
In the spring 2009 issue of Tricycle magazine, I found a wonderful piece by Reginald Ray. It's an excerpt from his book "Touching Enlightenment: Finding Realization in the Body". I've copied out just a few sentences which spoke to me as I read them this morning. He writes, "Buddhism is nothing other than a set of practices to open up the mysteries of the human heart and the deepest realities of our human experience as those exist, uniquely in us, right at this moment... the more we fathom our own hearts, the more we find there the being of others and, beyond that, the very heart of the world itself... All of this is about becoming who we are in the deepest sense and about surrendering to what creation is asking of us and needing from us just now."
So far I have been exploring the "compassion" side of the practice through metta meditation which opens our hearts, and yet to explore the "wisdom" side through vipassana. I am intrigued what he means by "the very heart of the world itself". My meditation teacher Narayan returns soon from her month-long retreat in Myanmar this week. I have many, many questions for her. One of which whether to keep working with metta, or to take on the other set of practices.
This week was the first in many months with no medical appointments. It felt good to devote myself to clinical work and lots of socializing in the evenings. Last night I attended an opening in East Boston at Atlantic Works Gallery. It was well-attended and vibrant. I am happy that I made the decision to return after a 1-year hiatus. It was a real pleasure to participate in conversations such as how a photograph should be interesting to view at various distances. Or the merits of different framing choices.
Tonight Mark and I are going to the Institute of Contemporary Art to see the Shepard Fairey show which opens tonight. He is known recently as the artist who made the Obama "hope" graphic images. Here is a description of the show:
The first museum survey of one of the most influential street artists of our time
From humble beginnings as a defiant, skateboard-obsessed art student pasting homemade stickers, Shepard Fairey has developed into one of the most influential street artists of our time. Despite breaking many of the spoken and unspoken rules of contemporary art and culture, his work is now seen in museums and galleries, as well as the worlds of graphic design and signature apparel. His multi-faceted, open-ended and generous artistic practice actively resists categorization. Building off of precedents set by artists such as Andy Warhol and Keith Haring, Fairey shifts easily between the realms of fine, commercial, and even political art.
Fairey's multi-layered renderings of counter-cultural revolutionaries and rap, punk and rock stars, as well as updated and re-imagined propaganda-style posters, carry his signature graphic style, marked by his frequent use of black, white, and red. Recently, his portrait of Barack Obama, a ubiquitous sight on the campaign trail, drew a new level of attention to the artist's work and was recently acquired by the National Portrait Gallery in Washington, DC, for its collection.
Shepard Fairey: Supply and Demand traces the development of the artist's career, from the earliest Obey imagery through his latest efforts, and includes screen prints, stencils, stickers, rubylith illustrations, collages, and works on wood, metal, and canvas. The artist is also creating a new mural for the ICA and public art works at sites around Boston.