Artist's StatementMy work uses digital compositing techniques to create powerful, personal thangkas filled with Buddhas and Bodhisattvas, guardians and protectors, icons and the sacred geometry of yantras. The source of these symbolic compositions flows from inner currents of meditation, intuition and dreams. Hindu, Buddhist and Native American iconography and practices integrate with one another on a non-verbal, intuitively direct level. New insights and unexpected awareness emerge from the juxtaposition of disparate imagery; signs and symbols gently merge in strangely resonant patterns recalled from past visions, past memories, past lives. All combining to build an energy of discovery, recognition and clarity in the meditative viewer. |
The Lineage Self-Portraits (2006) started as a light-hearted project to map myself onto various iconic Buddhist figures. At some point, I realized that this work is essentially a form of Tantric deity meditation – the merging of mind streams (self and deity) though visualization so as to become one. By this means the practitioner takes on the energetic aspects of the deity – becoming more insightful and compassionate in everyday life. Other Work - view my online portfolio site: www.imagemaya.org The Jewel In The Lotus series (2002) is based upon traditional Tibetan hanging cloth paintings (thangkas). Thematically, each scroll holds an image (symbol) of the lotus emerging from primeval mud, transforming physical world illusions by means of pure awareness. The Mandala series (2002). A mandala is literally a circle, the representation or map of the inner world and the outer world: the unity of the universe, cosmic order. As with all mandala images, this formal structure echoes a sacred geometry which serves as a key unlocking insight and compassion. The Turning Point Mandalas (2003) employ a selection of powerful sacred symbols as a recurring vocabulary. These include the Shri Yantra, the lotus, the lily, yin/yang, the human body with its auric energy flow, the merkaba and other geometric forms, as well as a compliment of Buddhas, Bodhisattvas and Yab-Yum (figures with consorts). Light Body Mandalas (2005-6) uses transformative symbols from Peruvian and Native American sources to create Medicine Wheels. Tara Portraits (2006-7) are based upon traditional Tibetan compositions such as "21 Taras" and "1000 Taras" to create these Tantric devotional images. Shamanic Mandalas & Medicine Images (2007) combines symbols and practices from Mexican, Native American and Tibetan sources to invoke the Shamanic healing mindset. |
Traditional Eastern art forms spring from the deep ocean of spirituality. Thangkas and Mandalas are tools by which to tune and focus the meditating mind. With a similar intention, my thangka work is a bringing together, a synthesis, of traditional sacred spiritual traditions with a post-modern hyper-awareness. Through such juxtaposition, the rigid compartmentalization of the verbal, rational mind can be “short circuited” by the interplay of powerful symbols, colors and shapes that communicate in a more primal (primary) dance of forms. My work is offered in a spirit of contemplation, compassion and respect. May those who look upon it find an echo of their greater self, the awareness of their diamond mind, the courage to persevere on the path. May love and light be yours to give. Namaste. |
Contact info: Mark Gilliland, 85 Harriman Road, Irvington, NY, 10533
Phone: (914) 714-3056 • email: mg@markg.org • site: www.imagemaya.org