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In the body of work called Recurrent
Patterns I have used the mandorla as the underlying structure
for the majority of the paintings. It has been a shape that has
recurred throughout my work since 1985, and I thought it would
be interesting to do a body of work that somehow incorporated
aspects of this shape in every painting. Being that it is a symbol
for heaven and earth, I thought it would be especially curious
to use repetitively as a kind of chant/prayer. I am also interested
in the idea of the practice of painting itself as a form of prayer
and thought the mandorla an apt shape to focus my attention.
NOTES:
mandorla: an almond-shaped figure, formed by two intersecting
circles, which symbolizes the intersection of the two spheres
of heaven and earth and of the perpetual sacrifice that regenerates
creative force.*
humility
simplicity
lightness
submission
attention (at every moment to every detail)
repetition: (as in prayer) provides a basis for the
penetration of the resonance itself, and therefore also
the object to which the resonance refers, into the heart.
to release expectations: so as to be in a state appropriate
for receiving whatever blessings prayer (painting) might bring.
The self must be void of meaning: to the extent that I can let
go of preconditions, prayer (painting) becomes rich with meaning.
law of nature: even the smallest intention towards letting
go can be enough to bring Grace. ("One who is without the
intention of letting go is dead. One who so intends towards letting
go is alive.")
accidental marks: exemplify all that is desirable, but
which can never be attained deliberately.
nature of the world: cyclical, repetition of change characterizes
the law of creation.
All of life is made up of repeating patterns that have been invented
or inherited.
We are constantly seeking symbols to express a truth greater
than ours; repeating over and over an effort that strives toward
perfection, which is never attained. In this way, repetition
can be seen as necessary for imitation of the divine.
Repetition is keeping the opening to the unknown in sight.
If the question is alive, repetition itself becomes change.**
*From J.E. Cirlot, A Dictionary
of Symbols, 1962, p.203
**From Paul Jordon-Smith, "Even the Ancestors," Parabola,
Volume XIII, Number 2, May, 1988, pp.98-104
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