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Magen David, the Shatkona Print

Gary Alden

United States

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12 x 16 in ($115)

12 x 16 in ($115)

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ABOUT THE ARTWORK

Magen David, the Shatkona. This was a nod to my wife’s Jewish heritage, which is also a symbol used in the ancient Hindu yantra, representing the union of the female and male energies. Yantras are tools for meditation, mantra recitation, and prayer, helping to focus on intentions harmoniously and channel the universe's energy into the body. They derive mainly from the Tantric traditions of the Indian religions. I hope that the viewer, when their mind’s eye follows the single path that, having no beginning, is literally endless, there will be reflection, discovery and aesthetic delight. In my paintings, the way may grow tangled, but is never blocked, and every part can engage everything else in an immersive meditative experience. I hope people will find the peaceful but playful serenity that making my biomorphic labyrinths gives me.

DETAILS AND DIMENSIONS
Print:

Giclee on Canvas

Size:

12 W x 16 H x 1.25 D in

Size with Frame:

13.75 W x 17.75 H x 1.25 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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