The Secret Order of the Saffron Adhara

the secret order of the saffron adhara

1

edward lentsch

2

the secret order of the saffron adhara

The Saffron Adhara is an esoteric name for the life force of the human soul and the mysticism connected to it. The Science of Noetics has described the existence of a particle secretion of sorts that can be stimulated by a master yogi’s state in meditation.

In The Lost Symbol, by Dan Brown this idea is very accurately described in a dialog between Robert Langdon and Katherine Solomon, “The human brain, in advanced states of focus, will physically create a waxlike substance from the pineal gland. This brain secretion is unlike anything else in the body. It has an incredible healing effect that can literally regenerate cells.” I call it the Saffron Adhara. Saffron is taken from the Saffron robes of an ancient order of monks and the color of a special Rose Madder type color that you only see at certain sunrises and sunsets at particular times of the year. Adhara is derived from the Adhara star, Canis Major- one of the most fascinating stars in the universe distinguished by its mystical pre-biblical and contemporary scientific history.

I believe the Saffron Adhara to be the ‘God Particle’ and the color and energy of antimatter. It’s the Brahman and the Unified Field, the Holy Science and the XOI Principle. It is the integration of these components rooted within such profound contexts, that has become a reoccurring theme in my work that alludes to the idea of connectivity and universality as it relates to various ideologies, including nature’s degrees of separation, mathematical aesthetics, and the collective unconscious. This body of work is meant to weave through such subject matter, connecting facts of history to the mysteries of the heavens and my search for real magic.

EDWARD D. LENTSCH

Defining Synectics Part II 4

2010 · 80” × 60”

5

Foreword 6

“Bits & Pieces Put Together to Present a Semblance of a Whole.” I have driven past this enormous sign by Lawrence Weiner at the Walker Art Center innumerous times, and it always reminds me of the Singularity of artistic expression. The principle of Singularity is best explained as the continuity of a unique purpose within a multitude of diverse tasks and information. Synectics is the infinite potential of connecting the dots within this matrix and suggests the path to exponential knowledge. In my process and use of materials, I find a connection between the most elemental phenomena of the universe and magical experiences that articulate something very precious in our connection to things around us.

In Chinese Philosophy it is said that as you take on the attributes of the things you focus your attention on, you acquire the power that underlies them.

This is what I refer to as “Defining Synectics.” In William J.J. Gordon’s book, The Development of Creative Capacity, synectics is characterized as a problem solving approach that stimulates through processes of which the subject is generally unaware. Gordon encapsulates this method as “Trusting things that are alien, and alienating things that are trusted.” In my

work, paintings are often paired with titles that attempt to clarify this idea of synectic reasoning by connecting the vast matrix of complex relationships between science and mysticism, the metaphysical and the spiritual. Like one magical discovery after another, each painting progresses from a fresh combination of colors and textures as they might exist in nature as refraction, tessellation, or as a phenomenon of entropy. It is an infinite power that eludes me in its vastness as I observe nature and ponder the workings of the universe. My painting is based on the preponderance of opposites, and the fusion of elements as I contemplate the principles that govern this dynamism.

In 1958, Stanislaw Ulam wrote in reference to a conversation with John von Neumann, “One conversation centered on the ever accelerating progress of technology and changes in the mode of human life, which gives the appearance of approaching some essential singularity in the history of the race beyond which human affairs, as we know them, could not continue.”

In his book “Mindsteps to the Cosmos” (Harper Collins, August 1983), Gerald S. Hawkins elucidated his notion of ‘mindsteps’- dramatic and irreversible changes to paradigms or world views. He identified five distinct mindsteps in human history and the technology that accompanied these “new world views”- the invention of imagery, writing, mathematics, printing, the telescope, rocket, computer, radio, and TV. “Each one takes the collective mind closer to reality, one stage further along in its understanding of the relation of humans to the cosmos.” He noted, “The waiting period between the mindsteps is getting shorter. One can’t help noticing the acceleration.”

“Hawkins’ empirical ‘mindstep equation’ quantified this, and gave dates for future mindsteps. The date of the next mindstep (5; the series begins at 0) is given as 2021, with two more successively closer mindsteps until the limit of the series in 2053. His speculations ventured beyond the technological: The mindsteps appear to have certain things in commona new and unfolding human perspective, related inventions in the area of memes and communications, and a long formulative waiting period before the next mindstep comes along. None of the mindsteps can be said to have been truly anticipated, and most were resisted at the early stages. In looking to the future, we may equally be caught unaware. We may have to grapple with what is presently inconceivable, with mind- stretching discoveries and concepts.”

This process might continue exponentially, with ever more intelligent machines making larger increments to the intelligence of the next machine (this process is referred to as Recursive self improvement). I. J. Good (born Isadore Jacob Gudak ) described this as an “intelligence explosion”. This book sets out to explain my vision for the next great art movement which is just that- “an intelligence explosion”...a new vocabulary...a new kind of science...

