El mundo entero es medicina. 2010. Óleo sobre pan de oro. 90 x 145 cm. Colección particular
THE WHOLE WORLDIS MEDICINE
Some years ago, I received a letter from my friend, the Zen master Daniel Terragno from Sebastopol, California. He had attached a postcard with a kōan written in Japanese calligraphy that read:
Sickness and medicine are in accord with each other The whole world is medicine What am I?
I worked for long time with this poem. In some of the works inspired by this kōan, my intervention is subtle, almost imperceptible. The golden background in El curso circular de la luz [The Circular Course of Light] or El mundo entero es medicina [The Whole World is Medicine] disappears when light is reflected on it, leaving a vast emptiness. In some of my works’ backgrounds, red veins subtly draw a mountainous landscape; form and background intertwine. The veins form a route reminiscent of the rivers of the earth, or the roots and branches of a tree, or the ramification of the nervous system. We must come to an awareness that understanding this interrelation is the only thing that can cure humanity; it has to do with the individual in relation to its existence within nature. Pamen Pereira
Photography: Pepe Caparrós, Efrain Pintos, Tono Arias
Some time ago I told Daniel Terragno my experiences after reading Yunmen’s poem, and his response was revealing: “I think that a work of art must do precisely that. It reminds me of Dogen when he speaks about how I (or Myself) disappears when confirmed by the other (the ten thousand things, in this case, the work itself).”
El caballo blanco penetra la flor de la caña. 2012. Flor de palmera seca y asta de ciervo. 40 x 80 x 30 cm.
When I say that I insist on the air and pose, time and again, the same challenge of gravity, I am of course insisting on the earth. Everything can be posed as an interior landscape, entering the subsoil and bringing to light what is not usually in sight. Palace, mountains or skulls take root in the air on the scale of whoever is able to behold the world in the palm of their hand.
Tomillo. Raíces de ciprés sobre panel dorado 145 x 90. Colección particular
Naturaleza revelada II. 2016. 100 x 120 x 120 cm Planta seca, acrílico, ojo de cristal