Saffron Adhara 8x8 book

Edward Lentsch

Edward Lentsch

Saffron Adhara |The collection|

Boston 2006 | Exhibition Catalog | Lanoue Fine Art

Every individual decision is n ot h i n g b ut c oi n c i d e n c e , every artistic decision is c oi n c i d e n c e .

- C arsten Ni col ai

Saffron Adhara |The collection|

The Saffron Adhara is my latest body of work. The titles represent to me the most provocative subject matter yet. My intention is again to continue to define synectics as I attempt to create a narrative where Science and Mysticism meet in an intriguing dialog of inspiration and intention. Through a series of titles and images I am trying to understand nature’s degrees of separation as I connect the dots in this human net of introspection.

The Saffron Adhara has been an idea of mine for a long time. I originally came up with it as the name for a “great island ship” in a novel about Ulijah Simeon, a character of my own invention. The Saffron Adhara is an esoteric name for the life force of the human soul and the mysticism connected to it. The word saffron comes from the saffron robes of an ancient order of monks and adhara is from the Adhara star canis major. Adhara is one of the most fascinating stars known in the universe with a mysterious and mystical history. The body of work is meant to weave through subject matter, connecting facts of history to the mysteries of the heavens and my search for real magic. Keys and clues are meant to thrust the viewer into an experience of synchronicity or what I like to refer to as the coinciding connection between things and nature.

“I want to know God’s thoughts,� said Albert Einstein. This is the idea that guides me in this work as reflected by the titles. I see this process as a way to not only show but to understand my adventure into the unknown.

My vision for the composition and theme of this collection is one of color and texture unlike any of my previous works. Inspired by the fact that Saffron is one of the first known pigments used on fabric, saffron has always been a color with special meaning for me. The colors of sunrise and sunset, the golden halo of saints, bodhisattvas and Christs; all are of a value and or shade that can be described as saffron.

As I started this series it began with the piece entitled The Atlantean. The experience was two fold: one, was the experimentation in a new variable of materials which established --- what to me was an extraordinary benchmark of surface and color, compounded by a title that came to me as a single word. I was then to discover later what the word meant and its fascinating history. The Emerald Tablets and Thoth the Atlantean were nothing I had ever known about when I came up with the title for the first piece. It is logical to assume that with other collections of recent, like Remembering Atlantis, or Defining Synectics, it is likely that it was something that took hold in my subconscious from my research of these subjects. However I arrived here, the connection I feel is one of deeper significance than accidental meaning in a title.

My work has always been about striving for the ultimate in surface and texture.

The archival nature of the pieces stress techniques that are sound and proven to be better than traditional oil on canvas. Pushing the envelope in materials and application is a critical part of the whole. Varnishes, shellacs, polymers, porcelain powders, hot pots with beeswax, charcoal, and tempera--- all add to the fusion of elements.

I combine the best of the old with the best of the new for a new construct in painting. This construct includes a cognitive approach to process and technique in painting, while allowing for a spiritual expansion through its relative interconnectedness and expression.

I feel that this process is like the quantum field, a probability amplitude of an event or thought within a state of anticipation or observation. In fact the anticipation can actually manifest the observation and this is where the idea of real magic comes from; intention and inspiration.

As you experience this new series of works I wish you peace and joy and most importantly inspiration!

All good things,

Edward Lentsch

I , T h ot h , t h e Atlantean, master o f m y s t e r i e s , keeper of records, m ig h t y k in g, magic ian, liv ing f ro m g e n e r ation to generation, b e i n g a b o ut to pass into the h alls o f A m ent i, set d own for t he g u id an c e o f t hose t hat are t o c o m e a f t e r, these records of the m ig h t y w is d o m of Great A tlan t is .

