Finished Junior Art Portfolio Review Exhibition

Rotate to Initiate a State of Altered Vision

Artist Statement

        We live in a multi-faceted existence with both visible and non-visible components. Physical existence is often perceived without recognition of the underlying geometric patterns that make up all of creation. Becoming aware of the idea that everything we see is connected through a sacred geometric pattern is a catalyst for recognition of the importance of universal connectivity. The basic yet complex pattern of creation, known for centuries as the flower of life, provides a reflection of harmonic purpose within a seemingly complex existence. 

My work seeks to stencil out an awareness of the underlying aspects of all that we are in order to reveal what we cannot see. One of the most important components of existence is not directly tangible and is therefore overlooked. I choose to incorporate the flower of life into my work because it provides a basic understanding of the universe. Physical reality manifests itself through sacred geometry; existence is nothing but a cyclical pattern of intercepting points. 

Because the flower of life is seemingly intangible, I wanted to allow it to be the opposite by providing an interactive incorporation for the viewer. Using a mirror, I have provided an opportunity for them to be able to see their form clearly within the pattern that created it. By creating a rotating mechanism for this intricate pattern, I have provided an element that alters the vision of the viewer and provides an opportunity for them to see themselves becoming one with the pattern they are already one with. The reflection as well as the tangibility directly demonstrates that the flower of life is an important element to our physicality. 

I have also incorporated a painting as a component of this piece in order to be surrounded by the pattern, much like we are in everyday life. Having the painting and the mirror across from one another creates a space where the viewer can see themselves as part of the painting rather than just looking at it directly. I chose to use both sculpture and painterly elements in this piece in order to pull myself out of my usual work and find a way to incorporate the flower of life stencil into new mediums. This was a frustrating process that allowed me to find inner harmony by working through the frustration. Because I had to push past the difficulty of problem solving and enduring the tedious quality of stenciling more than four hundred circles, I put myself in a life cycle, having to look past the difficulty in order to remember my inner harmony and continue to recognize that if I allowed myself to feel my connection to my creation, it would be easier to achieve my intention.