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RAMESH KANDAGIRI- ARTIST AND ART EDUCATIONIST....

A PERSONAL DIALOGUE ON MY ART AND


THOUGHT PROCESS By- Ramesh
Kandagiri  
Published on October 27, 2015 Edit article | View stats

ramesh kandagiri
Artist (Painter), Assistant Professor, Painting at Coll… 155 4 1
2 articles

"PARA-REAL ABSTRACTION AND CONTEMPORANEOUS ENLIGHTENMENT"

CONTEMPLATIVE EVOLUTION OF ABSTRACTION THROUGH THE


ELEMENT AKIN TO INNERMOST SELF

Spontaneous evolution of my visual work is deep dredged out from within my


“innermost self” and based on ‘experiential knowledge’. Accordingly the apparent
chronological changes of imagery from 'representational' to 'abstract' (from 20o8-09
onwards) are also because of the internal transformation as in natural pitch with the
changing circumstances. As an artist and art educationist I have been experimenting on
practical solutions of a covert crisis of the widespread misconstruction between
academic and practical knowledge of abstraction in art. In order to discover my own
reason for abstraction as elevated from the convention (established due to the post
1990s Indian Art Critics who most often hold the unconditional monopoly over their
accidental right as the only expositors of ‘influential mannerism’ of ‘masters of the
past’) which is often religiously followed by the trends, I wish to contribute to the
world an ‘authentic expression’ through the original ‘element’ akin to my “innermost
self”(consciousness) which comes from the zone of ‘stillness’ between pulse and
impulse.

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I understand that uniqueness of every individual’s ‘pulse’ 3and ‘impulse’ is one of theTry Premium
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greatest wonders created by Nature. And between every individual’s unique pulse and
impulse, beneath the multiple layers of memories (which is known as mind) into the
depth of ‘innermost self’, in the womb of consciousness gestates the unique fetus of
authentic and original elemental energy. The inherent zone of ‘stillness’ of this womb of
consciousness is the safety shell that on the one hand keeps the original elemental
energy from all regressive influences of the material world and enables one to endow
the material world with adequate original feedback; this phenomenon was referred to
‘dualism’ by Descartes and the truth of this impermanence was notified as the theory of
‘anitya’ by Siddhartha Gautama, the Buddha. This elemental energy preserves
the secret codes of unique and original images that the progressive world would look
for to keep itself rolling on endlessly. The uniqueness of gestation of this elemental
energy present in every individual cannot be duplicated, plagiarized or cloned by any
other individual whereas only the outer image can be. Creation and invention so
achieved can cause even overturning of an era of aesthetic perception in theMessaging
visual
culture and scientific establishment in the technological culture leave alone the problem
of remedy from plagiarism. However the over access of downloads from virtual media
of today provides cacophonous options for superficial matching of images and
borrowing of imagery without spiritual assimilation and ideological metabolism. Hence
it can be determined that ‘corruption of images’ has born out of un-reasoned and un-
personified slavery to the imported concepts and religious subjugation to the ‘forced
education’ by ‘influential mannerism’ of the ‘masters of the past’; usually in the
process of learning art in institutions through art-historicism without practical
justifications. I understand that the “corruption of images” can be rectified by tracing
the roots of natural and primordial interrelationship between reason (pulse) and
emotion (impulse). The ‘elemental energy’ in a creatively responsible person is
constantly and regularly required by the ‘time and space’ (where he/she is living) for a
credible right action to be taken in the ‘present’ (despite the seemingly real yet actually
illusive realities of intermittent happenings or ‘anitya’ around us). Living out one’s own
unmatched ‘element’ has been the most important ‘karma’ of the consciousness to
shape the nature of history of visual culture from the time immemorial; the advent of
Modernism in Art in Europe is the greatest evidence. This is what is being natural than
being moral and that’s why Primitive, Tribal and folk arts have been inspiring the
modernists; and this being natural is Tantra which is the only way of attaining
‘mahamudra’, literally meaning “the great gesture” or “the ultimate gesture”, beyond
which nothing is possible. Mahamudra rests on nothing and it is the ultimate orgasm
with the cosmos. It is the affinity of the consciousness with the ‘nothingness’ or the
‘unconscious’ or the infinite multiversity or cosmos which constantly inspired artists
towards genuine abstraction especially minimal abstraction down the ages. And the
elemental and original experience of nothingness or ‘mahamudra’ is present in
Primitive Art and Tribal Art and tantric practices including yoga and dhyana, by
which I am inspired. I practice art with the awareness that the myth of abstraction has to
be decoded at least on personal level with spiritual intensity; and the way is inward not
outward. My personal research for the common binding factor between an ‘Abstract
Painting’ and a ‘Representational Painting’ took me through various stages with

