circumstance of existence, in and of itself, is disheartening.
That is why it is necessary to do art. Art is an essential response
to the conditions of existence, a means by which limitations
are transcended, Reality is Realized, Truth is Realized, Light
is found. Without that activity there is nothing but this
intrusion of changes and death. Participation in an art form
should be at least as great as that art form. Art should change
you. That is the whole purpose of it. True art heals. True art
restores equanimity. Art must regenerate the sense of well-being.
That is its true purpose. When art is really useful, it serves
this ultimate process of healing, well-being, higher sympathy,
and Spiritual Awakening.
a visual meditation on a very simple circumstance: a woman
in and near a pool of water. Narcissus, the archetype of
ego, gazes at his own reflection in a pond, never able to
contact the "object" of his self-enamored affection. But
Quandra, the true beloved, is one with the water itself,
whether in or out of the pool.
shot the majority of the images in Quandra Loka underwater,
or with the camera lens partially submerged in water, so
that the water functions as a vast and subtly complex lens,
achieving visual results not possible by any technical means.
The images are made by a "technique" that requires continuous
participation in the living instant of the photographic
situation sensitive to the constantly changing sunlight
conditions, the ever-shifting minute movements of the subject,
and even my own ability to stay submerged underwater. This
"method" is beyond conceptual effort, beyond conventions
of control in the ordinary sense, beyond point of view.
This process of generating images involving absolute awareness
of every detail of what is occurring and (simultaneously)
an intuitive trust in allowing the ultimately unpredictable
process to take place is a means of allowing reality to
these images to "picture" the unity of the undifferentiated
reality from which all appearances emerge in a constant
flow of changes. The entire span of human possibilities
is reflected in these images both "positive" and "negative."
But all possibilities are seen in the context of that inherent
unity or indivisible space. The positives and the negatives
are all transcended, rather than any attempt being made
to render them acceptable in and of themselves.
Adi Da Samraj
Adi Da Samraj's statement about His Art
premiere exhibition of Avatar Adi Da Samraj's Art is currently
on display at Louis Stern Fine Arts Gallery, in West Hollywood,
California, from April 8 through May 10.
is a professor
of art history and philosophy at the State University of New York
at Stony Brook. He is also "one of the best known and most
highly regarded critics in the world," says Victor Kord, Cornell
art professor. He received the 1997 Lifetime Achievement Award for
Distinguished Contribution to Visual Arts from the National Association
of Schools of Art and Design. He is a 1983 recipient of the College
Art Association's prestigious Frank Jewett Mather Award for Distinction
in Art Criticism. He is a contributing editor at Artforum,
Sculpture, and New Art Examiner magazines, the editor
of Art Criticism, and the editor of a series on American
Art and Art Criticism for Cambridge University Press. He has been
awarded fellowships from the Ford Foundation, the Fulbright Commission,
the National Endowment for the Humanities, the National Endowment
for the Arts, and the Guggenheim Foundation, among others. An author
of numerous articles, exhibition reviews, and catalog essays, Kuspit
has written more than twenty books, including
Art: Critical Reveries,
Identities: Artists at the End of the Avant-Garde.
with Adi Da: this issue of life and art is how to enter "the
domain of intimacy where people are involved with the profundity
of fundamental human existence" . . .
is one to separate the dross of life from what is essential to
it? In Heideggerean terms, how is one to achieve authenticity
in the midst of everydayness? . . . Adi Da shows us one way: by
returning to the sensory self, in effect renewing it. I am suggesting
that, whatever else they mean, Adi Da's photographs convey a radical
consciousness of the primal body, which is invariably woman's
body. It is the truly first body, the original body the body
in which we originated, in which every human body generates .
