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09/08/2015

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Summer Was Flowers Gallery

  • Waving Astors, 10"X10", Oil on Panel, $325
    After being inundated with wild flowers at every turn this past summer, all I could do was paint them. Down on my belly and eye-to-eye with each group, I tried to capture the wealth in every square foot. Flowers and plants were crowded together, forcing relationships of color, shape and space. Small chunks of landscape begged for attention.I began each with an under-painting in what seemed to be the opposite color of each subject. I soon knew that this color was the true message of each painting.

Form Gallery

  • Mountain View  35'X46'  Archival Photo on Panel  $1200
    “Seeing Form” This is a collection of “present moments”. These moments are time, standing still while everything else moves. Even the other moments move! However, they do not hinder each other, as each one is “for the time being”. Occupying a common space that supports and connects them, they arise, abide, change and then pass away, over and over, again and again. When looking at my work, try to let go of judgement, and allow yourself to see clearly. You may need to get very close, or back away until the image forms. Make an effort not to name them or make them into something. “Ironically, its very ordinariness presents the challenge because we are so caught up in our ideas and fantasies…” (Reverend Master Meiten McGuire) Eloise Larson

Range Gallery

  • Equally, with all of them speaking of prajna (wisdom)
    “My late Master and ancient buddha, said: The whole body is like a mouth hanging in empty space, Not questioning the winds from east, west, south or north, Equally, with all of them speaking of prajna (wisdom): Ding-dong-a-ling ding –dong.” ~ “Maka Hannya Haramitsu” Shobogenzo Zen Master Dogen

Climate Change Will Save the World Gallery

  • Suddenly and Significant, Triptych
    The thought arises, “Climate change will save the world." With wide-ranging and immediate action, Our planet reacts suddenly and significantly. Clouds avoid us. Rivers shrink. Glaciers liberate prehistoric water. Colossal spider, Web-centered, Senses, Perceives, Acts, Lives. Eloise Larson

Transmission Gallery

  • One Square
    A Japanese monk in the 13th century traveled in China hoping to find the way to practice Buddhism. Somehow, he got all these really great monks to show him their sacred transmission silks. These silks depicting the lineage of Buddhist masters from before the time of Shakyamuni Buddha to present day, resembled a simplified flower form. Based on the chrysanthemum, it was a symbol of the reciprocal teaching relationship between master and disciple. When I ask a monk if I could see one she told me, “No.”. Documenting the Truth that is passed from a particular master to a particular disciple, they are to be kept private and not flaunted. Why, then, did those great teachers show him those silks? What did this monk know? Why did it matter? What is black and white and red all over? Eloise Larson

Alayavijnana Gallery

  • Alayavijnana 10
    Alayavijnana: the storehouse consciousness We store a great sea of experiences. These memories influence our present actions and disturb this sea. This disturbance ripples through the water, jostling other memories, and emotions are initiated. Reactions begin. When we see those memories as they really are, the sea is not set in motion. No wake stirs the karma of our previous actions. Eloise Larson Traveling across Lake Michigan at sunset, I was reminded of the Alayavijnana. With the light fading, the colors of the land and sky were nearly invisible. Having acquired the same value and intensity the boundaries between these colors were disappearing. Discriminating the features of the world was becoming impossible.

Make a Hole in Emptiness Gallery

  • Make a hole in emptiness 9
    In the mid-nineties, I began visiting the Shasta Abbey, a Buddhist monastery in northern California. My vision changed. I began looking beyond the surface. Looking inward, a small quiet, empty octagon kept appearing. Moving beyond representionalism, using charcoal and oil bars, I masked off pure white octagons and made marks around them. Focusing on the action of these marks, I simply tried not to draw in deliberate manner. A series of works poured forth: "Make a hole in emptiness."

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