The influences that govern my art can be broken down into three categories.

1. Aesthetics ( Outer ) Visual / artistic [ Right cerebral hemisphere ]
2. Conceptual ( Inner ) Verbal / mental [ Left cerebral hemisphere ]
3. Esoteric ( Core ) Center / root of consciousness [ Heart / sinoatrial node ]

1. AESTHETICS:
There are a whole range of artists that I deeply admire. From the classical greco-roman periods, to the high renaissance, through to the early twentieth century masters. The scope of this, would require a separate web site, so I will deal with 4 modern artists who's style can be clearly identified in my work.



As most people know and recognize the art work of Salvador Dali the public do not generally recognize the work of his contemporary Rene Magritte.

I admire both artists and suggest to the reader to take time out and study them. But I personally like Magritte and I have developed suite 4 based on some of his paintings.

One painting " Heartstring La corde sensible 1955" portrays a incredibly large wine glass with a cloud on top. This play on scale with ordinary house hold objects creates a masterful tension which is characteristic in great surrealist works and paintings.

The contemporary New Zealand surrealist painter Brent Wong has also influenced my development considerably. His style is strongly echoed in suite 1.

Architectural motifs inspired by his work, which I created in the digital medium have been incorporated into my company corporate logo.

The painting which inspired this suite is called " External Reverberation 1969" which is housed in the Hocken library in Dunedin, New Zealand and which I have studied up close.

All art work is meant to be experienced, usually in silence, and is similar to the experience of meditation. This painting has had a lasting impression on me and I saw it over twenty years ago. One day I would like to meet this artist.

Suite 2 represents a series inspired by pyramids and the cocoon.

The pyramid since ancient days, (within esoteric schools) has symbolized spiritual growth and vertical evolution.

The cocoon, a vehicle for transformation, symbolizes growth and transfiguration. Hence the internal symbolism of these paintings suggest a hidden potential lying in every man and woman, that has yet to be awakened.

The ordeal required to awaken this potential is not welcomed in western societies, which is dominated by the horizontal evolutionary dynamic of material physical existence only.

In fact those who realize the spiritual and transcendental nature of reality, ( Don't get this confused with religion and belief systems! ) have devoted there entire lives, energy and attention, to uncovering the hidden depths of reality. Yet are seen by some western individuals, and the mainstream establishment as somehow compromised, as if the rational mind alone can realize truth and the ultimate nature of reality. Such is the dichotomy of our times.

Suite 3 celebrates the large scale work of the american sculptor, Alexandra Liberman.

His work was inspired by looking at temples from the 5th century BC. One can see the connection, not in design, but with reference to sale and mass. The disarray of collapsed columns lying in disorganized arrangements are mirrored in his compositional arrangement.

I've explored these relationships in some of my own sculptures, (see history) and in the digital medium. Taking them to the scales and sizes shown in these digital paintings would be impossible in the real world.

The photograph above is a sculptural installation completed at art school in 1983. It is important to note that some of the themes I have explored, only revealed there depth in later years. When I observed this motif in my teachers work I was profoundly moved to see this, and was directed to its hidden symbolism. and meaning.
The inclusion of "the chair" in a number of suites has great esoteric significance . It places the viewer in the painting, while at the same time remaining outside as an observer.

At its core the chair represents the witness position. The hole in the universe, the zero point field where consciousness arises, and witnesses the play of energy and matter rising and falling , like waves on an infinite sea of light.

2. CONCEPTUAL:

The conceptual theme that underpins these images, is levitation. Japanese scientists have demonstrated the ability to levitate small objects using certain sound frequencies. A French scientist has patented an asymmetrical capacitor that flies using high voltage electricity. The very idea of flight without the use of engines, wings, or propellers underlies a central tenant in my art. It is the theme that links all of my work, and points to new discoveries that could change our world. These ideas are veiled and hidden behind the cloak of surrealism, as new ideas that challenge the status quo (especially energy production ) have always been considered dangerous. Unlocking the secret to levitation, would also unlock the key to unlimited energy. This then puts you in direct opposition to the oil cartels. You only have to study the history of suppressed inventions and other discoveries to realize how deadly that game can be.

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3. ESOTERIC:

Adi Da Samraj 2008

The esoteric relationship that I have with my Teacher is beyond words and is truly a matter of the heart. Deep intimate and very personal. What can be said is that He has established a entirely new spiritual tradition which is beyond both eastern and western esoteric schools. The mind can not grasp what has been revealed nor can mere belief. Everything that is shown in His books and confessed by His devotees is true. When you enter His company it is obvious, without a single word having to be spoken. His Bodily sign is self authenticating, and everything is given and revealed in that encounter. This is my direct experience and confession to you.

The Great Art Form

AVATAR ADI DA SAMRAJ: There is no great art without the sacred. There is no true art without the beautiful. For there to be the sacred, there must be the ability to participate Spiritually in Reality Itself, Beyond the egoic 'self'. Therefore, true art must be associated with the Divine.

For something to be beautiful, there must be love, and there must be something of a culture of love. True art invites participation. It is part of a cultural exercise that can also take the form of the living process, the association between the Adept-Realizer and devotees. Therefore, the highest activity of a human being occurs in the case of Enlightenment, in the case of the Adept-Realizer Who is Working to Enlighten others, to Awaken others.

This is the Great Art Form of humankind.

 

ART HISTORY HAS BEEN MADE IN FLORENCE, THE NEXUS OF THE HIGH ARTS FOR WESTERN CIVILISATION. Please click link below.
ADI DA