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Hopi Medicine Wheel Print

Gary Alden

United States

Open Edition Prints Available:
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Fine Art Paper

Fine Art Paper

Acrylic

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9 x 12 in ($53)

9 x 12 in ($53)

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$133

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ABOUT THE ARTWORK

The Hopi Indians of North America had a symbol for Mother Earth that was a labyrinth akin to the Medicine Wheel. It was this symbol of the Mother which identified the sacred – that spiraling form found throughout nature. Labyrinths were woven into objects to personify man's connection to his source and were often placed at sacred places in nature to remind him of this union. A journey through the labyrinth recreates this very ancient expression of thanks and remembrance of the divine in all things. The labyrinth is also seen as a path of prayer and an archetypal blueprint where psyche meets Spirit. It is a symbol of all that is experienced in life, depicting the choices we have to make along our journey. For some American indigenous peoples, the center of the labyrinth is felt to exist simultaneously in this world and in the spiritual world, providing us with a doorway to a different dimension of reality.

DETAILS AND DIMENSIONS
Print:

Giclee on Fine Art Paper

Size:

9 W x 12 H x 0.1 D in

Size with Frame:

14.25 W x 17.25 H x 1.2 D in

SHIPPING AND RETURNS
Delivery Time:

Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Previously an art restorer, I now use a meditative painting process to create biomorphic labyrinths, single organic paths that tangle but are never blocked. I was raised in Bordentown, a small historic colonial-era village on the Delaware River, in the heart of agricultural South Jersey. I studied art materials and techniques at the Art Institute of Chicago and the University of Chicago. I then learned paintings conservation at a regional laboratory near Cleveland. I spent my working adulthood in California, in Santa Barbara and San Diego, in studios that restored paintings from all eras. After I returned east, a series of near-fatal health crises persuaded me to change careers to information technology and civic social relief. I married another paintings conservator, and now I live in Chelsea, on the Hudson River in Manhattan, in a high rise complex that houses more people than lived in the village where I was raised. (I know because I looked it up.) My own paintings were always figurative, until recently. Now, despite my Parkinson’s, I take solace in expressive abstraction. I rediscovered a meditative painting technique I developed as a teenager. I have never seen anyone else make paintings like these. If I have been influenced by anybody, it has been my younger, freer self. As well as all the painters whose works I held in my hands, under my care as a restorer. Also, I have always loved comic books, and the strong lines of the best comics may have informed my paintings. As a restorer, I would hover close to the surfaces of paintings when using a microscope, scalpel, or cotton swab. In my own paintings, I continue to work close to the surface and therefore use archival acrylic paints which dry quickly and prevent unwanted smudges. I try to avoid corrections, and sometimes incorporate happy accidents into the evolution of the design.

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