. . Recovering one's sense of being a lived body through the living
body of woman indeed, by vicariously living the body of woman
through Adi Da's photographs, which show just how successfully
art can be an instrument of intimacy one leaves the familiar
everyday world behind to enter an unfamiliar paradise of the senses,
which have a wisdom of their own . . .
again and again Adi Da's photographs convey a sense of aesthetic
as well as physical ecstasy. Virtually all of his images are masterpieces
of abstraction ecstatic visions of the female body that are
simultaneously formal epiphanies. . . .
once classic and iconoclastic, Adi Da's female nude becomes a
spiritual emblem . . . 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 . . .
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. . . .
Da's photographs are not only seductive but enlightening: contemplating
them, we become conscious of the avatar that informs them, and
with that our own inner light and depth.
excerpts from his introduction to
experience of Adi Da Samraj's work is not photographic in the
traditional sense. Yes, the camera has a lens that is its point
of view, its point of you. But suppose the point of you disappears,
for a sixtieth of a second. What happens?
His photography is about the time it takes for you to discover,
to walk through, to lose balance in, the intrinsic architecture
of his frames. Like music, it requires time.
"instants" recorded by Adi Da Samraj are the clicks of a train
leaving the station of the familiar. As you travel with him, you
might lose yourself in the midst of blacks, of grays, of whites;
and as you do this, you will recognize the space of his images
as one of your own. The center has shifted. You are in the "bright
room". We always were.
Karman, who heads A
& I Xibit, is world-renowned as a master printer. His
services are in great demand by many well-known photographers including
Helmut Newton, Sally Mann, Nan Goldin and Greg Gorman. Recently,
The Corbis Collection
invited Michel to hand-select and print 75 of the archive's
most striking (some never before) images, and give them new life
in a special limited-edition presentation, "The Living Lens: 75
Limited Edition Prints from the Bettmann Archive." Michel's work
is currently on exhibit at the Louis
Stern Fine Arts Gallery, West Hollywood, California.
T. Hanson is Professor of Photography (retired) at the
Rhode Island School
of Design. His recent book of photographs, Waste
Land: Meditations on a Ravaged Landscape, illustrates
how beauty can be used to arouse our social conscience.
Da's work breaks the traditional rules and conventions of standard
photographic practice not as a formalist exercise or to participate
in the (conventional) games of the avant-garde, but rather as
a means of creating true visionary art. There is in this work
a refreshing sense of play, of experimentation, of pushing the
medium to communicate the ineffable. Alchemical transformations
are at work here.
see these images as dreamscapes, as manifested ecstatic visions,
as rich mythologies intricately weaving together the world and
the Transcendent. Glimpses into a mysterious, enchanted world,
these transformative visions are an answer to the question of
how one might create a truly sacred art in our time.
stark contrast to the cynicism that dominates much contemporary
art, Adi Da's art is a deeply generous and compassionate gift
to its viewers. Through his artwork, Adi Da is redefining the
nature of art, returning art to its ancient, sacred origins. In
his remarkable, transformative artwork, viewers are being given
an opportunity to experience the ecstatic unity of creation. His
images offer a truly rare opportunity for revelation.
at this work, it seems to become possible again to raise the issue
of an identity between truth and beauty, without the embarrassment
this might normally cause in what we like to think of as a hardheaded
and realistic age. This beauty is not seducing us into any kind
of sentimentality or escapism, but is demonstrating its power
to undo our ordinary objective thinking and to confront us with
a sense of awe and mystery.
can sum up the total effect this work has had on me in terms of
a comparison with brilliant and warming sunshine flooding over
the predominantly bleak landscape of contemporary culture, bringing
with it a positive sense of release from the confusion and anxiety
engendered within this environment. Adi Da Samraj has given us
a new vision of what is possible with photography.
Taylor is Professor of Art History (retired) at Queen's
University in Belfast, Northern Ireland.
