In religious practice as in other philosophical thought, reflection gives way to revelation and visualization on many levels that may change the way that we look at our lives, our lessons, our families, our inevitable end as well as our possible rebirth into some new form of existence. Ties is based upon a sequence of reflections and revelations of changing imagery and sound, giving physical form to the work’s universal concepts and deeply personal contexts that engage these issues. It explores the elusive interrelationships between life and death and the special power of familial symbols and objects as markers and creators of memory and meaning. These concepts manifest through the symbolism of Eastern religious thought and imagery, and the cyclical nature of various forms of existence, presenting an environment that is walked into and engaged by visitors, as if guests to an outdoor shrine.

Ties derives its principal form from Tibetan Buddhist temple banners and the ancient Buddhist monument of Borobudur in Central Java, Indonesia. Its overarching theme is the illusory and temporary nature of our existence, where “things are not always what they appear to be.”  Inspiration for this piece came from various Buddhist, Vietnamese Cao Dai, and Hindu temple art forms and architecture from Tibet, Southeast Asia and India, where research was gathered. The title of the work and its central objects commemorate the death of my Jewish father – a lifelong sailor and a dentist in both the Navy and New York City – in the use of 96 of his neckties and other personal belongings that serve as “relics” associated with both our psychic and mundane natures. Moreover, it is informed by my timely relationship with a Tibetan Buddhist religious mentor and friend, Prof. Thubten J. Norbu, whose life and philosophy as a refugee in America is reflected in certain elements of the piece denoting death, reincarnation and enlightenment. These elements merge Judeo-Christian components with the largely Eastern symbolism and irony of what remains after death, what is lost, and the abstract and nearly inexpressible ways in which we remember and honor loved ones. 

The kinetics of Ties is precipitated by the movements of the viewer, which elicits an element of surprise. After an initial encounter with the large work, the viewer follows a path around the piece and exits through the turnstile, initiating a sequence of events. The actions of the piece then take over, but with unexpected occurrences continuing. While Ties runs through its cycle, with a series of closer examinations and contemplation by the viewer, stone turns to metal, death generates life, distortions are rectified, and the vision becomes clarified in a Deus ex Machina denouement of sound, movement, color and mechanism.

Link to Ties Video in real time (5:10 min):
Ties Video in real time