Works by Adrian Livesley

“Sanctuary”
An Exhibition by Diana Ambida
Grunt Gallery, Vancouver: May 2004

Beaten Helpless by Neurotic Thought

The words near the entrance encourage rest and mental peace. A jittery urban mind may discover tranquility and repose in this space of eccentric figurines and spiritual texts. As the introductory text teaches, dirt clouds water, but when left undisturbed the dirt will fall, leaving the water clean. Similarly, the mind becomes sullied with neuotic modern clutter and leaves us feeling desperate and driven. This show proposes an alternative.

This exhibtion is entitled “Sanctuary”, and its context is crucial to approaching the work. The exhibition has been assembled in an urban gallery in a postmodern metropolis. As cars rush through this industrial area, the artist presents a subtle arena for contemplation that asks us to reevaluate our individual ideals and values.

Diana Ambida is a London-based sculptor who is presenting her first major installation in Vancouver. “Sanctuary” presents a departure from most contemporary theory-based art, which offers an intellectual framework to explore a (usually) narrow range of socio-political and didactic concerns. Ambida’s artistic interests are more spiritual and aesthetic, although the dominant motif in this series - a cast of a remarkably lifelike baby doll firmly locates her as a postmodern artist, who includes pointed references to pop culture and kitsch. In this vein, other contemporary British sculptors, such as the Chapman Brothers, spring to mind. But, as Ambida would quickly point out, the perverse corruption of eros, as portrayed by the Chapmans, is miles removed from the subtle exploration of spirituality, inner calm and the possibilities of new world paradigms that encapsulates this exhibition.

Nevertheless, the sculptures do strike me as decidedly odd; the quirkiness with which Ambida conjures up these visionary artifacts is what, to my mind, generates their interest; it gives the work its edge.

Viewers will circle “Meditation on Impermanence - Outer Dissolution” as a pilgrim circles a tomb or shrine. According to the ancient Tibetan book, the physical body will pass through various states after death. This great text is a book of both life and of death. The sculpture expresses the four elements: “Earth” sits on a rock base which time will inexorably turn to dust. “Fire” sits nearby and dances with vermilion butterflies. “Water” wears a garland of anthiriums. “Air” rests on a cloud dreaming of lilies.

Being somewhat of a traveller, the artist spent several years living in the orient, and has studied with sculptors and ceramicists in Japan and Korea. During the nineties, after completing an art degree at the Nova Scotia College of Art and Design, Ambida maintained a studio in Vancouver, working primarily with stoneware and porcelain. In the late nineties, she made the serious decision to move to London, feeling dissatisfied with the comparatively limited west-coast art milieu. The decision to relocate was a felicitous one - the sculptor has produced her most complex and ambiguous body of work to date. She currently lives and works in London, while keeping a close eye on Vancouver’s increasingly influential contribution to art.

This work is a result of journeys. The sculptor has been a nomad; her journals were filled in Korea, Japan, Europe and Canada. The search for meaning has led to an encompassment of numerous philosophies - religious as diverse as Bhuddism, Christianity, Hinduism and Krishna. Ambida has included a Hindu text from the Uddavahgila that tells of a life of long learning and discipline required to reach great peace. It is a lesson that can be restated in universal terms.

Worlds in a Small Room

The Japanese-made baby doll is the departure point for this series. They are both startlingly lifelike and in their stillness, creepily artificial. The faces express a smile of unnatural tranquillity in which Buddha is instantly recalled. Initially, a detailed casting of the form becomes a starting point for a multitude of manipulations and distortions. Elements, accessories and sometimes whole limbs are added. In short, the dolls are manipulated, altered and embellished to convey the narrow range of expression that drives Ambida’s concepts relating to meditative spiritualism.

At first glance Buddhism seems to be the dominating discipline driving the installation, but gradually one discovers a sensibility that encompasses a range of ideas that span several religious philosophies. In the words of the artist: “I didn’t want the pieces to solely represent Buddhist images because ultimately there are fundamental ‘truths’ within all religious philosophies that unite them” (footnote: From an interview with the artist, December 2003)

”Sanctuary”

The baby’s porcelain face is smiling. It is a smile to embody all smiles - radiant, full, imbued with endless tranqulity. It is the face of Buddha that will continue to smile forever. The baby’s arm is raised. It is a gesture that seems to be calling for attention or perhaps it is a gesture that endorses authority. In the context of this installation of stark, beguiling icons, the gesture may be a call for action - an urge for a more expansive awareness; an urge for a greater effort in living.




