Yantra 2: Beyond Our Bodies
This work is comprised of 4 canvases that together create a Mandala. Traditionally a Mandala is a tool used to create a sacred space and focus the attention for meditation, revealing spiritual aspects of human experience.
With flesh always being a unifying ground, my work probes at what it is the body means and represents to us. The bodily element is stripped of identity, looking beyond the individual and rather exploring a common body, and the shared fears and desires that emanate from it.
This common body is the site where binary opposites collide, and cosmic, social and corporeal elements are fused to comprise an indivisible whole. The work therefore explores simultaneously beauty and repulsion, opulence and degradation, and strength and fragility, all originating from the primordial relationship between life and death.
These abject images are layered mirrored and repeated to form a geometric composition based on Eastern spiritual art practices.
The work explores how formal elements, such as harmonious composition and colour pallet can counteract inherent reactions the abject triggers. And allow us to readdress our perception. Bathed in light, grotesque imagery is re-contextualised and poetically infuses the picture plane. Bodies in a state of abjection are layered, mirrored and collaged to form harmonious compositions that reference ubiquitous patterns in nature and spiritual art.
The piece reflects on why an acceptance of death in our Western culture of materialism is perhaps our greatest taboo.
With flesh always being a unifying ground, my work probes at what it is the body means and represents to us. The bodily element is stripped of identity, looking beyond the individual and rather exploring a common body, and the shared fears and desires that emanate from it.
This common body is the site where binary opposites collide, and cosmic, social and corporeal elements are fused to comprise an indivisible whole. The work therefore explores simultaneously beauty and repulsion, opulence and degradation, and strength and fragility, all originating from the primordial relationship between life and death.
These abject images are layered mirrored and repeated to form a geometric composition based on Eastern spiritual art practices.
The work explores how formal elements, such as harmonious composition and colour pallet can counteract inherent reactions the abject triggers. And allow us to readdress our perception. Bathed in light, grotesque imagery is re-contextualised and poetically infuses the picture plane. Bodies in a state of abjection are layered, mirrored and collaged to form harmonious compositions that reference ubiquitous patterns in nature and spiritual art.
The piece reflects on why an acceptance of death in our Western culture of materialism is perhaps our greatest taboo.
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