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edward lentsch

the secret order of the saffron adhara

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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 be-tween 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 anti-matter. 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

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Defining Synectics Part II

2010 · 80” × 60”

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“Bits & Pieces Put Together to Present a Semblance of a Whole.” I have driven past this enormous sign by Law-rence Weiner at the Walker Art Center in-numerous 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 informa-tion. Synectics is the infinite potential of connecting the dots within this matrix and suggests the path to exponential knowl-edge. In my process and use of materi-als, I find a connection between the most elemental phenomena of the universe and magical experiences that articulate some-thing 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 Syn-ectics.” 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 meth-od 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 refrac-tion, 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 technol-ogy and changes in the mode of human life, which gives the appearance of ap-proaching some essential singularity in the history of the race beyond which human affairs, as we know them, could not con-tinue.”

Foreword

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In his book “Mindsteps to the Cosmos” (Harper Collins, August 1983), Gerald S. Hawkins elucidated his notion of ‘mind-steps’- 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 succes-sively closer mindsteps until the limit of the series in 2053. His speculations ventured beyond the technological: The mindsteps appear to have certain things in common- a new and unfolding human perspective, related inventions in the area of memes and communications, and a long formula-tive waiting period before the next mind-step comes along. None of the mindsteps can be said to have been truly antici-pated, 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 incon-ceivable, with mind- stretching discoveries and concepts.”

This process might continue ex-ponentially, 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 “intel-ligence explosion”. This book sets out to explain my vision for the next great art movement which is just that- “an intel-ligence explosion”...a new vocabulary...a new kind of science...

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The Ace of Poetry

2010 · 66” × 88”

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Blackandwhite,liquidandpowder,hotandcoldareamongthefundamentalelementsinmyprocessofpainting.Icontinuallystrivefortheultimatequalityandnoveltyofsurfaceandtexture.Pushingtheenvelopeinthemanipulationofmateri-alsandtheirapplicationsisacriticalpartoftheintegrationofphilosophyandtech-niqueforme,asIcombinethe‘bestoftheold’withthe‘bestofthenew’attemptingtorealizeanewconstructinpainting.Varnishes,shellacs,polymers,porcelain-powders,hotpotswithbeeswax,charcoal,andtempera,alladdtotheamalgama-tionoftheseelements.Thisconceptincludesacognitiveapproachtoprocessandtechniqueinpainting,whileallowingforaspiritualexpansionthroughitsrelativeinterconnectednessandexpression.Ifeelthatthisprocessislikethequantumfield;aprobabilityamplitudeofaneventorthoughtwithinastateofanticipationorobservation.Infacttheanticipationcanactuallymanifesttheobservationandthisiswheretheideaofrealmagic,intermsofintentionandinspiration,comesfrom. Forthepast20years,Ihavesetoutwiththesingularintentiontocreateonethousandtitles,eachconnectingthingsofanesotericnatureofbothfactandleg-end,throughfictionandhistory.Theideaistoconnectpeopletoinformationofacollectivespiritualexpression,existinginboththephenomenaofnature,aswellasesotericsubjectsrelativetoancientmysticism,historicalscientificfacts,contempo-raryquantummechanicsincludingtheunifiedfield,and,whatisnowreferredtoas,NoeticScience. Myanticipationwasthatthesetopicsandideaswouldbecomemoremain-streamandrelevanttothecontemporarythinkerofthe21stcenturyasthefirst10yearsofthisnewcenturyunfoldedthroughsortofa‘mind-mapofconsciousness’or‘sixdegreesofseparation’,andmostimportantly,‘exponentialknowledge’(theideathattherewouldbemorechangeandgrowthofscientificknowledgeinthisfirstdecadethanthelast100yearsoftheprecedingcentury).Myprincipleideawastoconnectinformationtomyworkthroughacollectionoftitlesandtherebylinkittotheexperientialknowledgeobtainedthroughakindoftreasuremapanddatamodelofwhat,inmyestimation,isprofoundknowledge;thus,becominginstepwithwhatmodernphysicistscallthe‘harmonicconvergence’.Consequently,amorerelative‘super-consciousness’ofhumanexpressionwouldbedefined,allow-ingviewerstotapintothisexpansivecollectiveunconscious. IconsidermypaintingtobepurelyGesturalAbstractionbutwithinthecon-textofAbstractExpressionismorevenMysticalExpressionism.Theessenceofmypracticeisoneofmind,body,andspirit.Asmuchofaclichéasthatmayseemtobe,itisstillrelevant.ThesubjectnarrativeisintendedtocreateanewvocabularythatcumulativelysearchestofindconnectionsbetweenthingsIbelievetobesig-nificantandtherefore,thepaintingsacquiretheirownthreadofindividualexpres-sionwiththelargerpictureinmind.Whiletheprimaryemphasisisonthepaintingasitsownuniqueexperienceandmyprocessincreatingit,eachpainting,throughitstitle,buildsuponalargervocabularythatreferenceshistoryandorigin,whetherthatbecultural,scientific,theological,metaphysical,etc.