7

The Ace of Poetry 8

2010 · 66” × 88”

9

10

Black and white, liquid and powder, hot and cold are among the fundamental elements in my process of painting. I continually strive for the ultimate quality and novelty of surface and texture. Pushing the envelope in the manipulation of materials and their applications is a critical part of the integration of philosophy and technique for me, as I combine the ‘best of the old’ with the ‘best of the new’ attempting to realize a new construct in painting. Varnishes, shellacs, polymers, porcelainpowders, hot pots with beeswax, charcoal, and tempera, all add to the amalgamation of these elements. This concept 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, in terms of intention and inspiration, comes from.

For the past 20 years, I have set out with the singular intention to create one thousand titles, each connecting things of an esoteric nature of both fact and legend, through fiction and history. The idea is to connect people to information of a collective spiritual expression, existing in both the phenomena of nature, as well as esoteric subjects relative to ancient mysticism, historical scientific facts, contemporary quantum mechanics including the unified field, and, what is now referred to as, Noetic Science.

My anticipation was that these topics and ideas would become more mainstream and relevant to the contemporary thinker of the 21st century as the first 10 years of this new century unfolded through sort of a ‘mind-map of consciousness’ or ‘six degrees of separation’, and most importantly, ‘exponential knowledge’ (the idea that there would be more change and growth of scientific knowledge in this first decade than the last 100 years of the preceding century). My principle idea was to connect information to my work through a collection of titles and thereby link it to the experiential knowledge obtained through a kind of treasure map and data model of what, in my estimation, is profound knowledge; thus, becoming in step with what modern physicists call the ‘harmonic convergence’. Consequently, a more relative ‘super-consciousness’ of human expression would be defined, allowing viewers to tap into this expansive collective unconscious.

I consider my painting to be purely Gestural Abstraction but within the context of Abstract Expressionism or even Mystical Expressionism. The essence of my practice is one of mind, body, and spirit. As much of a cliché as that may seem to be, it is still relevant. The subject narrative is intended to create a new vocabulary that cumulatively searches to find connections between things I believe to be significant and therefore, the paintings acquire their own thread of individual expression with the larger picture in mind. While the primary emphasis is on the painting as its own unique experience and my process in creating it, each painting, through its title, builds upon a larger vocabulary that references history and origin, whether that be cultural, scientific, theological, metaphysical, etc.

The paintings themselves are not trying to objectively describe or attach themselves to any particular narrative except with symbols and subjects through the titles for people to discover on their own. The mystery of the meanings is left to the individual and how they interpret the imagery as it relates to, not just the single title of the individual piece, but rather its larger connection to the body of work. I think of it as a data model of 103 ( a thousand points of contact- ten times ten times ten). A data model is best exemplified through a system like Wikipedia, Google, or the Human Genome project and Steven Wolfram’s ‘Mathematica’ probably best illustrates this new kind of science.

Noetic science, another common theme in my work, is the science of measuring thoughts and energy, best known for the “Intention Experiment” and “28 Grams”. I see this as relevant to the ‘intention’ in painting. In my work “The XOI Principle” I discuss ‘cellular rejuvenation’ and the significance of the number 55 (known by Mystics to be the sign of the “double dragon”). The basic formula-grid for XOI Diagram has 55 points (like bowling pins 1 stacked on top of 2, and 2 on 3 etc.) until the tenth row, and each row is the progression of numbers from 1 through 10. There are 55 total points of reference and 100 total possible connection lines between the points of the grid. Thus, a 10x10 triangular grid is manifested from the 1-55 fixed points. There is also added significance of this number 55, as it is the tenth number of the Fibonacci sequence.

I have come to the conclusion that art is a multi-dimensional formation of complex relationships and that, ultimately, the ‘intention’ produces an object. In fact, the value of the object lies in its ability to be something unique and remarkable as an object. To me, art is the expansive vision of a dynamic purpose, combined with the skillful intention of our craft that reveals a true potential. This potential suggests all possibilities, and is the essential driver in our ability to make constant and continuing improvements to our work.

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. The complex equation that we refer to as art is still governed by its definition, “skill acquired by experience or study; the use of skill and imagination in the production of things of beauty” (Webster’s Dictionary).

I believe that art must be an inspired creation of those things that have great purpose and genuine beauty, and because these things are not only physical but also spiritual and intellectual, we must qualify whether these things do in fact reflect that greatness.

