Dimensions:W: 10cm (3.9")H: 12cm (4.7")D: 10cm (3.9")
This form began in 1970 with a line drawing in a book of 1921 by Ouspensky, ‘Tertium Organum’.
Ouspensky wrote, ‘…the old physics disappears in the idea of a new dimension of space …..(in which) there will be no dualism of rest and motion, and no dualism of matter and vacuum. Understanding the universe as thought and consciousness we completely divorce ourselves from the idea of a vacuum. And from this standpoint is explained the small probability of matter… Matter, i.e. everything finite, is an illusion in an infinite world.’
He then illustrates this with Johann Van Manen’s drawing from ‘Some Occult Experiences’, representing a four dimensional sphere, ‘which Van Manen ‘saw’ by means of his inner vision’.
It took some 15 years gestation and several attempts before what I felt could be realised in 3 dimensions. This became not what Van Manen described but carries some of that significance.
He wrote, ‘It was an ordinary three dimensional globe, out of which, on each side , beginning at its vertical circumference, bent tapering horns proceeded, which, with a circular bend, united their points above the globe from which they started. The effect is best indicated by circumscribing the number eight by a circle. So three circles are formed, the lower one representing the initial globe, the upper one representing empty space, and the greater circle circumscribing the whole. If it be now understood that the upper circle does not exist and the lower (small) circle is identical with the outer (large) circle, the impression will have been conveyed, at least to some extent’.
Found Osho as a spiritual master in 1983, so a meditative life arose then.
Since that time have spent four years in several communes dedicated to sharing his vision, in Europe and India. Then more years traveling through West Europe, settling again in Scotland many years ago and since 2003 in The Lizard, Cornwall.
For me creativity arises out of meditation, and art is the expressive play of form with that which is formless. Thus the highest art form is in allowing oneself to melt into the formless, to disappear as a someone.
In this view the ‘form’ of artist is the fool dancing on the edge of the abyss, just a last game before disappearing, another play at being something, anything, awhile longer. There is no meaning to be sought in such a play, it is more an invitation to share a dance, take a chance.
Hence what influences my art is nothing, the void, emptiness, silence, death, and how to allow such presence amid the myriad forms of life. We tend to choose those forms that cloak and disguise such awareness. Meanwhile, the door of Nature is always open, life and death one inseparable whole, and wood has become for me a many levels mirror of my dance.
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