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rigorous practice of painting and revisiting the History of Art and finally arriving at a Try Premium
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resolved stage of convergence of style and aesthetics in my abstract paintings. Here the
integral interrelationship between ‘abstract’ and ‘concrete’ is practically experienced in
the ‘innermost self’, through contemplative technique, the Zen or Dhyan or meditation,
which is the only way to decode the myth of ‘tabooed abstraction’ in the obviously
consumerist culture of today where a piece of classical music can be taken without an
issue of ‘understanding’ it but a genuine abstract work of art is always expected to pass
not without the judgment of whether it is ‘understood’ or not and that too with the
‘reason’ devoid of ‘emotion’; especially in the Indian context. This very attitude of
hurried ‘judgmentalism’ towards abstract art has not only failed one and many to
relish/admire a genuine abstract work of art but also to distinguish it from a fake one,
showy one, cloned one or plagiarized one.

Hence with this understanding my outer self i.e., my “I” live the ‘present’ as proposed
by the ‘intermittently manifest world around me’ within the natural and primordial
union of reason (pulse) and emotion (impulse) directly in the ‘medium’ of painting
with the observation of “occurring in the instant” under the observation of my
‘innermost self’. For me a true creation is ‘idea’ and ‘medium’ personified within the
‘innermost self’ and reborn in the spontaneous language giving birth to the original
‘style’ through the reasonable exploitation of ‘medium’; moreover the ‘creation’ so
discovered and the ‘image’ so created becomes original, authentic and unique. And in
the process of such creations ‘idea’ and ‘medium’ is so amalgamated that none of their
raw state can be derived back. Also in this process medium itself is turned into a reality
encoding the ‘empirico-transcendental wisdom’ about the ‘occurring reality’ through
the herewith surrendered ‘innermost self’ which no more has the fear of ‘committing
mistake’. Actually the fear of committing mistake is generated due to Ego’s insecurity
complex because of its ‘limited intelligence’. Artist-Ego rests in the outer covering of
mind in the form of intelligence in the ‘Skill of High Realistic Rendering’, Artist Ego is
the store house of energy to be exhausted for the cause of exploration and evolution of
‘innermost self’ rather than imitation of the reality. And thus is generated a fearlessness
in creativity, distortion and even abstraction; the all time famous movement of
Modernism in Art of Europe in the 20th Century is the greatest example for this fact.
Ego cannot be thrown out abruptly without aspiration for something significant in return
and for what yogis had resolved to hath-yog or stubborn-yoga but best way of
investing ego-energy is the sahajyog or natural-yoga and sahaja samadhi or natural
meditative absorption as propounded by Ramana Maharhsi, in art it happens during the
natural confluence of ‘innermost-self’, ‘idea’ and ‘medium’. If the ego rides on the skill
in order to stubbornly perform the act of ’mimesis’, i.e., making illusion out of illusion
through skill (boasting the skill in copying the visible world) then the ego-fuel is not
burnt properly because it is showing through the suppressed medium resulting in
clustering of memories and accumulation of karma. But if the ego-fuel is burnt through
both living and relishing the ‘present moment’ of reality than the past moment of reality
(the copy of reality) then the ‘innermost self’ is transformed and reflected in the reality
of the process of making art. I see religiously copying of world through artistic trick-
skill as suppression of vitality of ‘medium’ and hangover of ‘idea’ or ‘thought’ resulting