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Thepaintingsthemselvesarenottryingtoobjectivelydescribeorattachthemselvestoanyparticularnarrativeexceptwithsymbolsandsubjectsthroughthetitlesforpeopletodiscoverontheirown.Themysteryofthemeaningsislefttotheindividualandhowtheyinterprettheimageryasitrelatesto,notjustthesingletitleoftheindividualpiece,butratheritslargerconnectiontothebodyofwork.Ithinkofitasadatamodelof103(athousandpointsofcontact-tentimestentimesten).AdatamodelisbestexemplifiedthroughasystemlikeWikipedia,Google,ortheHumanGenomeprojectandStevenWolfram’s‘Mathematica’probablybestil-lustratesthisnewkindofscience.Noeticscience,anothercommonthemeinmywork,isthescienceofmea-suringthoughtsandenergy,bestknownforthe“IntentionExperiment”and“28Grams”.Iseethisasrelevanttothe‘intention’inpainting.Inmywork“TheXOIPrinciple”Idiscuss‘cellularrejuvenation’andthesignificanceofthenumber55(knownbyMysticstobethesignofthe“doubledragon”).Thebasicformula-gridforXOIDiagramhas55points(likebowlingpins1stackedontopof2,and2on3etc.)untilthetenthrow,andeachrowistheprogressionofnumbersfrom1through10.Thereare55totalpointsofreferenceand100totalpossibleconnectionlinesbetweenthepointsofthegrid.Thus,a10x10triangulargridismanifestedfromthe1-55fixedpoints.Thereisalsoaddedsignificanceofthisnumber55,asitisthetenthnumberoftheFibonaccisequence. Ihavecometotheconclusionthatartisamulti-dimensionalformationofcomplexrelationshipsandthat,ultimately,the‘intention’producesanobject.Infact,thevalueoftheobjectliesinitsabilitytobesomethinguniqueandremarkableasanobject.Tome,artistheexpansivevisionofadynamicpurpose,combinedwiththeskillfulintentionofourcraftthatrevealsatruepotential.Thispotentialsug-gestsallpossibilities,andistheessentialdriverinourabilitytomakeconstantandcontinuingimprovementstoourwork. Pythagorasisbelievedtohavecoinedthewords“philosophy”(loveofwis-dom)and“mathematics”(thatwhichislearned).Ibelievethataswordsdefinethosethingsthataremostimportanttoourdefinitionofself,artisthetranslationofthosesamebutmostimportantdefinitions.Thecomplexequationthatwerefertoasartisstillgovernedbyitsdefinition,“skillacquiredbyexperienceorstudy;theuseofskillandimaginationintheproductionofthingsofbeauty”(Webster’sDictionary).Ibelievethatartmustbeaninspiredcreationofthosethingsthathavegreatpur-poseandgenuinebeauty,andbecausethesethingsarenotonlyphysicalbutalsospiritualandintellectual,wemustqualifywhetherthesethingsdoinfactreflectthatgreatness.