- Tabl et I

T h e At lan t e an 2 0 0 6 | p a i n t in g o n c an vas | 86 x 121 in c h e s

C an is Maj o r 2 0 0 6 | p a i n t i n g o n c an vas | 60 x 50 in c h e s

T e n B e ars 2 0 0 6 | p a i n t i n g o n c an vas | 44 x 40 in c h e s

T h e Cru c ible o f At h e n o t 2 0 0 6 | p a i n t i n g o n c an vas | 34 x 28 in c h e s

Gian t St at e 2 0 0 6 | p a i n t i n g o n c an vas | 20 x 16 in c h e s

Co p ern ic an He ave n s 2 0 0 6 | p a i n t i n g o n c an vas | 19 x 14 in c h e s

T h e W iz ard’ s Apo t h e c ary 2 0 0 6 | p a i n t i n g o n c an vas | 28 x 17 in c h e s

W i z ard’ s Wardro be 2 0 0 6 | p a i n t i n g o n c an vas | 50 x 60 in c h e s

Adhara

A lso kn own as E psi l on Cani s Maj ori s, i t i s actually the second brightest star in the constellation, and helps for m the wester n leg of Canis Major, the lar ger dog. Look just b elow Sir iu s to find an out st and i ng tri angl e of br ig h t sta r s. A dhara i s at t he l ow er ri ght.

The ancient Arabs referred to this small th ree-sta r pa tter n as “the vi r gi ns,” t o which the name “Adhara” actually refers.

No one knows why the name was given or wh o th ey were. Adhara has an apparent mag n itu de of 1 .5 0, and theref ore i s sometimes referred to as the last of the “first magnitude” stars or as the brightest of the “secon d mag n itu d e.”

-Jim Kaler

Ale ph 2 0 0 6 | p a i n t i n g o n c an vas | 80 x 60 in c h e s

V in c e n t 2 0 0 6 | p a i n t i n g o n c an vas | 37 x 30 in c h e s

“I of t en t hi nk that t he ni ght is more alive and more ri chl y col ored than the day.�

-Vincent van Gogh

Gry ph o n 2 0 0 6 | p a i n t i n g o n c an vas | 66 x 56 in c h e s

Now I’ll give you a new name, secret as a bi dd en f l am e. It’s a secret none shall see -only we two: you and me. W ith my band I make the spel l . Your new nam e t o none I’l l t el l .

- W izardology

Blue Unicorn I 2006 | p a i nti ng on c a n v a s | 6 4 x 3 2 i n c h e s

Blu e U n ic o rn I I 2006 | pain t in g o n c an vas | 64 x 32 inches

C t e s i a s , a Greek physician f ro m a b o u t 4 0 0 , wrote a c l a s s i c d escription of the un i c o r n . H e described it as f le e t a n d f ierce.

-Grolier Encyclopedia

B lu e U n ic o rn I I I 2 0 0 6 | p a i n t i n g o n c an vas | 64 x 32 in c h e s

Af aggdu 2 0 0 6 | p a i n t i n g o n c an vas | 56 x 66 in c h e s

“It i s t he com m onest of m i st akes to bel i eve t hat the limit of our perception is also t he l i m i t of al l there i s t o percei ve.�

-C. Leadbeater

The 16째 band of the zodiac on either side of the sunpath, the plane of the ecliptic, that traces through the sky marks a sort of stellar horizon where stars can be viewed from all places on earth north or south. Undoubtedly this is the reason that some constellations or others in the Zodiac -- including many composed of rather arbitrarily faint stars -- have been given importance by ancient astronomers from all cultures.

-Ka ren St ro m

T h e L a s t of t h e F irs t Magn it u de 2 0 0 6 | p a i n t i n g o n c an vas | 60 x 50 in c h e s

Si g i l l um M y s t e r i o r u m I 2006 | p a i n t i n g o n c a n v a s | 4 6 x 4 0 in c h e s

Sigillu m Mys t e rio ru m I I 2006 | pain t in g o n c an vas | 46 x 40 in c h e s

Enochian is a name often applied to an occult or angelic language recorded in the private jour nals of Dr. John Dee and his seer Edward Kelley in the late 16th century. The men claimed that it was revealed to them by angels, while some contemporary scholars of magic consider it a constructed language.

- W ic k ep edia

I am not an expert in Enochian Language, however, I embrace the possibility that even though I can not see them, they are there and listening to every word.