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in visual ‘regressive journalism’ and thereby non-liberation3 of innermost self. In that Try Premium
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sense abstraction to me is living the truth of impermanence through the combustion of
idea-fuel through transformation of medium for the liberation of the innermost self
towards the truth of permanence or ‘nirvana’. Hence the true abstraction happens
through ‘sahaja samadhi’ or natural meditative absorption. The ‘abstraction’ so
discovered is for me supports my hypothesis of ‘Revalidating Abstraction’ and such
abstraction is naturally concentric than unnaturally formalistic. I understand that this
practical theory of abstraction I discovered for myself is practice based and might be
useful to them who aspire to further contribute to the ‘posteriori’ knowledge of
abstraction but not through the burdens of ‘priori’ knowledge. Also this allows one to
liberate them from conventional abstraction where there are chances of repetitions of
patterns.

The abstraction attained through the sahaja samadhi or natural meditative absorption
I understand has been the age-old heritage of ancient India when the yogis and esoteric
saints of Tantra cult must have experienced such abstract images in their
contemplation but why they didn’t submit to them or expressed them out is because
their aim was not that, but ‘self realization’ or enlightenment of soul rather. We know
that craving for enlightenment brings aversion in case of failure to achieve it and long
craved enlightenment is not possible today as we live within flooding lures to our
desires. Instead, today we are more natural with ‘contemporaneous enlightenment’
rather when we do not accumulate karma. The hidden truth beneath our social right
actions and thereby experience of internal bliss is the example for ‘contemporaneous
enlightenment’; many social reforms we had down the ages are the living example of
this fact. ‘Contemporaneous enlightenment’ is simultaneous with ‘sahaja samadhi’.
‘Sahaja samadhi’ can be associated with both valid abstraction and valid
representation as being naturally concentric while not holding to the knowledge but
letting it free for the benevolence; while ‘sahaja samadhi’ can be dissociated from
mimetic representationalism (with fanfare of skill) as being unnaturally formalistic
while holding to the knowledge and not letting it to be free for benevolence. And the
key reason for all social reforms is the very resolution of not holding on to our
knowledge or concept but letting them free rather for the sake of benevolence. For me
here is a hidden code for the revalidation of abstraction where we don’t hold on to the
‘idea’ or ‘concept’ or ‘thought’ in order to end up with a past called ‘representational
form’ but being in the present rather, deeper into the process of the atomic chemistry of
that representational form.

This process guides me to abstraction as a phenomenon of practicing introspective


search of the actual atomic intention of my own ‘innermost self’ or consciousness as
un-swayed by my mundane intentions. Today we are living in a world of complete
disillusionment from stagnated concepts and any hegemonic preconception or idea,
because the ‘innermost self’ of the mass is in the constant evolution achieving
alienation and so are the given concepts renewed through natural ‘empirico-
transcendental’ practices in general in every field. This is the reason for hitherto
‘unknown’ becoming known rapidly in the social reality, this is the ‘dualism’ between

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‘spiritual’ and ‘material’.9 In my abstraction I depict the yet3 ‘unknown’; they may be Try Premium
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called ‘occult’ because often they are not apparent and also because they are truth
hidden beneath the deceiving surfaces called identical-ism or representational-ism.
‘Unknown’ is the term used here to denote the ‘experienced elemental value of truth’
that exists in the consciousness of the artist and does not have any established record in
the textually narrated world. ‘Experienced elemental value of the truth’ is the
empirico-transcendental wisdom in process within the aware art practitioner (non
religious) and thereby renewing the hitherto forced establishment of knowledge in
him/her. Today the reason for over- growth of mass media is the extremism sprouted out
of misconceived match between knowledge (instead of experiential wisdom as true
knowledge) and power (instead of power of consciousness). Consequently one can feel
that today human textual narration of knowledge has reached to a regressive crux
supported by the power of mass media where anything spiritually perceived will never
be attended without passing it through ego-centric debates which are based on stagnated
concepts rather than free-flow practice of ‘innermost self’ (innermost self that
constantly conquers the evil within oneself and a paradox to the extremist interpretation
of jehad ). Thus textual narration of knowledge remains floating as mere ‘idea’ and not
‘action’ hence they remain ‘knowledge of past’ and never the ‘experience in the
present’ and they are even open to the ‘literal adaptation by the extrovert extremism’.
Buddha called this ‘experiential wisdom’ as bhavit pragya. Often ‘idea’ is in disguise
of ‘issues’; it is certainly great painting on ‘issues’ yet it is greater to keep the
‘innermost-self’ from being lost in the flux generated from this regressive crux because
‘issues’ may be the mere symptoms of reality and far from truth. This is perhaps one of
the main reasons why many ‘representationalists’ became alienated and turn as
‘abstractionists’.

