These two bodies of work draw on similiar preoccupations
An immersive installation combining LED technology with an array of rotating, black mirrored mandalas to generate moving light traces or ‘dervishes’. It was shown at Counihan Gallery in Brunswick in 2011.
al Khalã oscillates between rhythm and stillness, trace and reflection, image and word. It manifests a range of material and metaphorical preoccupations, exploring symbolic and cultural associations with darkness, science and metaphysics.
This work draws on ideas of the void, and preoccupations with spinning mediation and galaxies. Five one meter wide black mirrors, arranged in a semicircle, act as visual and sonic mandalas. The lens, couched on tilted rotating plinths, spiral substance and matter, generating their own mesmeric spatial traceries. A series of etched aluminum plates—jumpcut Islamic calligraphy and act as light traps. The soundscape rims the eddy of black vortices, but returns us always to the breath.
I delved deep in my 'self'
There is nothing other than the void
The seers have come to understand
The eternal truth is nothing but the void
One who has merged his self into it
Has the understanding of the void.
Qadir Saabi Kaina (19thC) Kubravis Order of Sufi
An installation experience of motion and stillness. In the darkened space the viewer can walk around and between five one metre diameter mirrors. The mirrors are on rotating plinths, generating their own spatial traceries and spirals. The Dervishes of the Mevlevi order practice a twirling meditation that originated among Indian mystics and Turkish Sufis. Dervish means "doorway" and suggests an entrance from the material world to the spiritual world. The spinning creates focus and also a trance state that can open the mind and the body to receive divine energy.
Spirals are pure expressions of the universe moving and transforming itself. At the spiral’s centre is a calm eye. Without the centre of stillness, there would be no dance of expansion or dissolution, no whirling, no balance, no life.
This work is drawn from a range of material and metaphorical preoccupations concerning vortex, meditation, symbolic and cultural associations with darkness and blackness and also material experimentation over the last three years with black mirrors, light, and works using mica, and bitumen and oils, to explore turning inwards.