Subtle world is not only our state, in fact it is an entire world with all the opportunities and obstacles. The phenomenon of Subtle world is quite earthy, though it occurs on a different plane.
Nicholas Roerich, an artist and Maharishi
WINDOWS OF EXISTENCE or THE MOST SUBTLE OF THE WORLDS
The concept of “Subtle Grounds” refers primarily to the Vedic culture of India which has long ago discovered and described this sensual phenomenon, energy flows in space, our body and our mind, and many other things that is yet impossible to comprehend, measure and prove by the traditional scientific methods. In Indian culture from time immemorial this knowledge has been carefully preserved, delicately cultivated and used successfully. And it has been a while since yoga practices and Ayurveda became inherent attributes of our "uneasy" European life.
While traveling around warm Rajasthan and other southern states of India, looking for exotic impressions, once I accidentally captured a view through the lowered louvers.
- Oh, this is actually "Subtle grounds"! - I thought. It straightaway reminded me of a conversation with a physicist friend of mine, who had explained a complicated quantum world to me in a very figurative and clear way: “It is just the same as our reality, but without a single person!”
I liked this simple lyrical metaphor and while working on the project I constantly referred to it. It also seemed to me that in this case physics and lyrics excellently complemented each other.
From that moment on, fueled by curiosity I unintentionally looked into every window in search of another metaphysical experience. I was fascinated by a hidden, subtle level of existence of the visual image that is resistant to the scientific study.
It was as if I have plunged into this state, and the images captured through the louvers in different places of this rich country, as a mosaic composed the entire one world – the realm of solitary serenity and grace. All this has naturally transformed into the installation: in a dark room the artworks in the form of luminous windows are exhibited on the walls. Thus, the dark room is perceived as an internal space and the landscape outside the window – as an external.
The exposition represents 10 artworks which depict simple views through the windows with lowered louvers. The landscape behind the louvers is painted “out of focus”. In fact, it is inessential. It is the air, the void and everything, that is impossible to illustrate, that are crucial. This “out of focus” technique enhances the depth and makes the space more airy and immaterial. The paradise atmosphere outside the windows gives us a balanced mood, a sense of peace and happiness, a feeling of pleasure from simple contemplation. Coming into the room a viewer sees a delightful landscape through the windows and naturally interacts with the installation. As a result, the relevant images, feelings, memories and fantasies come out to a person, filling the space around.
A dark room is, at some point, a revealed model of an introverted perception. A view from inside. An abstract inner world, moreover – an attempt to look at the world around through the inner world. There was an aim to imitate the atmosphere, to create the ultimate illusion of reality. To convey the depth and the air. The outside air and the air of inner peace. I also attempted to unite all the artworks into one panoramic picture, composed of separate, self-contained paintings.
Looking at the illusory reality through the "windows of existence" we can see that everything in the world is limited to the frames of these windows, where the louvers grid is a thin border between its spaces. It structures the image in the same manner as our "poor" mind splits reality into patterns and divides into small pieces, creating the mosaic images.
The mosaic masonry itself is inlaid in a rigidly mathematical way, so one can recognize a wall of colored information blocks, which resembles multicolored television lines on a big screen.
Creating an illusion of subtle movements, the video implies a fourth dimension, filling our individual space with air- and time flows.
I have a fragile and vague idea of a reality outside the window. I look at the world through the louvers that are both – my protection and obstacle. The louvers hide a paradise landscape and the light that is leaking inside, but they shield us from the elements of nature, from prying eyes and the human will.
Only the abandoned armchairs maintain a sense of the past and an image of the infinitely sole presence of a man.
Yet, it is not enough for a human to simply exist – one requires a strong evidence of his or her actual existence.