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TheMajorArcana

2010·88”×66”

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AbsoluteZero

2009·30”×35”TheRevolutionaryTriangle

2009·76”×54”

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from the previous page

ConversationswithGod

2006·86”×132”

TheCode

2005·65”×55”

SculptureInstallationbyColemanMiller

(fortheRoomofRequirement)

Reincarnation

2000·96”x76”x8”

SculptureInstallationbyEdwardLentsch

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ConstructingMikoshi

2008·72”x56”

WolframLogicPartII

2010·88”×66”

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WatersofTheophany

2010·35”×51”

AnforaDiBarratti

2010·35”×51”

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Armetrine

2010·42”×64”

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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…

DozukaBranch

2009·88”×66”

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GreekFire

2007·50”×80”

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ParadoxofAwe

2009·66”×88”

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ResistanceofAir

2006·38”×28”

Oxus

2006·38”×28”

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TheIdeaoftheCentury

2009·80”×60”

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

March 2010

SecretOrderoftheSaffronAdhara

2010·64”×40”

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SevenofMusicPartI

2010·46x34

SevenofMusicPartII

2010·46”×34”

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Cyclades

2004·76”×54”

Strophyas

2004·76”×54”

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LausDeo

2009·76”×54”

EnochianLanguage

2006·66”×88”

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SevenBooksofOson

2010·42”×70”

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Upcoming Exhibitions2010 Tobi Tobin, Los Angeles2010 The Edge, Santa Fe2010 Costello Childs Scottsdale 2010 Budwell Middle East Muscat, Oman2010 Forré and Co. , Aspen CO

Past Exhibitions2009-2010 Group exhibition Forre and Co.2009 Lanoue Fine Art, Boston, MA2009 Ogilvie Pertl Gallery, Chicago, IL2009 Madison Gallery, La Jolla, CA2009 Zane Bennett, Santa Fe, NM2009 Zane Bennett, Art Chicago 2008 Gallery Moda, Santa Fe, NM2008-09 Onessimo Fine Art2008 Ogilvie Pertle Gallery, Chicago, IL2008 OK H arris Works of Art ,New York, NY2007 OK Harris Works of Art, New York, NY2007 Onessimo Fine Art, Palm Beach Gardens, FL2007 Eleonore Austerer Gallery, Palm Desert, CA2007 Hernandez Contemporary, Scottsdale, AZ2007 Ogilvie/Pertl Gallery, Chicago, IL2007 Gallery Moda, Santa Fe, NM2006 Lanoue Fine Art, Boston, MA2006 Modern Masters, Santa Fe, NM2006 Hernandez Contemporary, Scottsdale, AZ2006 Modern Masters Fine Art, Palm Desert, CA2005 Art Chicago Navy Pier, Chicago, IL2005 Flanders Gallery, Minneapolis, MN2004 Elizabeth Edwards Fine Art, Palm Desert, CA2004 Desert Wolf, Palm Desert, CA2003 Art Chicago, Julie Baker Fine Art, Grass Valley, CA2003 Windsor Gallery, Dania, FL2003 Minnetonka Center for the Arts, Minnetonka, MN2002 Palm Springs International Art Fair, Palm Springs, CA2001 Elizabeth Edwards Fine Art, Maui, HI2001 Elizabeth Edwards Fine Art, Nantucket, MA2000 Palm Springs International Art Fair, Palm Springs, CA1998 Atrium Design Center, Rancho wwMirage ,CA1997 Sidney Bechet Center for Visual Arts, Garches, France1995 Gallery Massijiro Ltd., Fukuoka-Ken, Japan1995 Minneapolis Institute of Art, Art in Bloom, Minneapolis, MN1994 Scholes Fine Art, Edina, MN