Foster is an artist and graphic designer with George
Light and Magic. He has worked on the digital effects of
such Star Wars movies as The Return of the Jedi and The Phantom
you are looking at a landscape or closeup of a woman's face, Adi
Da's rich and subtle black & white photos speak volumes about
the human condition. His spontaneous and masterful use of in-camera
multi-exposure allows his subjects to dissolve into luminescence
or to cubistically shatter apart. In particular, his series "The
Virgin Suite" literally moved me to tears. All non-essentials
have been removed, except for three naked humans and a chair and
ladder in a bare white room with an open skylight. Adi Da has
stripped away all pretense from his subjects, as he leads them
through a stunningly composed dance of longing, ecstasy, and pain
of separation. His pictures of people are vulnerable, warm, and
smooth, exuding an ethereal vitality that, combined with an exquisite
sense of composition and a deep love of his subject, cross the
boundaries of mere design into Great Art.
self-constricted ego bristles at the implied Messianism of the
title, "The Promised God-Man. . ."
yet if God-consciousness is fully present as a liberating force
in human form, why should there by any equivocating?
been inspired by Adi Da's writings for many years. He is a contemporary
spiritual Hero, offering his transcendental gifts to a culture
without a tradition for or even "taste" for Avatars . . . yet
he bears the burdens of sagehood with persistence and love. .
Da's photographic art explores an exciting new way of being through
a renowned artist, and the author of Transfigurations
Mirrors and The
Mission of Art. His work has been included in the album
art of such popular rock groups as Nirvana and the Beastie Boys
and a book of songs by the Talking Heads. Healers, body workers
and "new age" figures including Matthew Fox, Joan Borysenko and
Deepak Chopra have all used his work to describe the dimensions
of body, mind and spirit. Grey's artwork has been exhibited worldwide,
including Stux Gallery and the New Museum in NYC, the Grand Palais
in Paris, the Sao Paulo Biennial in Brazil, the Centro Culturale
Zittele in Venice, Italy, University Galleries of the University
of Illinois, and La Luz de Jesus Gallery in Los Angeles.
Heart Journal "The home of Art, Creativity and Spiritual
Life". The Wild Heart Journal grew out of the work of Eliezer
Sobel, author of Wild Heart Dancing: A Personal One-Day Quest to
Liberate the Artist and Lover Within, which in turn grew out of
his workshops and retreats on creative expression which he led at
Esalen Institute, the Lama Foundation, the Open Centre, and other
conference centers of this nature.
Wild Heart Journal
recently featured an article on Art
is Love, that communicates Adi Da Samraj's Wisdom on art
artist must learn his or her craft and then must be able
to do that mysterious something that connects the viewer
with the Divine Reality, or the Numinous Reality, the spiritual
feeling associated with loving, and with experiencing feeling
that goes beyond the contracted state of life as you do
when you're in love with someone.
Adi Da Samraj
Many of Fustok's
works are directly inspired by his Spiritual Master, Adi Da Samraj:
see especially the works in "The Room of Avatar Adi Da Samraj".
is an artist? Someone who is expressive and aware. The art
always expresses one's awareness. It comes out of the totality
of one's life. The totality of one's life, I feel, needs
to be examined and considered fully. This process has naturally
led me to integrate my life with its Spiritual potential.
Life is a continual process of growth.
Gallery of Malec Fustok This Virtual Gallery highlights
original art works by the British artist, Malec Fustok. These works
are deeply moving and spirited, with a wide range of styles, colors,
and materials. Fustok is a British artist who studied at St. Paul's
School, and graduated with a B.A. honors in art from Wimbledon School
of Arts in 1992. In London, he also studied painting with Stanislaw
Frenkiel (the Polish artist, and former director of art at the London
Institute), and sculpture with Bushra Fahkoury (whose works have
been displayed at such well-known exhibits as the Tate Gallery in
Bristol). Malec has also worked in New York with Francesco Clemente.
His work is on display in private collections around the world,
including in London, Geneva, New York, Washington, D.C., California,
Riyadh (Saudi Arabia), Beirut (Lebanon), and Fiji.
Jewelry Bindu Jewelry is the culminating work of over
thirty years creative endeavor of artist jeweler Candace Stolley.
