Siddhena shows us a selection of artworks inspired by Japanese techniques.
The highest intelligence is the creative response to now”. Osho
What a blessing, life finally becomes the meditation, the creativity and the gratitude, and in that dance we merge the inner and the outer.
For me art making involves all these aspects, an ongoing process to deepen my responsiveness to life. It is now a love affair with nature and the dazzling luminosity of life – alchemy, muse and meditation.
I know this because for years I was blessed to have been able to practice my creativity and my meditation together, bringing them to the point where they have melted together.
A large number of pieces in this selection use Sumi (Japanese ink) and some form of Washi (Japanese paper). These elements are the core of much of Japanese painting and craft. Sumi ink is very liquid and yet very dense in its black. However that blackness has so much depth and nuance that other colors begin to appear out of it.
Washi paper comes in so many ways, from thin and translucent to fibrous and thick. In the making, the fiber of various plants are pulped, bound together with natural resins and then laid out in trays to dry.
In both these materials there are so many possibilities.
Living in Japan I am lucky to be able to see and explore these materials and their art form in its original setting. And after nine years I am only scratching the surface!
In ‘Dip and turn’, ‘Folding the hills’, ‘In the end’ I am simply dipping washi into various solutions of sumi ink, in different ways.
In ‘Tearing washi’ pieces I am using the technique of water-cutting layered sheets of washi, but using sumi ink instead.
‘All out of nothing’, ‘Sound of green’, ‘Heart of washi’, ‘Aeons’, ‘4 in 1’, ‘Nendo untitled’ all involve washi nendo, or papier mache.
‘Black Forest’, ‘Approaching storm’, ‘Aprils breath’, ‘Winter twilight’ involve using more typical brush and ink techniques
The Bi series are different. Based on an ancient Asian symbol – circle with an empty center – they are made of wood and painted with acrylic and other media.
Read Madhuri’s review of Siddhena’s poetry and art book: Regardless
Siddhena (Sidd Murray-Clark): In 1977 I dropped out of a London career of art and design, and into the world of Osho. In ‘Poona 1’, whether bricklaying or designing the theatre group sets, my creativity continued. I found myself flying to New Jersey, USA to prepare for Osho’s arrival in 1981. In Rajneeshpuram, my ‘worship’ was in the city planning and landscaping. Returning to Pune in 1989, Osho invited me to again live in his commune. I was once again blessed with the opportunity to contribute in many creative ways, designing for Osho’s books, laying out Osho Teerth park and designing interiors for the new buildings. I left Pune in 2000 and now live and create in Japan. www.siddart.com