Hence for the practical revalidation of the phenomenon of 'abstraction' in myself, I


practice an internal observation of the very ‘innermost self’ through the meditative
mode of painting; the dhyana or Zen or the stillness of sahaja samadhi. In this
practice of stillness and cessation of thought I see the very 'point of departure' where
easy obedience to the images of prevalent powerful ‘influential mannerism' of the
dead reality is automatically checked out based on my own 'experienced elemental
value of the truth'.

According to the ancient Indian text Upanishad actually “abstract and concrete are
the components of the constitutional whole, i.e., truth”. And this truth can be
experienced in our depth of consciousness (chetna) through a transcendental-stillness
of mind (thoughtlessness) which exists again between our own ‘pulse’ and ‘impulse’. In
this transcendental-stillness reason and emotion are in their primordial union in the form
of ‘non-reactive intelligence’ as an ‘egoless wisdom’. Be it in artwork or design the
‘ego-energy’ in artist is utilized in skillfully using the medium to obey the ‘innermost
self’ (consciousness) and not the outer mind. This manifests a hidden fact of mundane
condition for the integral interrelationship between abstract and concrete (dualism)
within human intelligence that subconsciously works towards higher understanding of
truth reflecting in automatic change of designs of objects down the ages. And most

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surprisingly ‘the very phenomenon of change in the designs of objects is again the Try Premium
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undercurrent driving force that finally liberates the elemental-energy from its
bondage with the objects and its forms otherwise design once made would have been
the ultimate and they wouldn’t have changed frequently. And this is the secret trajectory
between ‘formalism’ and ‘abstractionism’ (non-formalism). This also results in
‘abstract formalism’. My abstraction deals with the occult and mysterious experiences
between dualism and non-dualism; it though starts with the atomic chemistry between
objects (matters) and subjects (spaces) yet continuously explores the depth of
consciousness. The result is overlapping of spaces and masses and constant
displacement of energies finally reaching to a “no-surfaces”. The layering of the
surfaces is finally to make “no-surface” analogous to the infinite space of the
“unconscious”, the cosmos confirming the truth impermanence or ‘anitya’ . The
interception of masses and spaces in my abstraction is also inspired by the
Vietnamese Zen Buddhist Monk Thich Nhath Hanh’s idea of “Interbeing” that he
introduced into the North American Buddhist vocabulary. “Interbeing” is the doctrine
of “dependant co-arising” in "Paticca-samuppada-vibhanga Sutta" , a chapter in
Buddhist text Tipitaka. In the Heart of Understanding it is explained that everything is
interdependent which means if one is a poet, one will see clearly that there is a cloud
floating in his sheet of paper. Without a cloud, there will be no rain; without rain, the
trees cannot grow; and without trees, paper cannot be made. The cloud is essential for
the paper to exist. So without the cloud, the sheet of paper cannot exist. So we can say
that the cloud and the paper co-exist. Though the term “Interbeing” has no dictionary
meaning yet most important element of “Interbeing” is the realization that there is no
independent self, that the perception of self, of “me”, of “mine” is an
illusion. Awareness that “I” am made of “non-I” elements leads to the understanding of
non-self and it is the realization of non-self that brings an end to suffering. The sense of
“interbeing” and ‘Anitya’ is invoked in my abstraction through the rhythmic
intersection of masses, spaces and energetic lines.