	“Sanctuary” An Exhibition by Diana Ambida Grunt Gallery, Vancouver: May 2004 Beaten Helpless by Neurotic Thought The words near the entrance encourage rest and mental peace. A jittery urban mind may discover tranquility and repose in this space of eccentric figurines and spiritual texts. As the introductory text teaches, dirt clouds water, but when left undisturbed the dirt will fall, leaving the water clean. Similarly, the mind becomes sullied with neuotic modern clutter and leaves us feeling desperate and driven. This show proposes an alternative. This exhibtion is entitled “Sanctuary”, and its context is crucial to approaching the work. The exhibition has been assembled in an urban gallery in a postmodern metropolis. As cars rush through this industrial area, the artist presents a subtle arena for contemplation that asks us to reevaluate our individual ideals and values. Diana Ambida is a London-based sculptor who is presenting her first major installation in Vancouver. “Sanctuary” presents a departure from most contemporary theory-based art, which offers an intellectual framework to explore a (usually) narrow range of socio-political and didactic concerns. Ambida’s artistic interests are more spiritual and aesthetic, although the dominant motif in this series - a cast of a remarkably lifelike baby doll firmly locates her as a postmodern artist, who includes pointed references to pop culture and kitsch. In this vein, other contemporary British sculptors, such as the Chapman Brothers, spring to mind. But, as Ambida would quickly point out, the perverse corruption of eros, as portrayed by the Chapmans, is miles removed from the subtle exploration of spirituality, inner calm and the possibilities of new world paradigms that encapsulates this exhibition. Nevertheless, the sculptures do strike me as decidedly odd; the quirkiness with which Ambida conjures up these visionary artifacts is what, to my mind, generates their interest; it gives the work its edge. Viewers will circle “Meditation on Impermanence - Outer Dissolution” as a pilgrim circles a tomb or shrine. According to the ancient Tibetan book, the physical body will pass through various states after death. This great text is a book of both life and of death. The sculpture expresses the four elements: “Earth” sits on a rock base which time will inexorably turn to dust. “Fire” sits nearby and dances with vermilion butterflies. “Water” wears a garland of anthiriums. “Air” rests on a cloud dreaming of lilies. Being somewhat of a traveller, the artist spent several years living in the orient, and has studied with sculptors and ceramicists in Japan and Korea. During the nineties, after completing an art degree at the Nova Scotia College of Art and Design, Ambida maintained a studio in Vancouver, working primarily with stoneware and porcelain. In the late nineties, she made the serious decision to move to London, feeling dissatisfied with the comparatively limited west-coast art milieu. The decision to relocate was a felicitous one - the sculptor has produced her most complex and ambiguous body of work to date. She currently lives and works in London, while keeping a close eye on Vancouver’s increasingly influential contribution to art. This work is a result of journeys. The sculptor has been a nomad; her journals were filled in Korea, Japan, Europe and Canada. The search for meaning has led to an encompassment of numerous philosophies - religious as diverse as Bhuddism, Christianity, Hinduism and Krishna. Ambida has included a Hindu text from the Uddavahgila that tells of a life of long learning and discipline required to reach great peace. It is a lesson that can be restated in universal terms. Worlds in a Small Room The Japanese-made baby doll is the departure point for this series. They are both startlingly lifelike and in their stillness, creepily artificial. The faces express a smile of unnatural tranquillity in which Buddha is instantly recalled. Initially, a detailed casting of the form becomes a starting point for a multitude of manipulations and distortions. Elements, accessories and sometimes whole limbs are added. In short, the dolls are manipulated, altered and embellished to convey the narrow range of expression that drives Ambida’s concepts relating to meditative spiritualism. At first glance Buddhism seems to be the dominating discipline driving the installation, but gradually one discovers a sensibility that encompasses a range of ideas that span several religious philosophies. In the words of the artist: “I didn’t want the pieces to solely represent Buddhist images because ultimately there are fundamental ‘truths’ within all religious philosophies that unite them” (footnote: From an interview with the artist, December 2003) ”Sanctuary” The baby’s porcelain face is smiling. It is a smile to embody all smiles - radiant, full, imbued with endless tranqulity. It is the face of Buddha that will continue to smile forever. The baby’s arm is raised. It is a gesture that seems to be calling for attention or perhaps it is a gesture that endorses authority. In the context of this installation of stark, beguiling icons, the gesture may be a call for action - an urge for a more expansive awareness; an urge for a greater effort in living.
	back to writings index