About
The fusion of symbol and meaning in Hinduism esoteric ideas expressed through use of basic geometric figures in Sri Veeramakaliamman Hindu Temple located in Little India Singapore influenced the art work planning for exhibit in Post-Museum. The architecture have integrated expressions of nature and its sacred organic abstract geometry for temples interior patterns. In my early textile works the process of weaving a pattern was also very similar to creating of image through computer algorithms, where all the pattern color values of pixels are calculated line-by-line. While the weaving is made by hand, a magic thread weaves the digital image using computer language.
‘Internal External’ is multi layered environment combining large backlit digital paintings as an emotive and tangible interface between interior and exterior space. The aim was to expand the absolute understanding of space and to transform it into magical experience.
Acknowledgment
MOE AcRF TIER 1 RG105/10 (M52090000), MINISTRY OF EDUCATION SINGAPORE
Project Title “Digital Imaging in Singapore”, 01.01.2008-28.2.2010, PI Ina Conradi
More on art works
Abstraction and sacred geometry.
‘There is no aspect of life that does not reveal to us an infinity of the new and unexpected if we approach it with the knowledge that it is not exhausted by its visible aspect, that behind the visible there lies a whole world of the invisible, a world of comprehensible forces and relations beyond our present comprehension. The knowledge of the existence of the invisible world is the first key to it.’
(Ouspensky, 1912)
‘The eternal center and birth of life.are everywhere. Trace a circle no larger than a dot a birth of eternal nature is therein contained’.
(Jacob Bohme)
‘Several ideas are common to most myths world views: the universe is a single, living substance; mind and matter also are one; all things evolve in dialectical oppositions, thus the universe comprises paired opposites (male- female, light-dark, vertical-horizontal, positive – negative); everything corresponds to a universal analogy, with things above as they are bellow; imagination is real; and self -realization can come by illumination, accident or an educed state: the epiphany is suggested by heat, fire, or light.’
(Senior, 1968, pp. 39-41)
‘The ideas that underlie mystical beliefs were augmented by illustrations that, because of the ineffable nature of ideas discussed, were abstract or emphasized the use of symbols. Sacred geometry is inextricably linked with various myths and mystical doctrine.Thus sacred geometry treats not only of the proportions of the geometrical figures obtained in classical manner, but of the harmonic relations of the parts of human being with one another; the structure of plants and animal; the forms of crystals and natural objects, all of which are manifestations of the universal continuum…Since the earliest times, geometry has been inseparable from magic. Even the most archaic rock-scribings are geometrical in form. These hint at a notational and invocational system practiced by some ancient priesthood. Because the complexities and abstract truth expressed by geometrical form could only be explained as reflections of the inner most truths of the world’s being, they were held to be sacred mysteries of the highest order and were shielded from the eyes of the profane. Specialist knowledge was required to draw such figures, and their mystic importance was unheeded by the untutored masses. Complex concepts could be transmitted from one to another by means of individual geometrical symbols or combination of them without the ignorant realizing that any communication had taken place’.
(Pennick, 1980)