My artwork explores making visual my meditation practice. In 2010, I was privileged to receive tutelage from Buddhist meditation masters who helped me learn how to meditate at a deep level. This had a profound shift on my consciousness and subsequent artwork, and whilst it is challenging to adequately convey my meditation experiences in writing, I explore how to visually convey meditation experience through fine art.
My artwork is predominantly painting within abstraction using acrylic. Art-making usually occurs immediately following meditation practice, and there are marked shifts in decision-making that occur after the act of meditation. The state of no-mind (a term sometimes used by meditation practitioners to mean a pure state where the mind is completely in the present moment free of wandering thoughts, with complete awareness) is applied to the process of image-making. Following, intuition arising from stillness and the subconscious is used as a guide to placement, form, and composition as it is balanced with the rational mind. The work often includes use of hard-edged geometric forms and random amorphous shapes as metaphors to describe duality (such as logical thoughts versus intuition), and achieves an interesting balance between description and abstraction. The dichotomy of thought processes within the mind is investigated and their visual counterparts reveal multiple layers of meaning for the viewer.
Although the work is within abstraction, there is often a sense of place, another space, or another world. A place that seems familiar, but never physically before visited. It is a place of meditation. There is sometimes an entrance, opening, or gateway, to a deeper level within meditation experience. Something is drawing you in. Sacred geometry and symbolism speak of spiritual enlightenment, of the self, of universality. Meditation becomes more than 60 minutes of sitting but becomes a wide open space, an opening to other dimensions, a gateway. The artwork includes references to other apparent spiritual artists such as Hilma af Klint's use of the pyramid or triangle and Barnett Newman's 'zips'. Meditation always precedes art-making and mental tools used within meditation practice are also applied to the process. Automatic drawing (similar to the Surrealists) is used initially to create amorphous shapes, while the meditative mind informs decisions regarding placement and composition.