Mahabhuta: The Great Element
This spring, art lovers in Auckland are in for a treat. After the miniature painting exhibition depicting the 'story of Rama', here comes another exhibition showcasing the art, which depicts the flavors of the time travel of Hinduism and Buddhism across many millenniums. Tiffany Singh, an artist of Indian origin, has put her knowledge and learning of the two ancient religion into her works. This has resulted in perusal to the world, a work that is close to Mother Nature and sacredness that is hard to miss in these amazing godly work of art.
Indian Weekender caught up with Tiffany Singh and spoke to her about her works in display at Auckland's Fo Guang Shan Temple and Malcolm Smith Gallery from September 27 to November 19.
IWK: Tell us about yourself:
Tiffany Singh: I am an artist based in Auckland, with a fondness for installation art to convey ideas of ritual in an abstracted, stylized mode. My art practice is deeply embedded in Eastern and Western spiritual beliefs. I create artworks that resonate with all the senses, and I work alongside Fair Trade organisations. Within the contemporary art context, I explore the arts as a therapeutic medium.
IWK: What is the exhibition, “Mahabhuta: The Great Element” all about?
T S: Mahabhuta: The Great Element is a multi-sensory exhibition of twelve artworks across two free East Auckland locations—Malcolm Smith Gallery (35 Uxbridge Road, Howick) and Fo Guang Shan Buddhist Temple (16 Stancombe Roat, Flat Bush). The title of the exhibition is a Sanskrit term translating to “the great [natural] element,” and this term becomes the starting-point for reflection. Expect swarms of text, beeswax sculptures, ribbons with mantras, gold-painted wind chimes, even an artwork filmed underwater.
IWK: What has been the inspiration behind these works? Can you tell us about how the idea came to you?
T S : These works expand from a deep inquiry into natural elements in the modern world and their forgotten sacredness. Sacredness can be a means to connect with others and nature through a dimension greater than the self. These artworks try to imagine a better world that we can be part of, and encourage all to collectively address ecological problems.
IWK: You say Buddhism and Hinduism played a major role in shaping these works. Can you elaborate?
T S: I am an artist of Indian, Maori, Pacific Island and Pakeha descent. The coming together of these different cultures and world-views is evident in my artistic practice. Having multiple ethnicities has enabled me to explore varying philosophies around healing and social well-being through a visual arts practice. The work is very repetitious in its form and process and often becomes a meditation that shifts my awareness. The creative process of art for me is an experience of connecting to the senses beyond the normal awareness of them, this input or feeling is then translated into an expression in normal dimensions; form, sound, color, composition. It was east that first put me into this state of being through the exposure to ritual and ceremony and the heightened sense of being connected to something greater than self. Eastern philosophy and a desire to explore my Buddhist practice through my arts practice are large informers of my creative practice still to this day.
IWK: Can you elaborate on some of the specific works on display?
T S: Sayapatri: 100 Layers is an artwork installed in the Fo Guang Shan Buddhist Temple. It focuses on the life-giving force of Mother Earth. The artwork is made out of Nepalese cloth associated with ceremony and ritual. Through the repeating Medicine Buddha Mantras, which is hand-written onto the cloth, the artwork becomes impregnated with the aura of healing and purification. In this way, the process of making the artwork mirrors the process of mantra meditation, and the artistic practice and spiritual practice become one in the making of the installation.
The Wind of Ancient Sages consists of numerous wind chimes installed in the cherry blossom trees. With their gentle sound, remind us to exist in the present moment.
The River of Verses is a new artwork in the Malcolm Smith Gallery. It is a text-based artwork completed through the participation of various individuals, local schools and community groups of East Auckland. The work allows for communal conversation via different modes of participation, through offerings of ancestral wisdom in the form of proverbs, dictums and maxims.
IWK: What is the message you are trying to communicate through your works in this exhibition?
T S : The exhibition underscores the interdependence of humans and nature. I aim to collect large commentaries on the natural elements emphasizing the powers of collaboration not only between ethnicities but also belief systems and oral histories. To do this I have reached out to the local iwi, community groups, environmental impact organizations such as the Kauri Project, as well as hosting school workshops where the children can directly contribute to the work itself. It’s about being diverse. The message is an inclusive and expansive one, one that encourages thought and action around contemporary issues that deep affect our communities in today’s world.
