Out On A Limb On Transformative Art and Symmetry
When artists set out to create something, intending it to be spiritual art or transformative art, the results often embody concepts such as perfection, balance and symmetry. Despite this common view of spirituality, I've always had a nagging feeling at the back of my mind that something was not quite right. In this post, I will try to make my thinking more explicit. First, a few quotes:
"The tao that can be described is not the eternal Tao."
"A successful work of art is not one which resolves contradictions in a spurious harmony, but one which expresses the idea of harmony negatively by embodying the contradictions, pure and uncompromised, in its innermost structure."
The former is, of course, the first line of the Tao Te Ching, and the latter is by philosopher Theodor Adorno. I juxtapose these two quotes on the page because I believe they express similar ideas, namely, that art that tries to embody perfection fails to communicate it. Instead, it communicates a preconception of perfection or symmetry that, as a communicator of spiritual concepts, misleads more than it enlightens, including the traditional Tibetan practice of creating mandala art in this category.
That's quite a radical statement. Surely I can't be saying that mandalas are unspiritual! No, in fact I'm not; I do think that the concepts of symmetry and perfection are important concepts to transformation. I'm saying that representations of symmetry and perfection fail to achieve transformation in the unenlightened mind. What tends to happen is that the audience's existing concepts about what is perfect and what is not get reinforced, because symmetry is beautiful and more than anything, we want to believe that our concepts, our ideas and our egos are perfect, beautiful and whole, not empty illusions. If transformative describes something that causes transformation, and the Western art tradition intends for art to be viewed and interpreted by an audience, then I must conclude that "spiritual" art of this variety does not accomplish its descriptive goal of transforming the audience -- it only transforms the artist.
The activity of creating a beautiful symmetry and embodying perfection is doubtlessly transformative, but like a mandala, it should be swept away when it is finished. To transform the audience, not just ourselves, we as artists should invite them to follow us while we embrace our contradictions.

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