PRACTICAL THEORY OF ABSTRACTION

After thorough cross study of the phenomenon of occult as abstraction in the Eastern
cultural practices, faith-rituals, customs, art with the non-objective art as abstraction in
Modern Western Art, I arrived at a point of beginning of a fresh perspective that the
very phenomenon of ‘abstraction’ that permanently altered or re-oriented the purpose
of art in the modern and post-modern era of Europe and America and world at large,
contains a secret. And that secret is "abstraction as a natural humanitarian
phenomenon took birth in the war time situation in the early 20th Century
of European culture and its innermost consciousness when for the first time in
the History of Human Cognition and Spiritual Space, ‘emotion’ had revolted
against the tyranny of ‘reason’ in order to safeguard the endangered
human consciousness (innermost self) from the regimentation of tyrant war
rationalists whom with ‘reason’ mingled and betrayed ‘emotion’. Though this
significant revolution in the Western Art is unparalleled till today, yet ‘abstract’
is never been an issue away from ‘concrete’ in the Eastern culture, custom and

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even art. And why ‘emotion’ never revolted ‘reason’ in3the East is because twainTry Premium
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were never forced into such tyrant situations and even if only they were into
such situation then their cultural awareness to the consciousnesses through
their gnostic-rituals of ‘faith-system’ , which contained in itself the ‘intuitive
dimension’, constantly re-validated the union of emotion and reason by defusing
every regimental-ism. Thus abstraction has been constantly and naturally
happening in the Eastern culture without any emotional crisis and ‘emotions’
have never piled up against ‘reasons’ to blast at once.”

Hence with this awareness I am drawn towards hieroglyphic Primitive Drawings of


Bhimbetka Caves near Bhopal and in the traditional rituals of Tribal Art, Folk Art and
Rural Art of Andhra Pradesh, Madhya Pradesh, Bihar, Bengal, Himanchal Pradesh.
These artistic cultures reflect the ‘gnostic wisdom’ of mysterious depths of human
intuitive dimensions which has direct impact on my understanding of abstraction.

THE MEDITATIVE PROCESS OF EXECUTION OF MY ABSTRACTION

My process of painting itself is a performance of dynamic to still meditation and


invocation of intuitive energies within me. I notice the scientific misconstruction
between ‘sound’ and ‘site’ in the illusions of mundane realities. All the representational
images today are sure to be plagiarized tomorrow but since sound can never be
plagiarized I transcribe pure sound frequencies of everyday life into visual sound which
I sense is connected to eternal sound of the cosmos, the ‘naad’ (according to ancient
Indian cosmological wisdom the universe is created by eternal sound or naad)
and its infinite dimensions…for me this is abstraction of Super Nature. Sound
vibrations are the abstract semantic of thought vibrations resulting in the forms of
objects of the world. And this ‘naad’ of cosmos is the reason for the infinite ‘intuitive
dimensions’ in the collective human psyche resulting in infinite sense perceptions of
human minds. While facing the blank surface of my pictorial space I disown all I know
about this transient concrete world and its thoughts too while constantly observing and
relishing the temptation of virgin surface of the pictorial space for quite a long time
(while let-going many thoughts and invisible suggestions of forms coming from the past
and future, which I call stabilizing the mind to the present, to ‘here and now’). I
understand the tantra’s wisdom that no thought is ours and they are like visitors and
our innermost self is the host. Thoughts come and go while our innermost self or
consciousness remains still and identifying our innermost self with any thought is to
allow the guest to snatch the position of host. Thoughts are things and the increase of
things in the world is the proof of deadly increase of thoughts down the ages. But
between the intervals of thoughts there are gaps, unconscious mind cannot see these
gaps but consciousness can see that these gaps are many miles wide-deep and that even
these miles-deep gaps are innumerable times more in number than the seemingly
countless thoughts in our lives. These innumerable miles-deep gaps between thoughts
are actually ‘intuitive dimensions’ in the innermost self analogous to ‘naad’ or the light
years distance between astral bodies and even more so between innumerable galaxies in
the multiverse. In those miles-deep gaps of nothingness satori happens. Satori means

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‘unlocking of truth through awakening’. Thoughts are like 3clouds when they are thickTry Premium
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we can’t see the sky hidden behind, just as when the thoughts are continuous we are not
stable, thus to have the glimpse of sky between the clouds is satori and to become the
sky is Samadhi or stillness or total absorption to eternity or nothingness. My
abstraction is all about the search for the absolute nothingness within my innermost self
as analogous to the nothingness of the eternal cosmos; howsoever at times it might
reflect glimpses of the mundane world.