-Edward Lentsch

E n o ch ian L an gu age 2 0 0 6 | p a i n t i n g o n c an vas | 88 x 66 in c h e s

As philosopher John Locke pointed out three centuries ago, the achievement of human knowledge is often hampered b y th e u se of w ords w i t hout f i xed sig n ification.

-Standford.edu

“E r ror r u n s d ow n an i ncl i ned plane, while Truth has to lab or iou sly cl i m b i ts w ay up hi l l .�

- Old Proverb

Ru le d by L o gic 2 0 0 6 | p a i n t i n g o n c an vas | 60 x 50 in c h e s

Emera l d T a b l et The history of the tablets ... is strange and beyond the belief of moder n scientists. Their antiquity is stupendous, dating back some 36,000 years B.C . The writer is Thoth, an Atlantean Priest-King, who founded a colony in ancient Egypt after the sinking of the mother country.

The tablets translated in this work are ten which were left in the Great Pyramid in the custody of the pyramid priests. The ten are divided into thirteen parts for the sake of convenience.

During later ages, the ego of Thoth passed into the bodies of men in the manner described in the tablets. As such, he incar nated three times, in his last being known as Her mes, the thrice-bor n.

Man’s search for understanding of the laws which regulate his life has been unending, yet always just beyond the veil which shields the higher planes from material man’s vision the truth has existed, ready to be assimilated by those who enlar ge their vision by tur ning inward, not outward, in their search. All symbols are but keys to doors leading to truths, and many times the door is not opened because the key seems so great that the things which are beyond it are not visible.

- Ellie C ry s t al

E me rald T able t 2 0 0 6 | p a i n t i n g o n c an vas | 88 x 66 in c h e s

Thoth the Atlantean

“N ow, g iv e I t he key t o Shambal l a . . .

Op en , I command , by the Secret of Secrets . . . E dom o- El - Ahi m- Sabbert - 2vr” -Adom Emerald Tablet XV Secret of Secrets

P r o xim a C e n t au ri 2 0 0 6 | p a i n t i n g o n c an vas | 50 x 60 in c h e s

Philosophy & Painting | The XOI Principle |

I value knowledge and contemplation about nature and its complexity--pondering passionately the metaphysical relationship of God and Science. I use the title to construct a model. This becomes a vehicle to express the meaning of the paintings. Wolfram Logic, The Creation of the Universe, and The Translation of Odds are examples in a series of titles where I use the narrative as a suggestion that may stimulate the audience’s imagination to the energy of the subject. I have come to the foregone conclusion that art is a multi-dimensional formation of complex relationships and that ultimately, this produces an object. In fact, the value of the object lies in its ability to be something unique and remarkable as an object.

Pythagoras is believed to have coined the words “philosophy” (love of wisdom) and “mathematics” (that which is learned). I believe that as words define those things that are most important to our definition of self, art is the translation of those same but most important definitions.

I was in high school when I came across something that has driven me for over thirty years. It came to me one day while looking at bowling pins. My idea formed from the numbers that add up to ten. I have given this concept of order and sequence the name “The XOI Principle”. To me, this is the principle that governs the Laws of the Universe. It is said in Chinese philosophy that by concentrating on the higher laws you acquire the power that underlies them. It is also a fundamental fact of consciousness that we take on the attributes and energies on which we focus our attention.

So it is with my paintings.

O

X

The XOI Principle is a concept that I have been trying to articulate in drawings, writings, and designs for over twenty years. The XOI Principle can be explained in a similar diagram to the baryon decuplet. By observing the points of connection you will see that X-O-I like the bowling pins, if placed in order of 1- 2- 3, etc., works as a unique form of algorithm, similar to Cantor’s Continuum Hypothesis. Both structure a logical system of infinite expansion and contraction, contained in a viable and logical matrix. Stephen Wolfram’s “Mathematica” is another axiom system that shows order in what seemingly is an infinite construct. It in turn organizes chaos into order in the form of simple and complex algorithmic systems. This universal order is also described by the Chinese in the word Wu Li. Wu Li describes physics as “patterns of organic energy that reflect a universal order existing in nature”. In the logic of Wu Li, or in the definition of a word, we come to understand synchronicity.

