Image Descriptions I
Image Descriptions II
Image Descriptions III
EXHIBITION IMAGES II
Quandra Contemplating the Fruits of Perfect Knowledge I, 2006
(from Spectra Three)
Pigmented inks on paper, mounted on aluminum, 243 x 304 cm (96 x 120 inches)
Quandra embodies the sensuous and ecstatic in Adi Da's allegorical cosmology. Here, this loving and bountiful figure becomes an embracing visual field.
The "First Room" Trilogy I, 2006
(from Spectra Ten)
Pigmented inks on paper and acrylic urethane paint, on aluminum, 228 x 419 cm (90 x 165 inches)
Adi Da Samraj uses "First Room" to mean the fundamental room of human awareness, redirected beyond the notion of a "point of view" to one of infinite vantage. The "First Room" exists beyond one's perception of it.
The Pastimes of Narcissus I, 2006
(from Spectra One)
Pigmented inks on paper, mounted on aluminum, rosewood and mirror, 231 x 396 cm (91 x 156 inches)—extended with mirror.
In its mirrored structure, The Pastimes of Narcissus I at once contains a critique of ego-involvement—reflection on the self—and a contemplation on the passage of human time, the cycle through birth, life, and death. From the figure being "born" out of the ceiling to the one fallen "dead" on the floor, contemplating its passage through life, the work abstracts our existence into a ritual drama.
The Room Itself Is The Only Witness To The Three Common States I, 2006
(from Spectra Four)
Pigmented inks on paper and acrylic urethane paint, on aluminum, 396 x 294 cm (156 x 116 inches)
The space of The Room Itself is effectively created by the hall-of-mirrors effect, reflecting a room an infinite number of times. In its paradoxical space, The Room Itself criticizes the egocentric notion of "point of view," demonstrating that, in reality, an individual's viewpoint is only one of an infinite number of possible vantages.
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