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BibliographyThe Ancient Secret of the Flower of Life: Volume 1 by Drunvalo MelchizedekThe Ancient Secret of the Flower of Life: Volume 2 by Drunvalo MelchizedekThe Bible Code by Michael DrosninThe Dancing Wu Li Masters by Gary ZukavThe Dead Sea Scrolls by G. VermesThe Divine Proportion by H.E. HuntleyDivine Proportion: Phi In Art, Nature, and Science by Priya HemenwayEgyptology: search for the Tomb of Osiris by Candlewick PressThe Elegant Universe by Brian GreeneThe Emerald Tablets of Thoth the Atlantean trans-lation and interpretation by DorealThe Fourth Turning An American Prophecy by Wil-liam Strauss and Neil HoweGod and the New Physics by Paul DaviesGod is a Verb by David A CooperThe Golden Ratio: The Story of PHI, the World’s Most Astonishing Number by Mario LivioHow to Know God by Deepak ChopraThe I Ching or Book of Changes by Brian Browne WalkerLiving in the Heart: How to Enter into the Sacred Space Within the Heart by Drunvalo MelchizedekMathematics from the Birth of Numbers by Jan GullbergMorphic Resonance & the Presence of the Past by Rupert SheldrakeMultiple Intelligences by Howard GardnerThe Mystery of Aleph by Amir D. AczelA New Kind of Science by Stephen WolframThe Power of Intention by Wayne DyerThe Road to Reality by Roger PenroseSacred Geometry: Deciphering the Code by Ste-phen SkinnerSacred Geometry: Philosophy and Practice (Art and Imagination) by Robert LawlorSacred Geometry (Wooden Books) by Miranda Lundy

The Tao of Physics by Fritjof CapraWizardology: The Secrets of Merlin by Candle-Press (Includes references for painting titles)The Mystery of Aleph by Amir D. AczelMathematics from the Birth of Numbers by Jan GullbergA New Kind of Science by Stephen WolframThe Code Book by Simon SinghMorphic Resonance & the Presence of the Past by Rupert SheldrakeGod and the New Physics by Paul DaviesThe Dancing Wu Li Masters by Gary ZukavThe Tao of Physics by Fritjof CapraSix Not So Easy Pieces by Fritjof CapraThe I Ching or Book of Changes by Brian Browne WalkerGod is a Verb by David A CooperMultiple Intelligences by Howard GardnerThe Road to Reality by Roger PenroseThe Bible Code by Michael DrosninThe Principia-- by Isaac NewtonAngels and Demons by Dan BrownThe DaVinci Code by Dan BrownThe Elegant Universe by Brian GreeneThe Dead Sea Scrolls by G. VermesAnd the Sea is Never Full by Elle WieselThe Soul of a Butterfly by Muhammad AliThe Notebook of Leonardo DaVinci by Edward MacCurdyThe Transformational Book Circle SeriesThe Celestine Prophecy: An Adventure by James RedfieldThe Power of Intention by Wayne DyerHow to Know God by Deepak ChopraThe Lost Symbol by Dan Brown

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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.

“Mypaintingsarederivedfromasourceofcontemplationandfasci-nationwiththewondersofanawe-somelogicthatexistsinnature,”Lentschexplainsinoneofhismanyessaysonthesubject.ForLentsch,‘aswordsdefinethosethingsthatmostimportanttoourdefinitionofself,artisthetranslationofthosesamebutmostimportantdefini-tions.”

Lentschisanartist,author,architec-turalbuilder,designer,inventor,andentrepreneur.HeresidesinMinne-apolis,MinnesotaandworksoutofhisstudiolocatedintheWarehousedistrictofMinneapolis.LentschisalsothefounderofArtistLeagueStudios,aMinneapolisbasedthink-tank/studioforemergingartists.

© 2010 Edward Lentsch and Morning Light Studios. All Rights Reserved