As we understand synchronicity we recognize coincidence as the coinciding connection.

I

My paintings are derived from a source of contemplation and fascination with the wonders of an awesome logic that exists in nature. Having a passion for numbers and logical systems, I observe them everywhere in the things that surround me. I see an aesthetic order of compositional dynamics in wild tree branches nestled in strange and compelling arrangements. I see a divine order in what seemingly appears to be random chaos. This is what I want to imitate and emulate. To show the value of this Divine Order in its purest beauty is the inspiration that guides my spirit. Painting is my map to this place of reason and intention.

| Education | Academies Des La Grande Chaumierre, Paris, France Minneapolis College of Art and Design, Minneapolis, MN Summit Academy of Fine Art, St. Paul, MN

| Collections |

partial listings

Merrill Lynch, Minneapolis, MN Marriott Hotel Corporation, Rochester, MN; Salt Lake City, UT Radisson Hotel Corporation, Chicago, IL; Moline, IL; Minnetonka, MN; St. Paul, MN Sheraton Hotel, Bloomington, MN Smith Parker Law Firm, Minneapolis, MN Sunstone Hotel Corporation, Santa Ana, CA Johnson Media Group, Minneapolis, MN Johnson Grossfield, Minneapolis, MN Midway National Bank, St. Paul, MN Sebastian & Associates, Eagan, MN Ackerberg Group, Minneapolis, MN Garden of Eden, David Judakin, Los Angeles, CA St. Paul Port Authority, St. Paul, MN Pfingsten Publishing, Cleveland, OH Bennett Katz, San Francisco, Palm Springs, CA Gary & Susan Grandmaison, San Francisco, CA Cornell Moore, Minneapolis, MN Thomas Johnson, Minnetonka, MN Jay Applebaum, Minnetonka, MN Robin Johnson, Minnetonka, MN Jerry & Judy Brill, Minneapolis, MN Larry & Shirley Zipkin, Minnetonka, MN Dr. Mark Wanderman & Dr. Chris Benson, Minnetonka, MN Marc & Debbie Grossfield, Minnetonka, MN

Richard Schneider, Rapid City, IA David Sebastian, Eagan, MN Mike & Sara Badaurer, Minnetonka, MN William Strifert & Julie Sinykin, Minnetonka, MN Jerry Burns, Minneapolis, MN Steve Kalin, Minneapolis, MN Brad Davis, Detroit Lakes, MN Ed & Linda Barresh, Scottsdale, AZ Joe & Barbara Collins, Pebble Beach, CA Eric & Nora Rotier, Minnetonka, MN Joan Byhre, Edina, MN John Martell, Santa Cruz, CA Dr. Steven Plager, Santa Cruz, CA Dr. Carl & Phyllis Maruzak, Pacific Palisades, CA Kelly & Elisa Thomson, La Jolla, CA Diane Keith, Palm Desert, CA Henry & Barbara LaBounta, West Vancouver, BC Claudia Wishnau, Long Beach, CA Steve & Pat Rosvold, Vancouver, WA Bill & Peggy Cohen, Palm Springs, CA Greg Garbin & Ken Denhard, Alamo, CA Barry Berg, Minneapolis, MN Richard & Diane Cohen, Palm Desert, CA Irving Budlong, Edina, MN Steven Freeman, Minnetonka, MN Phyllis Sperling, St. Louis Park, MN Larry & Barbara Sonsini, Palm Desert, CA Tom & Terri Burke, Plymouth, MN Jeff & Carolie Lewis, New Ulm, MN Mike & Paula Flom, Plymouth, MN George Caswell & Karin Martinson, Minnetonka, MN George & Mary Sissel, Denver, CO

