new colors, the addition of light and dark in the receding and raised spaces adding yet another dimension to the hues giving it a range of values. |
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THE YING-YANG The paintings are based on the concept of the Yin –Yang, The Yin and Yang of Geometry. Each painting is divided by a single continuous line starting and ending at the same point, dividing a square in two sections representing male and female, creating an illusion of a complex set of patterns, a mandala. “The interdependence” of a crest and a trough forming a wave is reflected in the two sides of the painting, with one side raised and the other receding. A wave is created only if there is a crest and a corresponding trough, the creation of one being dependent on the other. Over the years of my study of global architectural forms and buildings has helped me to simplify this idea of complimentary and interdependent spaces and hence visually the use of a depressed area and a raised area of the Yin-Yang. The raised arrows interact with the depressed space and the depressed arrows interact with the Raised space. |
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SHRI YANTA MANDALA The Shri Yantra is formed of intersecting triangles surrounded by lotus petals within a square with four gates, I picked this idea with the use of the triad within the color wheel which when rotated about its center gives the next set of triads therefore the primary the secondary and the tertiary going on to an infinite range of possibilities. |
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INTERPRETATION
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"The series consist of groups of triads, The Primary, The Secondary, The Tertiary and so on; I have interpreted each level of interaction with a greater degree of complexity focusing on a different basic geometric form."
"The realisation of the interrelationship between two elements to form a third unique element was the pivot in choosing the color wheel."
"The realisation of the interrelationship between two elements to form a third unique element was the pivot in choosing the color wheel."
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PRIMARY INTERACTION
This series comprises of three paintings based on triangular from in red, yellow and blue the primary colors. The square is divided into two triangles visually representing the interrelationship of triangles connected by channels in two directions creating a linear form. |
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SECONDARY INTERACTION
This series comprising of three paintings based on the circular form in Orange Purple and Green the secondary colors, The mandala itself reflecting the shape of the lotus with petals radiating inward towards the center to outward towards the periphery creating an interacting radial pattern. |
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TERTIARY INTERACTION
This series comprises of six paintings based on the square form with two sub groups, the Windmill and the Dromenon in six tertiary colors. WINDMILL This is a symbol associated with movement and the harnessing of energy. Used in the visual proof of mathematician Fermat's theorem that follow the pattern of 4n+1. It is a symbol seen in most ancient cultures all over the world and takes on various forms. |
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DROMENON
“The thing done,” The dromenon represents a journey from the outer world to the inner sacred center where the Divine is found. Dromenon is the running, repetitive action of ritual, whose meaning is not its destination but its pattern. |
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The WindMill and The Dromenon suggest churning movement and progression.
Interactions Series is a Set Of 13 Paintings
Size : 160 cm X 160 cm (Frame Size)
Medium: Acrylic on Canvas
Bespoke Designer Sculptural Frames by the artist
3D monogram frames, one of a kind, paired with each painting,
Ready to Hang
No Prints - No Copies Only Originals
Copyright Protected
Copy Right Registration Number / Date:VA0002024581 / 2016-07-18
Size : 160 cm X 160 cm (Frame Size)
Medium: Acrylic on Canvas
Bespoke Designer Sculptural Frames by the artist
3D monogram frames, one of a kind, paired with each painting,
Ready to Hang
No Prints - No Copies Only Originals
Copyright Protected
Copy Right Registration Number / Date:VA0002024581 / 2016-07-18
PRIMARY INTERACTIONS
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SECONDARY INTERACTIONS
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TERTIARY INTERACTIONS- WINDMILL
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TERTIARY INTERACTIONS- DROMENON
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PRIMARY INTERACTIONS- INNER LIGHT
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GALLERY IMAGES
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BESPOKE FRAMES
3D Monogram Frames, one of a kind, paired with each painting
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