compassion, collaboration & cooperation iN transistion
Art and Photografy of Adi Da
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I believe that art should always be a surprise. It must create, even in the critic, not emotion, but a sense of insecurity. When one views Adi Da
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A SURPRISE reflected in the MIND of the observer as well as the MIND of the one who created the work, as a result of being OPEN to making mistakes.
Not only this openness to making mistakes.
Total openness for transformation in unseen dimensions from moment to moment. And fully diving into the depths of EVERY experience, perspective and horizones, immersing into them without beeing swallowed.
Even beyond mind, even beyond root of attention in causal awareness
ONE TASTE in fullest.
Face to Face with Matrix of Life and Light
I like what Donald Kuspit is saying about the female nude in Adi das art:
“At once classic and iconoclastic, Adi Da’s female nude becomes a
spiritual emblem—a symbol of consciousness becoming conscious of its
origin in unconscious matter, and so able to rise above it while
remaining connected to it (and thus simultaneously embodied and
disembodied)—even as she remains an exciting sensuous form. Adi Da’s
female is a new Aphrodite, her curves reflecting those of the sea from
which she emerges, even as they take their own erotic course.
Indeed,
Adi Da’s female body has what another artist-mystic, William Blake,
called “the lineaments of satisfied desire,” in Adi Da’s case desire
fulfilled, it seems, by self-expression. Adi Da’s female nude is
cryptic—an arcane symbol of the dialectic of process and reality, to
use Alfred North Whitehead’s phrase—even as she is eros perfected into
radical explicitness. She is that rare thing in modern art, the female
not simply as seductive body, the victim of the so-called male gaze,
but the female as a spiritual presence, embodying consciousness of “the
profundity of fundamental human existence,” to again quote Adi Da’s
words….
It is a rare artist who can convey, convincingly, the sense of
being face to face with the source of being. Adi Da can clearly live in
the depths without succumbing to their pressure, bringing back pearls
of art to prove it.
What is perhaps most striking about Adi Da’s photographs is their gnostic quality—the
intricate movement of light and shadow that gives them their expressive depth and
profound intimacy. It is more than a matter of
standard chiaroscuro. Adi Da is not
simply employing the evocative power of light and shadow, but bringing out their
emblematic character. Interweaving them—and in numerous works skeins of light (“the
fire of the sun”) play over and within shadowy if transparent water (“the water
of life”)—Adi Da suggests the union of opposites that is the core of mystical experience.
Ecstatic experience of their unity brings with it a sense of the immeasurable. Adi
Da places us in a garden of paradise—as the lush vegetation that appears in many
photographs suggests—and the female body may be its ripest, most perfect fruit,
but it is a paradise not just because of her presence but because we experience
it as illimitable. It is space that is no longer divided against itself because
its light and dark are inseparable. One extreme can no longer take the measure of
the other extreme—afford a
kind of detached perspective on it, as it were—because
the extremes have been integrated. The physicist David Bohm describes mystical experience
as an attempt “to reach the immeasurable, that is, a state of mind in which [one]
ceases to sense a separation between [oneself] and the whole of reality.”[1.] It
is a state of mind which has no measure—a state of mind beyond the everyday measurable
state of mind. Adi Da conveys this transcendental state of mind by fusing elemental
light, shadow, water, and body in a dimensionless space… ”
And William Blake described as lineaments of satisfied desire. Habing gone throug a most painful mourning with you last weeks, dear Albert, I can feel the potential of ecstasy, as describeed in this art even stronger than ever before.
Thanks for these windws to Adi Das art!
The basic limitation of this teaching and art was and is the lack of understanding of stratfiied realities.
The basic strength and uniqueness is what Kuspit et al realize in the text you quote. Its the felt ecstasy and power in EVERY moment fully embracing every even rough and tough play in the senses, mind and body and EVERYTHING between heaven , earth and hells.
Overcoming polarity totally and the same time playing with it.
To bring strength and limitation to the next integrated level is a beautyful and most demanding challenge.