Mandalas

syn'cre-tism n. The attempt or tendency to combine or reconcile differing beliefs, as in philosophy or religion. — syn'cre-tis'tic, syn-cre'tic adj.

The greatest influence on my painting in recent years is the mandala, broadly defined. Many traditions the world over, from the alchemical engraving of 17th century Europe to the Navajo sand painting, combine symmetry and symbolism to convey philosophical and spiritual ideas. In the process of creation, the mandala creates an informational feedback loop between the creator and the created. Upon viewing, the mandala's impact on the viewer is to allow him or her to see everyday reality with new eyes.

The modern paradigms of physical science, making heavy use as they do of mathematics as well as graphical representation of data, provide just a few among many ways to use symbolic systems to understand the Universe. My mandala paintings incorporate designs inspired by Vedic themes, the Tao, alchemical philosophy, Tarot, Kabbalah, early Rosicrucianism, Freemasonry, Haitian Vodou, mathematics and geometry - often many of these at once.

As similar themes and symbols are used across multiple cultures, I have blended these traditions, combining the unique details to underscore the shared patterns, and to allow new ideas to emerge from the juxtaposition. I call the resulting paintings and drawings syncretic mandalas.

	In Vedic meditational disciplines, the chakras are a hierarchy of what today are variously described as "energy centers" or "nerve centers", running in a vertical pattern up the human body.
	In Vodoun (better known in the United States as "Voodoo"), Vevers are used during ceremonies to invoke the spirits. Here, I have taken the usually flat, monochrome vever designs and combined some of their design elements with similar symbols from other traditions.
	Kabbalistic, Alchemical, and Tarot-based Mandalas, more firmly Western-school.
	Other paintings not necessarily in the mandala category.