This process goes on until my mind enters the trance and new thoughts cease to erupt
and old thoughts are evaporated, ‘mental issues’ are melted ‘dead concepts’ are seen in
action and thereby ‘re-validated in the present’ and its exactly here that I get vision of
the transient realities around me transmuted into ‘transcendental vision of atomic
chemistry between objects (matter) and their subjects (space)’ on the blank surface.
Here is where I practically experience the Buddhist concept of anitya (the truth of
impermanence) as I constantly have the vision of tumultuously transient realities
literally playing and fading away on the pictorial space as multiple orgasms. I would
vivaciously delineate them and again capriciously repaint on them layer by layer in
quite variedly opposite directions with continuous alienation and turning the painting as
pictorial onomatopoeia. And as the trance deepens in the state of internal elation of
peace and stillness in me I see those cosmo-sonic energies calming down into though
jubilant and capricious yet real quantum of internal happiness; a state of ataraxia
(Epicurean’s concept of fearless happiness). This elation of peace becomes so intense in
me that my ‘innermost self’ becomes the transparent medium and effortlessly natural
finally to find that those surfacing intuitive energies actually were hidden deep within
my ‘innermost self’….and it is exactly here in the zone of stillness between my pulse
and impulse that I experience the effortless wisdom that the very fear of committing
mistake is the hindrance to creativity…..I experience a zone in the consciousness where
soul is fearless even to death. To me this is the only condition to be creative while
literally not intending to create anything but to be able to look at the thoughts and
objects equally without any mental intention but with atomic intention which is actually
‘no intention’. This flashes somewhat occult vision that witnesses the oneness of my
innermost self with the infinite cosmos in me….the “mahamudra” (the ultimate
orgasm with the cosmos)…..and thus I experience that the ‘local’ is ‘universal’ and
‘personal’ is ‘cosmic’. It is during this trans-reasoning that I experience the cosmic
energies are replaced with lines, forms, tones, textures…and I jot down those cosmo-
sonic energies into visual-sonic energies in the form of pulsating hieroglyphs which one
might call as spiritual electroencephalograph. My process of painting is seemingly
visibly violent but it is full of love and faith probably very near to the act of lovemaking
yet even beyond that. The process becomes even far beyond psychological ‘doubt’ and
‘belief’ and progressing more towards though unknown yet stable ‘faith on eternity’
because this act is beyond physical and intellectual orgasm. And since my act of
abstraction is all about exhausting the internal extremism hence I need short intervals of
physical and psychic stillness to watch my own mysterious energies with alienation thus
the painting is completed in episodes of quite a number of days. Aim is to live out and
exhaust various impermanent moods and moments before they turn into memories. And