This spring, art lovers in Auckland are in for a treat. After the miniature painting exhibition depicting the 'story of Rama', here comes another exhibition showcasing the art, which depicts the flavors of the time travel of Hinduism and Buddhism across many millenniums. Tiffany Singh, an artist...
This spring, art lovers in Auckland are in for a treat. After the miniature painting exhibition depicting the 'story of Rama', here comes another exhibition showcasing the art, which depicts the flavors of the time travel of Hinduism and Buddhism across many millenniums. Tiffany Singh, an artist of Indian origin, has put her knowledge and learning of the two ancient religion into her works. This has resulted in perusal to the world, a work that is close to Mother Nature and sacredness that is hard to miss in these amazing godly work of art.
Indian Weekender caught up with Tiffany Singh and spoke to her about her works in display at Auckland's Fo Guang Shan Temple and Malcolm Smith Gallery from September 27 to November 19.
IWK: Tell us about yourself:
Tiffany Singh: I am an artist based in Auckland, with a fondness for installation art to convey ideas of ritual in an abstracted, stylized mode. My art practice is deeply embedded in Eastern and Western spiritual beliefs. I create artworks that resonate with all the senses, and I work alongside Fair Trade organisations. Within the contemporary art context, I explore the arts as a therapeutic medium.
IWK: What is the exhibition, “Mahabhuta: The Great Element” all about?
T S: Mahabhuta: The Great Element is a multi-sensory exhibition of twelve artworks across two free East Auckland locations—Malcolm Smith Gallery (35 Uxbridge Road, Howick) and Fo Guang Shan Buddhist Temple (16 Stancombe Roat, Flat Bush). The title of the exhibition is a Sanskrit term translating to “the great [natural] element,” and this term becomes the starting-point for reflection. Expect swarms of text, beeswax sculptures, ribbons with mantras, gold-painted wind chimes, even an artwork filmed underwater.
IWK: What has been the inspiration behind these works? Can you tell us about how the idea came to you?
T S : These works expand from a deep inquiry into natural elements in the modern world and their forgotten sacredness. Sacredness can be a means to connect with others and nature through a dimension greater than the self. These artworks try to imagine a better world that we can be part of, and encourage all to collectively address ecological problems.
IWK: You say Buddhism and Hinduism played a major role in shaping these works. Can you elaborate?
T S: I am an artist of Indian, Maori, Pacific Island and Pakeha descent. The coming together of these different cultures and world-views is evident in my artistic practice. Having multiple ethnicities has enabled me to explore varying philosophies around healing and social well-being through a visual arts practice. The work is very repetitious in its form and process and often becomes a meditation that shifts my awareness. The creative process of art for me is an experience of connecting to the senses beyond the normal awareness of them, this input or feeling is then translated into an expression in normal dimensions; form, sound, color, composition. It was east that first put me into this state of being through the exposure to ritual and ceremony and the heightened sense of being connected to something greater than self. Eastern philosophy and a desire to explore my Buddhist practice through my arts practice are large informers of my creative practice still to this day.
IWK: Can you elaborate on some of the specific works on display?
T S: Sayapatri: 100 Layers is an artwork installed in the Fo Guang Shan Buddhist Temple. It focuses on the life-giving force of Mother Earth. The artwork is made out of Nepalese cloth associated with ceremony and ritual. Through the repeating Medicine Buddha Mantras, which is hand-written onto the cloth, the artwork becomes impregnated with the aura of healing and purification. In this way, the process of making the artwork mirrors the process of mantra meditation, and the artistic practice and spiritual practice become one in the making of the installation.
The Wind of Ancient Sages consists of numerous wind chimes installed in the cherry blossom trees. With their gentle sound, remind us to exist in the present moment.
The River of Verses is a new artwork in the Malcolm Smith Gallery. It is a text-based artwork completed through the participation of various individuals, local schools and community groups of East Auckland. The work allows for communal conversation via different modes of participation, through offerings of ancestral wisdom in the form of proverbs, dictums and maxims.
IWK: What is the message you are trying to communicate through your works in this exhibition?
T S : The exhibition underscores the interdependence of humans and nature. I aim to collect large commentaries on the natural elements emphasizing the powers of collaboration not only between ethnicities but also belief systems and oral histories. To do this I have reached out to the local iwi, community groups, environmental impact organizations such as the Kauri Project, as well as hosting school workshops where the children can directly contribute to the work itself. It’s about being diverse. The message is an inclusive and expansive one, one that encourages thought and action around contemporary issues that deep affect our communities in today’s world.
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