This series was created following Emily's field research in the grottoes at Dunhuang in the Gobi desert and in various locations in Tibet. Her research expedition was made possible by the Queen's University Summer Research Fellowship (2015). The series of works is a way for her to make sense of the research findings while sharing with wider audiences.
Impermanence, performance art over 7 days, Sand Mandala: natural and coloured sand, lentils, maize, flour, 6.7 x 6.7 feet, 2015
The Tibetan sand mandala was a week-long meditative performance from Emily's graduation show at Queen's University in 2015. Throughout the week, viewers could observe, engage with, and meditate on the creation process.
A mandala houses a spirit. The purpose of sand paintings is to meditate on its spiritual energies. From the interior to the exterior, are the eight auspicious symbols of Tibetan Buddhism - traditionally for safety and protection of the home (jewelled parasol, golden fish, conch, vase, lotus, the endless knot, the victory banner, and the "wheel of the law”). This work gave the viewers an invitation to pause - for their soul to rest.
On the last day of the exhibition, two volunteers were recruited from the audience on-site at the performance. Emily recalls, "when I gave them brooms and asked them to help return it to its origin, one of them was shocked and said how can you do this, the artwork is too beautiful, we can’t destroy it."
After a few simple circular sweeps, the sand painting returned to its original appearance - colourful sand. There is no beginning, no end, and there is neither the eternal nor the non-eternal were the teachings Emily received while at the Tashilhunpo Monastery in Tibet.
After a few simple circular sweeps, the sand painting returned to its original appearance - colourful sand. There is no beginning, no end, and there is neither the eternal nor the non-eternal were the teachings Emily received while at the Tashilhunpo Monastery in Tibet.
Intertwined bodies, oil on canvas, 3 by 4 feet, 2015.
An interpretation of the Chinese/Tibetan Buddhist belief: yuan fen – a predestined encounter. We are all connected to the intimate people in our lives by countless 'life threads.' Each life contains relationships with other souls, the links are cultivated through thousands of years of overlap. These relationships are the preordained fate of reincarnation.
Intertwined Souls, metal sculpture: wax cast mask, threads, 9 x 12 feet, 2015.
When a thread goes out, it inevitably comes back, perhaps not in this lifetime but in another. The delicate thread against the metal contrasts the permanence and impermanence of one's physical and emotional attachments in one lifetime. The threads are entangled, seemingly fragile, yet enduring in influence; the body made of steel, seemingly tough, but fading with time.
(detail of the mask)