From 1966 the artist worked primarily in welded bronze because
of the creative freedom this medium gave her. In 1991 Stolley
spent a year on retreat with Adi Da Samraj at the Hermitage Ashram
in Fiji. Shortly thereafter she noticed a great deepening in her
creative process and a heightened sensitivity to every element
of her jewelry design. This spontaneous refinement of her artistic
sensitivity called for refined materials, new techniques and an
intensely transformative process. The resulting metamorphosis
into precious metals produced Bindu Jewelry. Bindu Jewelry was
featured in ORNAMENT,
America's top art jewelry magazine, Fall 1997.
Stolley tells of visions that she had over thirty years
saw Holy Places and a community of very ordinary looking people
with whom I experienced non separation and the same self forgetting
swoon of Love. I longed to know that Love always, and would often
put my head down on my work bench and cry in longing. Then in
a most unforgettable dream I met an American man who was short,
round and in His mid 30's. It was Adi Da Samraj, still unknown
to me. His Embrace drew me into a profound state of spiritual
unity and then showed me that nothing in any dimension of existence
could compare. At the end of that dream the Spiritual Presence
and Power, I would later become more familiar with in the Company
of Adi Da Samraj, descended into me and concentrated in my hands.
was the late 60's as I began my art jewelry in earnest. When at
last I found and came into the Company of Adi Da Samraj in 1979,
my heart was spiritually blasted open at its deepest core. I saw
clearly that all is God and perfect already. And as Adi Da walked
slowly away, the Presence and Power of God Walked before my eyes.
I was using my jewelry skills to serve Adi Da. I was thrilled
to have finally found such as a potent way to feel the Love-Bliss-Happiness
with which I am in Love, that had first come to me as the 'Conscious
Light' of the Maha Bindu, but now came as Adi Da's Blessing with
each service offering of my work . The exchange has grown my work
greatly as Adi Da constantly guided me to out-grow limits in my
work. Eventually (never having heard the story, but knowing my
heart perfectly), Adi Da offered the name 'Bindu' for my jewelry.
should be a fundamental part of devotees' lives to pay attention
to My Instruction to them about how structure, housing, and
so forth, is a controller of life. It patterns your life. And
if you just move into places made by others, then your life
is architecturally programmed according to the way others live.
People do not, generally speaking, live cooperatively and in
the sacred manner. And so when devotees simply rent houses and
rent buildings and so forth, they're adapting themselves to
patterning through architecture that is not specific to this
Way, and not even profoundly congenial to this Way. So they
must re-construct these places, or make places from scratch,
and so forth. It takes real architectural and practical "consideration"
to make the spaces right for devotees to function in. There
is no real community development and there are no significant
community facilities in the United States. There are facilities
elsewhere, but they were basically just acquired from the world,
as it typically is. And where are the artisans guilds of people
who could do the construction work and practically fulfill architectural
ideas? Where are the architects establishing My Principles based
on My Word? For the Sanctuaries, but also for the community
looked for the truth about Religion and Spirituality over
23 years ago and found a living Spiritual Master of the highest
order. . . Adi Da Samraj.
has been moved to help further Adi Da Samraj's work in the world
by creating some extraordinary architectural designs for his Spiritual
Master. Stewart follows in a longstanding tradition of beautifying
sacred places to enhance their spiritual potency.
is the designer of a strikingly beautiful sacred temple located
at the breathtaking Adidam sanctuary, Da
Love-Ananda Mahal, in Kuai, Hawaii.
Stewart and Associates, Inc.
Mark Stewart Home Designs is a world-renowned architectural firm.
It has been chosen for many prestigious honors, including Home Magazine's
"Well Crafted Home", and the Easter Seals/Century 21 sponsored Lifetime
Homes series, among others. The architectural designs of Mark Stewart
have become a trend-setting standard throughout the world, and can
be found not only throughout North America, but also the Czech Republic,
Japan, Russia, Malaysia, and Germany.
