Thousands of Hands and Objects
Statement:
In Buddhism, the enlightened being Avalokiteshwara (called Guan Yin in Chinese Buddhism) is known as The One with a Thousand Arms and a Thousand Eyes." The bodhisattva's one thousand hands hold holy ritual implements to assist all those who need aid, representing compassion.
The Covid-19 pandemic caused much pain, sadness and stress. The virus made us reconsider the safety of touch, we avoided contact with others as well as high-touch surfaces and objects. It made me realize how reliant we are on physical contact. I like to hold an object, feel its texture and sense the craftsmanship and marks from history. Objects have meaning beyond their function-an object may convey a sense of safety, trigger memory, induce calm or provoke agitation. Anything can function as a sacred implement to help relieve the pain of reality. These everyday objects act like the holy ritual objects in Avalokiteshwara's thousand hands that bring aid.
In looking at these objects - a microphone, a watering can, a roller skate, a hot dog - our own memories are evoked. This project pushes us to reconsider the objects we use every day; to cherish the materials and artifacts in our lives, and to cherish the natural environment, lives, and resources around us. Though inanimate, objects carry the meanings of lives and act as a testament to our existence.
Statement:
In Buddhism, the enlightened being Avalokiteshwara (called Guan Yin in Chinese Buddhism) is known as The One with a Thousand Arms and a Thousand Eyes." The bodhisattva's one thousand hands hold holy ritual implements to assist all those who need aid, representing compassion.
The Covid-19 pandemic caused much pain, sadness and stress. The virus made us reconsider the safety of touch, we avoided contact with others as well as high-touch surfaces and objects. It made me realize how reliant we are on physical contact. I like to hold an object, feel its texture and sense the craftsmanship and marks from history. Objects have meaning beyond their function-an object may convey a sense of safety, trigger memory, induce calm or provoke agitation. Anything can function as a sacred implement to help relieve the pain of reality. These everyday objects act like the holy ritual objects in Avalokiteshwara's thousand hands that bring aid.
In looking at these objects - a microphone, a watering can, a roller skate, a hot dog - our own memories are evoked. This project pushes us to reconsider the objects we use every day; to cherish the materials and artifacts in our lives, and to cherish the natural environment, lives, and resources around us. Though inanimate, objects carry the meanings of lives and act as a testament to our existence.
Solo Exhibition at Craft Ontario Gallery
Photography by Jocelyn Reynolds
Inspiration
In Buddhism, the enlightened being Avalokiteshwara (called Guan Yin in Chinese Buddhism) is known as “The One with a Thousand Arms and a Thousand Eyes.” The bodhisattva’s one thousand hands hold holy ritual implements to assist all those who need aid, representing compassion.
The Covid-19 pandemic caused much pain, sadness and stress. The virus made us reconsider the safety of touch; we avoided contact with others as well as high-touch surfaces and objects. It made me realize how reliant we are on physical contact. I like to hold an object, feel its texture and sense the craftsmanship and marks from history. Objects have meaning beyond their function—an object may convey a sense of safety, trigger memory, induce calm or provoke agitation. Anything can function as a sacred implement to help relieve the pain of reality. These everyday objects act like the holy ritual objects in Avalokiteshwara’s thousand hands that bring aid.
In looking at these objects – a microphone, a watering can, a roller skate, a hot dog – our own memories are evoked. This project pushes us to reconsider the objects we use every day; to cherish the materials and artifacts in our lives, and to cherish the natural environment, lives, and resources around us. Though inanimate, objects carry the meanings of lives and act as a testament to our existence.
In Buddhism, the enlightened being Avalokiteshwara (called Guan Yin in Chinese Buddhism) is known as “The One with a Thousand Arms and a Thousand Eyes.” The bodhisattva’s one thousand hands hold holy ritual implements to assist all those who need aid, representing compassion.
The Covid-19 pandemic caused much pain, sadness and stress. The virus made us reconsider the safety of touch; we avoided contact with others as well as high-touch surfaces and objects. It made me realize how reliant we are on physical contact. I like to hold an object, feel its texture and sense the craftsmanship and marks from history. Objects have meaning beyond their function—an object may convey a sense of safety, trigger memory, induce calm or provoke agitation. Anything can function as a sacred implement to help relieve the pain of reality. These everyday objects act like the holy ritual objects in Avalokiteshwara’s thousand hands that bring aid.