Michael Gudalowski & Bonnie Boits, Palm Desert, CA Barbara Fredrickson, Edina, MN Eric Smith, Cleveland, OH Steve Andersen, Minneapolis, MN Eric Johnson, Chicago, IL Richard and Lisa Rotenberg, Palm Desert, CA Peter Nauert, Santa Fe, NM Rob Brook, Scottsdale, AZ Gretchen B. Ventura, Minneapolis, MN

| Exhibitions | 2006 Lanoue Fine Art, Boston, MA 2006 Modern Masters, Santa Fe, NM 2006 Hernandez Contemporary, Scottsdale, AZ 2006 Modern Masters Fine Art, Palm Desert, CA 2005 Art Chicago Navy Pier, Chicago, IL 2005 Flanders Gallery, Minneapolis, MN 2004 Elizabeth Edwards Fine Art, Palm Desert, CA 2004 Desert Wolf, Palm Desert, CA 2003 Art Chicago, Julie Baker Fine Art, Grass Valley, CA 2003 Windsor Gallery, Dania, FL 2003 Minnetonka Center for the Arts, Minnetonka, MN 2002 Palm Springs International Art Fair, Palm Springs, CA 2001 Elizabeth Edwards Fine Art, Maui, HI 2001 Elizabeth Edwards Fine Art, Nantucket, MA 2000 Palm Springs International Art Fair, Palm Springs, CA 1998 Atrium Design Center, Ranchero Mirage, CA 1997 Sidney Bechet Center for Visual Arts, Garches, France 1995 Gallery Massijiro Ltd., Fukuoka-Ken, Japan 1995 Minneapolis, Institute of Art, Art in Bloom, Minneapolis, MN 1994 Scholes Fine Art, Edina, MN

| Partial Bibliography |

includes references for painting titles

The Ancient Secret of the Flower of Life: Volume 1 by Drunvalo Melchizedek The Ancient Secret of the Flower of Life: Volume 2 by Drunvalo Melchizedek The Bible Code by Michael Drosnin The Dancing Wu Li Masters by Gary Zukav The Dead Sea Scrolls by G. Vermes The Divine Proportion by H.E. Huntley Divine Proportion: Phi In Art, Nature, and Science by Priya Hemenway Egyptology: search for the Tomb of Osiris by Candlewick Press The Elegant Universe by Brian Greene The Emerald Tablets of Thoth the Atlantean translation and interpretation by Doreal The Fourth Turning An American Prophecy by William Strauss and Neil Howe God and the New Physics by Paul Davies God is a Verb by David A Cooper The Golden Ratio: The Story of PHI, the World’s Most Astonishing Number by Mario Livio How to Know God by Deepak Chopra The I Ching or Book of Changes by Brian Browne Walker Living in the Heart: How to Enter into the Sacred Space Within the Heart by Drunvalo Melchizedek Mathematics from the Birth of Numbers by Jan Gullberg Morphic Resonance & the Presence of the Past by Rupert Sheldrake Multiple Intelligences by Howard Gardner The Mystery of Aleph by Amir D. Aczel A New Kind of Science by Stephen Wolfram The Power of Intention by Wayne Dyer The Road to Reality by Roger Penrose Sacred Geometry: Deciphering the Code by Stephen Skinner Sacred Geometry: Philosophy and Practice (Art and Imagination) by Robert Lawlor Sacred Geometry (Wooden Books) by Miranda Lundy The Tao of Physics by Fritjof Capra Wizardology: The Secrets of Merlin by Candlewick Press

| Acknowledgements | I would like to thank the following people for their contributions:

Barbara Roche for editing my writings and her counsel and friendship. Alicia Dvorak the backbone of the studio for her multifaceted talents, skills and her continued support and diligence. Sarah Johnson,

my painting assistant for her careful attention to detail and skillful craftsmanship in preparing the work for exhibition. Elizabeth Seefeldt, our graphics designer for her talents and patience for the many revisions made to this volume.

And most importantly Susan and the great people at Lanoue Fine Art for their continued support and friendship.

Lanoue Fine Art 160 Newbury Street Boston, M.A. 02116 www.lanouefinart.com For general inquiries: info@lanouefineart.com Š Copyright 2006 all rights reserved