The Ethereal Battle is a cosmological fantasy consisting of twenty paintings that depict the cyclic destruction and creation of the world._The premise of the Ethereal Battle envisions the aftermath of an all-pervading catastrophe in which humanity perishe The Ethereal Battle is a cosmological fantasy consisting of twenty paintings that depict the cyclic destruction and creation of the world. The premise of the Ethereal Battle envisions the aftermath of an all-pervading catastrophe in which humanity perishes - "the end of the world" - so to speak. The cause of this catastrophe is not important since the aftermath itself is the subject of the work. The Ethereal Battle supposes for its drama that such a cataclysm results in an epic spiritual event wherein all souls are simultaneously released from the constraints of physical mortality. All at once the mass of dead souls swarm into the intermediate realm between life and death - the "ether". The ether becomes a battleground wherein humanity's conflicting beliefs, fears, and hopes vie with one another to determine the future. It is a battle that engages realms of consciousness and cosmic forces. Through this conflict new worlds are born. "The Ethereal Battle" is an allegory of the death and reincarnation of the collective psyche, the anima mundi, the soul of the world.
While this may be abstract to describe, it nonetheless results in a series of fantastical paintings that draw upon mythical and esoteric symbolism. The viewer is welcome to form his own conclusion regarding the meaning of the work. Thought and study have gone into this design, yet it is by no means didactic in nature. The collection of paintings has a specific arrangement, a special circular array (Fig. 1). This circular array is a geometric pattern that has symbolic significance*. It is a pattern composed of interlocking circles that represent metaphysical forces that are supposed to govern the continuum of human existence through life and beyond into death. The subject matter of the specific paintings depends on the placement of the paintings within these cosmic circles. Fig. 1 shows specific places for 32 paintings** as denoted by small golden circles that are placed at intervals within the diagram. The overlay for Fig. 1 (Fig. 1a) shows notation of painting titles (and also demonstrates rectilinear relations between the paintings).
Hence, the paintings exist within a conceptual framework that is also the plan for their exhibition. The goal of the exhibit is to create a space where the viewer may tangibly explore the interrelation between these paintings. Importantly the paintings are of the size and aspect of doorways, and indeed each painting is to be considered a representation of a "doorway" to another world, or to another aspect of the cosmos. The viewer could be considered a "wandering soul" - one of the fatalities of the world's destruction - that is traversing the cosmos looking through the gateways of worlds and also meeting the visages of gods.
The "paintings" are actually digital paintings composed on a computer using computer graphics software, and then printed onto silk. Because these paintings are digital it may be more correct to say that they are prints. Regardless of how these visual artworks are created or classified, the result will be luminous images that are similar in effect to stained glass and that may be viewed from both sides.
The array of Transcendence, Creation, Destruction, and Illusion corresponds to Heaven, Paradise, Hell, and Purgatory. This in turn corresponds to the afterworlds of Nirvana, Sorga, Neraka, and Maya that are a part of Hindu cosmology. *Earlier the series was conceived as numbering 32 paintings. Currently that number has been reduced to 20. I think that the point of the piece can still be made adequately with a smaller number of paintings.
2nd image attached, “Fountain of Illusion” http://normal.bz/category/painting/fountain-of-illusion/ was intended to be a preparatory sketch for a larger painting executed on silk that was to be a part of a grandiose series of paintings called the “Ethereal Battle”. This ethereal battle was intended to be a depiction of the death and rebirth of worlds – a vast eschatological exegesis of visions. Yep. Too much, too high of a concept, and – guess what? – it never got finished. But a few decent sketches were made, and my interest in working with silk began.
