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Darshan is meant to compliment my Mandala series as it further explores spiritual themes in Eastern thought. Darshan refers to vision: the idea is that one may contemplate a deity, or scared object, and receive a blessing in return. In this case the sacred object is the square, although a square that is elusive or has some mystery as to its origin and suggests a mystical or transcendental vibration.
If the circle is a symbol of limitlessness and universality, squares are grounded by the equality of the four sides representing the four elements (earth, water, wind, and fire), the four seasons, and the four cardinal directions. As a symbol of stability—a stability that I unmoor in my process—these squares create images that invite one in, but at the same time push away with their oscillating vibration and pulse. In this way the blessing suggested by Darshan may or may not be received. Darshan implies a mutual interaction between viewer and object—some of the images have an eye in the center, looking back at the viewer and some do not. The spectral colors in Darshan create energy in their interactions, furthering the push and pull as the squares recede or come forward, fluctuating between being windows into a mysterious space and mirrors reflecting back one’s thoughts and feelings.
While traditional photographers increase depth of field and shutter speed to maximize sharpness, the Infinity series explores strategies that undermine these basic elements of camera vision, using blur and long exposures to subvert the documentary expectation of photography. The images in Darshan are made by photographing collages with a hand-held camera using time exposures. By introducing a fourth dimension—time—to create illusionistic images I hope to invite the viewer into a contemplative state of mind. For although it requires nothing more than seeing, darshan is considered a powerful form of spiritual fulfillment.
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