In looking at these objects – a microphone, a watering can, a roller skate, a hot dog – our own memories are evoked. This project pushes us to reconsider the objects we use every day; to cherish the materials and artifacts in our lives, and to cherish the natural environment, lives, and resources around us. Though inanimate, objects carry the meanings of lives and act as a testament to our existence.
Context and Cultural Background
Throughout the history of China, atheism has deeply influenced the culture, dating back to the times of Lao and Confucius. The emphasis has traditionally been on functional living rather than spiritual pursuits through religion. Although Buddhism's atheistic nature has had a significant impact on Chinese culture, praying at a Buddhist temple does not necessarily indicate practicing Buddhism. Similarly, I grew up surrounded by Buddhist temples and statues but do not consider myself a Buddhist. I really enjoy the Buddhist understanding of the universe. When creating my works, I use Buddhist context to support my concept, as these objects in my daily life are akin to situational objects.
The hand gestures used in my work called mudra are from the Buddhist tradition. I used 4 mudras (see image) in this series:
1. Gyan mudra meditation improves memory and enhances the quality of creative thinking.
2. Shuni mudra represents ‘openness and emptiness’
3. Vaat Nashak mudra, practice to avoid mental instability and physical discomfort.
4. Apana mudra is for the elimination of wastes from the body.
The decision to use these gestures is based on their conceptual meaning and visual composition with the objects. Also, I need to ensure the form works for the mechanical design.
A Story After This Work Was Made
Once a morning, my family and I took a walk on a trail by the Bay of Fundy. A lady smiled at my 3-year-old daughter and warned her about a muddy puddle at the end of the stairs. I noticed the lady's smiling face, which felt unfamiliar since the pandemic. Last year (2022), everyone on this trail wore masks when we walked closely to each other. I'm already starting to forget the feeling of the pandemic. When we reached the top of the hill, we found a framed picture by the fence left by a person. The picture showed her love, a dog that passed away 10 years ago, who used to walk with her on this trail often. She mentioned in the picture that she wanted to commemorate her memory by leaving it here, by their favourite spot. People's pain and memories stay with them forever, but others may forget. An object can remind others, just like the framed picture that made my daughter feel sad and made me hug her.
Throughout the history of China, atheism has deeply influenced the culture, dating back to the times of Lao and Confucius. The emphasis has traditionally been on functional living rather than spiritual pursuits through religion. Although Buddhism's atheistic nature has had a significant impact on Chinese culture, praying at a Buddhist temple does not necessarily indicate practicing Buddhism. Similarly, I grew up surrounded by Buddhist temples and statues but do not consider myself a Buddhist. I really enjoy the Buddhist understanding of the universe. When creating my works, I use Buddhist context to support my concept, as these objects in my daily life are akin to situational objects.
The hand gestures used in my work called mudra are from the Buddhist tradition. I used 4 mudras (see image) in this series:
1. Gyan mudra meditation improves memory and enhances the quality of creative thinking.
2. Shuni mudra represents ‘openness and emptiness’
3. Vaat Nashak mudra, practice to avoid mental instability and physical discomfort.
4. Apana mudra is for the elimination of wastes from the body.
The decision to use these gestures is based on their conceptual meaning and visual composition with the objects. Also, I need to ensure the form works for the mechanical design.
A Story After This Work Was Made
Once a morning, my family and I took a walk on a trail by the Bay of Fundy. A lady smiled at my 3-year-old daughter and warned her about a muddy puddle at the end of the stairs. I noticed the lady's smiling face, which felt unfamiliar since the pandemic. Last year (2022), everyone on this trail wore masks when we walked closely to each other. I'm already starting to forget the feeling of the pandemic. When we reached the top of the hill, we found a framed picture by the fence left by a person. The picture showed her love, a dog that passed away 10 years ago, who used to walk with her on this trail often. She mentioned in the picture that she wanted to commemorate her memory by leaving it here, by their favourite spot. People's pain and memories stay with them forever, but others may forget. An object can remind others, just like the framed picture that made my daughter feel sad and made me hug her.