Stewart has also
created a design for Waoli
near Da Love-Ananda Mahal:
has also proposed a similarly styled redesign of another Adidam
Stodart Richard Stodart
is a renowned artist and illustrator. He has illustrated books that
Essential Tantra, A
Fragile Tree Has Roots, Developing
Your Intuition with Magic Mirrors, Sensual
Astrological Moon, and The
Tao of Sex; and album covers that include Ray Lynch's Billboard
Above My Shoulders but the Evening, and David
Gazelle Hunter's Weekend. Over the years, he has also created
a large number of paintings and drawings on spiritual subjects.
His works have been exhibited around the country, and have inspired
other artists, including sculptor Darcy
part of his series on "Spiritual Teachers",
this painting of Adi Da Samraj, as He looked in the 1970's:
the following quote from Adi Da Samraj on true art:
art should not have anything to do with the discursive mind.
It is a different kind of inspiration, not seated in the body
or the apparent personality. It is a motion to which one must
submit oneself so that the body is made to endure physical
and emotional pain in the spontaneous and psychic process
of being overwhelmed, of being radiant. It should be a sacred
incantation of involvement with Transcendental Consciousness,
the creative resource of Being.
art has a purpose for others, not merely for the artist. The
purpose of art is to enliven, heal and positively transform
the participants in a process of self-understanding. That
means that for an artist to be effective he must submit to
the process of self-undestanding. The need for the personal
discipline of self-understanding is as important as technical
understanding in order to serve the higher purpose of art.
Adi Da Samraj
of Adi Da Samraj
by Peter Lennon
Lennon Peter Lennon
was born in New England in 1948. He spent his early years on the
New England Coast, enjoying the freedom that only the salt water
ocean provides for an artistic spirit. Peter studied at the New
England School of Arts. He is an accomplished sculptor, with clay,
wax, wood and ivory and also in figure drawing. Peter spent a great
deal of time in the South West, particularly Arizona. The desert
of the South West always provides an atmosphere of inspiration and
solitude in which the creative soul awakens.
Whitnah Artist Kerwin Whitnah studied art under Henry
Schaefer-Simmern, a distinguished art educator and the author of
Unfolding of Artistic Activity and
The Essence of the Artistic Form.
founded a children's art school in Berkeley, where he
studied children's untutored drawings and works of primitive and
prehistoric art, in a search for the principles of that visual conceiving
which most vitally affect artistic activity. In 1965, Whitnah took
over from Schaefer-Simmern
the teaching at the children's school.
also a lifelong spiritual seeker, whose personal voyage included
dialogues with Aldous Huxley, Christopher Isherwood, and Jiddu Krishnamurti,
until he found his Spiritual Master, Adi Da Samraj.
by Kerwin Whitnah
felt as if I had been given an archetypal vision to paint, and so
I seized the day, and set about bringing that vision into painted
form. But about that time, I discovered Adi Da Samraj's The Knee
of Listening", read it intensively, and then wrote to the author,
thanking Him "for a gift I could not yet comprehend!" And soon got
a letter back from the Ashram Manager saying: Adi Da "has read your
letter completely and He sends you His Blessing"; which moved me
deeply. Still later, after I had been to Los Angeles for an interview,
I had the opportunity to meditate with Him. The sitting was a revelation
of His Compassion, and I saw His undefended purity, and radiance
I had finished the painting I knew it was the best I had done or
might do, and I must give it directly to Him without delay. He received
it most graciously, and, with many jests (and much hilarious laughter!),
asked me if I would put a wide-painted frame around it and expand
the very picture onto that frame. This being done resulted in the
current complete work, which is 78" x 56", done in casein paint
on a gesso panel.
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from the works of Avatar Adi Da Samraj and and pictures of Avatar
Adi Da Samraj © 2003 The Avataric Samrajya of Adidam Pty Ltd, as trustee
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