I kind of forget what this is supposed to represent exactly, but it had a specific meaning having to do with the hindu concept of “Maya”, and the vanity of technology; i.e.; the vanity of the material world as opposed to the transcendental world of spirit. Hmm . . . I think if you take away the explanation people will come up with whatever interpretation they like – so, just forget I said that. It’s about insects, optical illusions, and laboratory
The Ethereal Battle is a cosmological fantasy consisting of twenty paintings that depict the cyclic destruction and creation of the world._The premise of the Ethereal Battle envisions the aftermath of an all-pervading catastrophe in which humanity perishe The Ethereal Battle is a cosmological fantasy consisting of twenty paintings that depict the cyclic destruction and creation of the world. The premise of the Ethereal Battle envisions the aftermath of an all-pervading catastrophe in which humanity perishes - "the end of the world" - so to speak. The cause of this catastrophe is not important since the aftermath itself is the subject of the work. The Ethereal Battle supposes for its drama that such a cataclysm results in an epic spiritual event wherein all souls are simultaneously released from the constraints of physical mortality. All at once the mass of dead souls swarm into the intermediate realm between life and death - the "ether". The ether becomes a battleground wherein humanity's conflicting beliefs, fears, and hopes vie with one another to determine the future. It is a battle that engages realms of consciousness and cosmic forces. Through this conflict new worlds are born. "The Ethereal Battle" is an allegory of the death and reincarnation of the collective psyche, the anima mundi, the soul of the world.
While this may be abstract to describe, it nonetheless results in a series of fantastical paintings that draw upon mythical and esoteric symbolism. The viewer is welcome to form his own conclusion regarding the meaning of the work. Thought and study have gone into this design, yet it is by no means didactic in nature. The collection of paintings has a specific arrangement, a special circular array (Fig. 1). This circular array is a geometric pattern that has symbolic significance*. It is a pattern composed of interlocking circles that represent metaphysical forces that are supposed to govern the continuum of human existence through life and beyond into death. The subject matter of the specific paintings depends on the placement of the paintings within these cosmic circles. Fig. 1 shows specific places for 32 paintings** as denoted by small golden circles that are placed at intervals within the diagram. The overlay for Fig. 1 (Fig. 1a) shows notation of painting titles (and also demonstrates rectilinear relations between the paintings).
Hence, the paintings exist within a conceptual framework that is also the plan for their exhibition. The goal of the exhibit is to create a space where the viewer may tangibly explore the interrelation between these paintings. Importantly the paintings are of the size and aspect of doorways, and indeed each painting is to be considered a representation of a "doorway" to another world, or to another aspect of the cosmos. The viewer could be considered a "wandering soul" - one of the fatalities of the world's destruction - that is traversing the cosmos looking through the gateways of worlds and also meeting the visages of gods.
The "paintings" are actually digital paintings composed on a computer using computer graphics software, and then printed onto silk. Because these paintings are digital it may be more correct to say that they are prints. Regardless of how these visual artworks are created or classified, the result will be luminous images that are similar in effect to stained glass and that may be viewed from both sides.
The array of Transcendence, Creation, Destruction, and Illusion corresponds to Heaven, Paradise, Hell, and Purgatory. This in turn corresponds to the afterworlds of Nirvana, Sorga, Neraka, and Maya that are a part of Hindu cosmology. *Earlier the series was conceived as numbering 32 paintings. Currently that number has been reduced to 20. I think that the point of the piece can still be made adequately with a smaller number of paintings.
2nd image attached, “Fountain of Illusion” http://normal.bz/category/painting/fountain-of-illusion/ was intended to be a preparatory sketch for a larger painting executed on silk that was to be a part of a grandiose series of paintings called the “Ethereal Battle”. This ethereal battle was intended to be a depiction of the death and rebirth of worlds – a vast eschatological exegesis of visions. Yep. Too much, too high of a concept, and – guess what? – it never got finished. But a few decent sketches were made, and my interest in working with silk began.
I kind of forget what this is supposed to represent exactly, but it had a specific meaning having to do with the hindu concept of “Maya”, and the vanity of technology; i.e.; the vanity of the material world as opposed to the transcendental world of spirit. Hmm . . . I think if you take away the explanation people will come up with whatever interpretation they like – so, just forget I said that. It’s about insects, optical illusions, and laboratory