11

The Major Arcana 12

2010 · 88” × 66”

13

Absolute Zero 2009 · 30” × 35” 14

The Revolutionary Triangle 2009 · 76” × 54”

15

16

17

18

from the previous page Conversations with God 2006 · 86” × 132”

The Code 2005 · 65” × 55”

Sculpture Installation

by Coleman Miller (for the Room of Requirement)

Reincarnation 2000 · 96” x 76” x 8”

Sculpture Installation

by Edward Lentsch

19

Constructing Mikoshi 2008 · 72” x 56” 20

Wolfram Logic Part II 2010 · 88” × 66”

21

Waters of Theophany 2010 · 35” × 51” 22

Anfora Di Barratti 2010 · 35” × 51”

23

Armetrine 24

2010 · 42” × 64”

25

In Chinese Philosophy it is said that as you take on the attributes of the things you focus your attention on, you aquire the power that underlies them. This book sets out to explain my vision for the next great art movement- an “intelligence explosion”...a new vocabulary…a new kind of science…

26

Dozuka Branch 2009 · 88” × 66”

27

Greek Fire 28

2007 · 50” ×80”

29

Paradox of Awe 30

2009 · 66” × 88”

31

Resistance of Air 2006 · 38” × 28” 32

Oxus 2006 · 38” × 28”

33

The Idea of the Century 34

2009 · 80” × 60”

35

Within the lines are more lines and the connections between these lines represents the infinite potential of all possibilities.

March 2010 36

Secret Order of the Saffron Adhara 2010 · 64” × 40”

37

Seven of Music Part I 2010 · 46 x 34 38

Seven of Music Part II 2010 · 46” × 34”

39

Cyclades 40

2004 · 76” × 54”

Strophyas 2004 · 76” × 54”

41

Laus Deo 2009 · 76” × 54” 42

Enochian Language 2006 · 66” × 88”

43

44

Seven Books of Oson 2010 · 42” × 70”

45

Upcoming Exhibitions 2010 2010 2010 2010 2010

Tobi Tobin, Los Angeles The Edge, Santa Fe Costello Childs Scottsdale Budwell Middle East Muscat, Oman ForrĂŠ and Co. , Aspen CO

Past Exhibitions

46

2009-2010 Group exhibition Forre and Co. 2009 Lanoue Fine Art, Boston, MA 2009 Ogilvie Pertl Gallery, Chicago, IL 2009 Madison Gallery, La Jolla, CA 2009 Zane Bennett, Santa Fe, NM 2009 Zane Bennett, Art Chicago 2008 Gallery Moda, Santa Fe, NM 2008-09 Onessimo Fine Art 2008 Ogilvie Pertle Gallery, Chicago, IL 2008 OK H arris Works of Art ,New York, NY 2007 OK Harris Works of Art, New York, NY 2007 Onessimo Fine Art, Palm Beach Gardens, FL 2007 Eleonore Austerer Gallery, Palm Desert, CA 2007 Hernandez Contemporary, Scottsdale, AZ 2007 Ogilvie/Pertl Gallery, Chicago, IL 2007 Gallery Moda, Santa Fe, NM 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, Rancho wwMirage ,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

Bibliography

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 CandlePress (Includes references for painting titles) The Mystery of Aleph by Amir D. Aczel Mathematics from the Birth of Numbers

by Jan Gullberg A New Kind of Science by Stephen Wolfram The Code Book by Simon Singh Morphic Resonance & the Presence of the Past

by Rupert Sheldrake God and the New Physics by Paul Davies The Dancing Wu Li Masters by Gary Zukav The Tao of Physics by Fritjof Capra Six Not So Easy Pieces by Fritjof Capra The I Ching or Book of Changes

by Brian Browne Walker God is a Verb by David A Cooper Multiple Intelligences by Howard Gardner The Road to Reality by Roger Penrose The Bible Code by Michael Drosnin The Principia-- by Isaac Newton Angels and Demons by Dan Brown The DaVinci Code by Dan Brown The Elegant Universe by Brian Greene The Dead Sea Scrolls by G. Vermes And the Sea is Never Full by Elle Wiesel The Soul of a Butterfly by Muhammad Ali The Notebook of Leonardo DaVinci

by Edward MacCurdy The Transformational Book Circle Series The Celestine Prophecy: An Adventure

by James Redfield The Power of Intention by Wayne Dyer How to Know God by Deepak Chopra The Lost Symbol by Dan Brown

47

“My paintings are derived from a source of contemplation and fascination with the wonders of an awesome logic that exists in nature,” Lentsch explains in one of his many essays on the subject. For Lentsch, ‘as words define those things that most important to our definition of self, art is the translation of those same but most important definitions.”

48

Lentsch is an artist, author, architectural builder, designer, inventor, and entrepreneur. He resides in Minneapolis, Minnesota and works out of his studio located in the Warehouse district of Minneapolis. Lentsch is also the founder of Artist League Studios, a Minneapolis based thinktank/studio for emerging artists.

Acknowledgements I would like to take this opportunity to acknowledge the following people and resources responsible for this publication.

Rasun Mehringer editing, production and photography.

Wikipedia and Google for the data and constant source of inspiration and content.

The exceptional artists of Artist League and their commitment to my vision and their never ending collective pool of support and help with my endeavors.

The many clients and investors in my vision and most importantly my wife Debbie and children Sarah and Theo. © 2010 Edward Lentsch and Morning Light Studios. All Rights Reserved