The Greatest Perfection of Art Featuring Khang Nguyễn
By Kiya McClenton
Khang Nguyễn is a painter and scholar, currently studying to earn a PhD in philosophy and religion at Claremont Graduate University. Much of his work focuses on the research of nondual traditions, apophatic tradition, mysticism, dialectical tradition, modern and postmodern philosophies, comparative philosophy and religion and aesthetic theories. These ideas are expressed through his artwork that combines 10th century traditions with his own unique process.
Khang’s latest exhibit The Great Perfection was a collaboration with sculptor Charles Long as an expression of their approaches on non dual consciousness, or as Khang describes, “the more fundamental mode of knowing, with no distinction between self and others, subject and object, or knower and object known.” Furthermore, nondualism allows individuals to have a more holistic vision of the nature of reality and of being itself.
Khang explains that the theme in most of his artwork is based on philosophical and spiritual insights, such as the teachings of Dzogchen Buddhism. Dzogchen Buddhism is a Tibetian nondual tradition, emphasizing the absence of fundamental duality, or separation from existence. This tradition expresses the idea of ultimate reality, or a more holistic vision of reality, knowing the source, fundamental nature, and the laws of the cosmos. Although nondualism is the main theme in his artwork, Khang assures that he approaches his art with spontaneity and openness to allow more ideas to flow in.
Khang expresses the non dualistic philosophies of Dzogchen Buddhism in his artwork using a uniquely innovative process. Like most artists, Khang’s creative process begins with getting insight on his idea, the nature or being of knowing. He then sketches a visual representation of that idea in a notebook. Lastly, he transfers the sketch onto the canvas three dimensionally.
To give the multi-dimensional effect, Khang uses a process called the Glazing Method. With this method, the artist applies a thin, translucent layer of paint over a dried base layer, and so on, giving the art an optical illusion effect. Khang uses this style with his own approach by letting the paint dry for 2-3 days before adding another layer. He further explains that each layer represents a different dimension of consciousness.
Khang expresses that although many people view his paintings as abstract, he describes them as "diagrammatic', or diagrams of the nature of perception. These diagrams focus how people perceive time and space, their sense of self and others, and how to access nondual awareness. Khang compares his paintings to scientific diagrams that explain the human anatomy and how it works with the organs to make the body function; his paintings explain the nature of perception and consciousness, and how they function together. Khang expresses that these non dualistic philosophies are relevant because, “normally we are stuck in dualistic perception, in the sense of there's a ‘self’ and there’s a ‘other’. So in dualistic mode, we are restricted within finite consciousness. We have a fragmented or limited knowledge of reality, creating many problems and conflicts.”
Alongside his paintings and the sculptures of Charles Long, Khang and Charles also developed an interactive installation called the Song of Sacred Tremor, which refers to the sacred non dual Kashmir Shaivism tradition that uses vibrations. Referring to recent studies, Khang explains how scientists have used cymatics to discover how objects create and organize matter using vibrations. Today, people often refer to how objects have ‘high’ or ‘low’ vibrations to determine whether something is ‘good’ or ‘bad’. However, Khang states that this 10th century tradition goes deeper than just good or bad.
In the Kashmir tradition, they viewed the primordial vibration as a bridge between individual consciousness and universal awareness. In this installation, the artists use small mirrors to represent finite consciousness, while a large mirror on the model represents universal/non dual awareness. The projector, displaying one of Khang's sketches, points directly at the larger mirror to represent universal consciousness contemplating itself. Through this self contemplation, primordial vibrations are created, thus manifesting existence or the visible reality.
Khang hopes to provide his audience with a more profound recognition of their being. He expresses that because people are often occupied with their identity and live by their own thoughts and perceptions, they don’t recognize the more profound dimension of being. Ultimately, Khang wants to help his audience find this mode of being, or a separation from the self and one's own perception to see the bigger picture within consciousness and how all life is interconnected.
