TANTRAS 2019-2020
“If an action or a thing once complete becomes beneficial in several matters to one person, or to many people, that is known as Tantric”.  Sahara 6th c.
The etymology of the word Tantra is based upon a metaphor of weaving.  The Sanskrit root, Tan, signifies the extension of ‘threads’ in a warp, an interweaving of traditions as ‘threads’ re-woven in a tangled skein.
Tantra, which also means ‘treatise,’ is an accumulation of practices and ideas based on ritual rather than on a coherent system. Small patches of color, shape and texture that are held together by variations on the same, become an extended ‘cloth’ fashioned according to a set of rules.  Rather than improvised or freely created, simple and complex unrelated images co-exist with randomness and the mundane to unearth what is invisibly present in abstract forms. This practice is first for myself and then for those who are going to meditate on its meaning. 
Labyrinths: the multiplicity of oneness

A labyrinth is a psycho-physical sign of the middle ground between the mental and the physiological. Mirroring and double imagry, which emphasize the simplicity of pictorial sequencing through a quasi mechancal approach, are not meant to mimic appearances from one painting to the next, but to recreate the same movements in the painting process.  Like formalist games, labyrinths represent horizontal progression, unexpected turns and hidden realities that are revealed through diverse effects and derivations.  A pattern of pathways weave around a central point to get to the center and back again, the same way, with only one entry/exit point. Mult-layered and self-referential, labyrinths refer to underground structures, corresponding keys, and seeing everything backwards.

Matter is not mindless. The form or shape a painting takes is based on an invisible plan having to do with attraction to certain kinds of things that are handed down from one generation to the next.