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The works have evolved in a technical way almost by default from the original series created in Europe, although the initial impulse was to try to evolve the work spiritually. Bali was the island of choice, because of its Hindu beliefs and applications of spirituality through daily life, ritual and ceremony. I originally perceived the Bali-Hindu religion and philosophy as being more sympathetic to what I was trying to capture and convey through the sculptures. After two years of learning and hindsight, the experiences here have been no more conducive or advantageous in comparison to the monotheistic environment of Italy. That has been the biggest growth through the work, realising that there is no perfect environment nor perfect spiritual basis. It is about balance and how much black is in the white. From that realisation, I know that the possibilities in evolution of the work are endless and made of qualities that are intangible.,
The reality of producing this series has taken most of my energy and understanding instead of being able to indulge in philosophy. In Italy I could access high quality artisan work in components which in itself fosters an exiting level of creativity. On Bali it has been difficult and tiresome just getting through each day and then realising that what I did accomplish was not good enough. Bringing an idea to a forum for discussion or exploration in this cultural climate is impossible. One of the hindrances is the lack of critical comment, or any substantial opportunity to expand on ideas in contact with other artists. This time in Bali has been a crucible of experience and because there is nowhere to hide within the range of environments, I have had no other choice than to believe and live what I did.
Being on Bali (for me) meant dealing with the environment, whether spiritual, physical, bureaucratic, meteorological or psychological. This intensity has pushed my work in the direction that can be seen manifesting in some dark and unforseen forces. I find Bali to be insidious in its capacity to be passively aggressive, full of paradoxes, contrary perceptions and values that make you rethink linear models into organic reactions. Physically understanding the environment has become important but the spiritual appreciation remains at a constantly challenged and sophisticated level. I doubt if I could ever return here and have the possibility of making a living out of the marketing image of Bali. It hasn'tbeen fruit salad and it certainly has not been a paradisiacal experience.
How then will the internal escape/departure influence the last of the trilogy exhibitions to be held in Malaysia and Australia in 1996?
Fundamental to this process of going internal, or escaping (from these outside realities), is by following my mind or my heart on this spiritual journey. Often the ability to intellectualise is a double edged sword, and the power of the heart and its subsequent instincts can be just as double edged. And I can't deny the impact of the geography of where I am but I do wonder if I really need it to be this hard.
Temples of the Mind was opened in total anonymity, which absolutely undercut the cult of the artist, upset the viewers, and gave me a freedom that I might not attain again, that is, being ego-free. It is significant because I feel that I am stronger intellectually than I am emotionally, although there are friends that would argue with me on that statement. For the installation of Spiritual Maps I had an active part in the opening and closing ceremonies, although the exhibition was an attempt to convey that journey from intellect to emotion, relying on ego as to which route to take through which combination of archetypes. Throughout the entire attendance I felt as if I had compromised the works and I am not sure that I want to be present, or if it is necessary to be present, for the 1996 exhibitions. I feel as if I have met my obligation by participating fully in the internal process to build the works. After this time in Bali I have a maturity in which to return to that internal escape mechanism but |
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