The Art of Adi Da Samraj
A Performance-Assisted Subjective Process

Through His art, Adi Da Samraj offers to everyone His direct (non-verbal and non-conceptual) Revelation of Truth, of Reality, of the Divine, of the real nature of human existence, and of the process of transcending the limitations of human existence. Thus, when you enter into the viewing of His art, you are being invited by Him to participate in what He calls a "performance-assisted subjective process"—an inner (or subjective) process of transformation that is assisted by viewing the "performance" of His art. This process of transformation is, for each one, a unique personal journey, in which the dissolution of ego-darkness in the Truth of Divine Light can be profoundly experienced. This process of transformation is the purpose of His art.

The art of Adi Da Samraj is a form of His Transmission. Over many years, He has Spiritually Invested Himself in His literature and in the Sanctuaries He has established, as a means of creating Sources of His Transmission that will remain forever accessible to people. And He is now Empowering His art in the same manner. The Transmission received through His art is a living matter-every time His art is viewed, one receives a communication uniquely appropriate to that moment of one's life.

Although it has a profound Spiritual purpose, the art of Adi Da Samraj does not adhere to any formulaic religious iconography. It is simply art-with inexhaustible meaningfulness, but without philosophical "overlays" superimposed from without. To participate in viewing this art, what is required is a combination of aesthetic sensitivity and sensitivity to the human situation altogether.

Since September 2000, Adi Da Samraj has created all of His photographic art as Suites-sequenced groups of images (rather than individual images). These Suites range in size from some of His early works ranged anywhere from 26 images to over 800, and His most recent works, such as She Is Mind, is over 3000 images.

Because the viewing of such Suites like She Is Mind involves taking in over three thousand images in the space of two hours, it is necessary to approach the work with a disposition of mind that is very relaxed, even while being intensely attentive. Participate fully in allowing the images (and the relationships between the images) to make their impact on you. But relax the attempt to "grasp" the images as they flow continuously in successive waves.

Two of Adi Da's recent Suites, 9 Mary and She Is Mind, are structured in groups of nine images (for which Adi Da Samraj has coined the term "nonaptych"-in parallel with "diptych" and "triptych"). In the arrangement of these images, consistent with His earlier works, images are shown touching edge to edge, such that myriad visual relationships emerge between the images, left to right, right to left, and from the central image out. In a new development in the multi-media form of His artwork (initiated in 9 Mary), each nonaptych gradually fades into the next, pausing at the "halfway point", which results in a merging of the two layers, and an entirely new combination of visual elements at each transition point.

Adi Da Samraj describes His works as "monumental fabrications"—large-scale images in a variety of media. To date, these range from large giclees printed on canvas to transparencies mounted in light boxes to a projected multi-media form of exhibition known as "the Bright Room Ceremony" (shown on plasma screens or projected on standard screens).

At the Bright Room Gallery, Adi Da's art is viewed both in the form of large-scale giclees and in its multi-media form (projected on three large screens, with an accompanying musical soundtrack). The larger-than-the-body size of these "monumental fabrications" is essential to Adi Da Samraj's creation of a "participatory" art that overwhelms the viewer, beyond the limited and separate "point of view" of the ego. As He says in His artist's statement, "I work to move the viewer into ecstasy—abstracted beyond the ego's modes of perception. Ecstasy abstracts absolutely but not meaninglessly—beyond all presumed 'difference' between 'self' and 'other'."

For devotees of Adi Da Samraj, the photographic set where Adi Da Samraj creates His images is a profound place of worship, a temple in which His art-making is understood and felt to be a sublime and sacred activity. Just as in occasions of the "sighting" of a great Master, anciently revered in the traditions of the East, the opportunity to witness Adi Da Samraj as He works in creating His art is a moment of great Spiritual Transmission. Devotees photographed by Adi Da Samraj describe the experience as a form of Spiritual Initiation, in which the body-mind, in attraction to His "Bright" Condition, is made more available to Light—a process Adi Da Samraj has likened to the shutter opening in a camera.

Adi Da Samraj's work with His art also has a much larger dimension. At the same time that He is Spiritually working with His subjects, He is also engaged in His great Revelation-Work for the sake of all. The images He creates are simultaneously Revelatory of the Divine Reality, of the human condition, and of the particular conditions in the world at the time He is working. For example, on September 10, 2001, He worked late into the night, creating images of profound desolation, images of deep mourning, and images depicting disembodied spirits ascending into Light. These images are heart-moving when viewed in any context, but they are also His prophetic response to the impending events of September 11 and His Compassionate Blessing of those who were about to suffer so greatly. This and other examples of the premonitory nature of His image-making are signs of His constant involvement in Spiritually Working with the world, in order to bring Light into the darkness.

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