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after a prolonged passionate process of ‘multiple catharses’3 my painting reaches in a Try Premium
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state of serenity ….a state of ‘no desire’ where I feel prevalence of internal tranquility,
the beauty of this state is that I don’t have to search the abstract forms as I achieve
them effortlessly because now ‘consciousness’ has trained the ‘mind’ bringing it to the
‘present’ and to see the intermittent realities as it actually is; because mind becomes
here the un-distorted mirror quite similar to the state of mind after a prolonged
meditation. The abstract forms and the composition attained here is the result of
deeper concentration into the process of the atomic chemistry between those objects
(representational forms) and subjects actually collectively became the reason for the
manifested ambiance recorded in my “experienced elemental value of truth”. For
me abstraction doesn't mean 'no real' or devoid of 'representational forms but it means
'more real' rather...to the extent of 'para-real' which means intuitive 'empirico-
transcendental' understanding of deeper realism beneath the surface towards the occult
or the atomic element even. But this 'empirico-transcendental' understanding is evoked
only in the equanimous state of mind that abandons all established notions on
abstraction because this state of mind is actually similar to the 'interstellar' in the far
off universe between the stars. As we know that 'interstellar' is a transparent sphere
between a number of stars where time and space bend. "Para-Real Abstraction' evokes
in the equanimous state of mind when the 'past' and "future" are constantly bent into
the "present" .....to the state "here and now" ... to the act of experiencing of
"occurring in the instant". This act of "occurring in the instant" in actually
between mind and the surface of action which is in this case 'the very point of contact of
the brush loaded with colour with the canvas. The awareness of this contact point
of action is so high-ended that a sensation is evoked spontaneously and effortlessly due
to the pure happening....between the colour loaded brushes and the canvas ....the
"occurring in the instant" as being recorded by the 'medium' which is paint. Here the
"occurring in the instant" is actually the "para-real" happening simultaneously in
the equanimous or the transcendental state of mind and the medium on the canvas.
This is a point of time when activity becomes action and this action is as spontaneous
as the Zen. An absolutely aware action where there is no doubt ...there is no choice
between illusions...an absolute 'act of experiencing' between the hair-line difference
between life and death. The beauty of this "occurring in the instant" that here the
'experiencer' is future and the 'experience' is past whereas only the 'act of experiencing'
is present and para-real. Hence one can call this abstraction as "Para-Real
Abstraction" or "Elemental Abstraction". The phenomenon of "Para-Real
Abstraction" or "Elemental Abstraction" denounce and excoriate all the hitherto
established conventions and notions on abstraction because here is an act of seeing the
world objectively (as actually the world is without illusions) through the exertion of
'subjective self'.

For me very importantly abstraction is zen and a process to discover the original
‘element’ akin to the soul’s ‘non-intention’ rather than mind’s ‘intention’ for realizing
the ‘being’. We are not to ‘become something’ but we are already come prepared with
what we actually are. This ‘being’ is the existence which will never die because it was
never born; it just exists and manifests through its two essential associates, body and

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mind, through dualism and while In its journey from ‘intention’ to ‘non-intention’ Try Premium
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begets various forms (objects) and intermittent happenings (subjects) in the world
around us what we generally categorize between the range of’representational’ to ‘non-
representational’. In order to be disillusioned from illusion and experience the truth or
non-dual we simply can’t negate dualism because it is equal to negating the false. That’s
why we do sleep every night to renew our faculty of seeing the world without illusion,
Referring to the zen masters who could see the world in "occurring in the instant" I
practice abstraction with the experience of here and now For me abstraction though
starts with the transcendental vision of the atomic chemistry between physical objects
(matter) and mundane subjects (space) yet remains as trajectory for transformation of
the existence as analogous to the wormhole or the Interstellar & of cosmos where time
and space bends. To me abstraction comes to unfold the truth of impermanence of this
illusive world and the Ironical true-copy rendering through artist’s skllls There doesn’t
exist any boundary line between abstract and concrete.

The advance stage of "Para-Real Abstraction" might result in complete cease of


thoughts.

Then an experience of ‘self in transformation’ prevails in me ….when I don’t need any


rest and could easily experience without deterrence my own enormous energies
pulsating in me without a wrinkle on my face. A feeling of being contemporaneously
enlightened, awakened prevails only to finally find that the painting is complete.

RAMESH KANDAGIRI

(Entire text of 4,949 words, of this file in 10 pages, in Times New Roman font
with font size 14, is original intellectual property of Ramesh Kandagiri and is
protected by Indian copyright Law, copying, adaptation or manipulation in any
manner of the same without permission of its author is violation of I.P.R. Act
1957.All copyrights reserved ©with Ramesh Kandagiri 2014).

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Swarna sagar 2y
Fine Art Faculty at AD The Design School - India

:)
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9/24/2017 (12) A PERSONAL DIALOGUE ON MY ART AND THOUGHT PROCESS By- Ramesh Kandagiri | LinkedIn
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ramesh kandagiri 3 2y Try Premium
Search Artist (Painter), Assistant Professor, Painting at College of Art, DTTE, Govt. of NCT of Delhi, New D… for Free
thanks dear Swarna
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ramesh kandagiri
Artist (Painter), Assistant Professor, Painting at College of Art, DTTE, Govt. of NCT of Delhi, New Delhi, India

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