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| Devakrishna M. Giollo :: Short Biography | Devakrishna Marco Giollo was born in Bellinzona, Ticino, Switzerland in 1953.
In 1970 he studied at the Architect School STS of Trevano, but left after a year realizing that the intensive technical studies were not going to be his real calling.
In 1971 in Lugano he joined the School of Art CSIA, where he got trained with some of the best contemporary artists and teachers such as Nag Arnoldi, Piergiorgio Piffaretti, Giuliano Togni, Daniele Cleis, Emilio Rissone, Gianni Realini, Livio Bernasconi, Bruno Monguzzi and many others.
In 1973 he won the second prize for sculpture at the Villa Saroli Exhibition .
In 1974 he won the Bariffi Prize and one of his works was accepted and produced in the size of 3 x 15 meters sculpture at one of the 2 restaurants of the Congress House of Lugano.
Even though this would have been his entry ticket into the Swiss art scene, he left Switzerland, that year, sensing that art alone would never really be enough and that he had to travel.
This he did over the next 3 years, journeying penniless overland through Greece, Turkey, Afghanistan, Pakistan, Nepal and India and then most of South-East Asia. On the way he lived with Afghani tribal warriors and Indian Sadhus, travelling from the Himalayas to the driest deserts and from deep forests to deserted beaches. He lived simply and experienced all his desires totally and fully.
However It was only in 1976 that he was first able to quench the thirst that had been continuously driving him in Pune, India. He met Osho, the radical mystic and spiritual master. From then until Osho’s death in 1991, he lived and worked with him in the communities Osho founded in India and in Oregon, USA. He changed his name to Devakrishna and practiced all the meditations Osho had to offer. During these years he continued to create art as well a lot of music, but the main focus now was to learn how to live life totally in the 'here & now', and how to clean up one’s emotional garbage. How to increase awareness and to witness one’s own body, mind and feelings, living directly in touch with one’s own bio-energy. In essence, the learning -then and now- is about who we really are, where we come from and where we go.
One day Osho said to him:
"There are two types of creators in the world:
one type of creator works with objects - a poet, a painter, they work with objects, they create things;
the other type of creator, the mystic, creates himself, he works with the subject; he works on himself, his own being.
And he is the real creator, the real poet, because he makes himself into a masterpiece.
Art can be divided into two parts.
Ninety-nine percent of art is subjective art.
Only one percent is objective art.
The ninety-nine percent subjective art has no relationship with meditation.
Only one percent objective art is based on meditation.
The subjective art means you are pouring your subjectivity onto the canvas, your dreams, your imaginations, your fantasies.
It is a projection of your psychology.
The same happens in poetry, in music, in all dimensions of creativity - you are not concerned with the person who is going to see your painting, not concerned what will happen to him when he looks at it; that is not your concern at all.
Your art is simply a kind of vomiting.
It will help you, just the way vomiting helps.
It takes the nausea away, it makes you cleaner, makes you feel healthier.
But you have not considered what is going to happen to the person who is going to see your vomit.
He will become nauseous.
He may start feeling sick".
-- Osho
In 1982 he started travelling again all over the world, from Oregon to California, from New York to Sydney, and from Singapore to Hong Kong, exhibiting a variety of new styles of work in many countries. In 2000 he returned to Europe, first to Freiburg, Germany, then in 2003 to Switzerland where he now lives and works in his two ateliers in Schönenbuch (Basel Land) and Magadino (Ticino).
Giollo’s art continues to be inspired by Osho’s teaching-more and more concerned with beauty and a peaceful, silent space of meditation. It is this dimension, in stark contrast to the art-worlds’ pretensions of constant ‘novelty’ and ‘meaning’, which he hopes to share. As he himself says;
"For me painting is a meditative act not different from cleaning the dishes or my teeth, working in my garden. When I paint I am totally lost in the act of painting. It is a ’no- mind’ experience. What I am left with afterwards is a canvas that wants to go, wants to make someone or some place happy. When that happens I feel honoured and grateful; I feel I gave a little something, a little beauty to the world."
| | Insights on art by Osho | This is a discourse on art from Osho:
There are two types of creators in the world:
one type of creator works with objects
- a poet, a painter, they work with objects, they create things;
the other type of creator, the mystic, creates himself, he works with the subject;
he works on himself, his own being.
And he is the real creator, the real poet, because he makes himself into a masterpiece.
- Osho -
Art can be divided into two parts. Ninety-nine percent of art is subjective art. Only one percent is objective art. The ninety-nine percent subjective art has no relationship with meditation. Only one percent objective art is based on meditation.
The subjective art means you are pouring your subjectivity onto the canvas, your dreams, your imaginations, your fantasies. It is a projection of your psychology. The same happens in poetry, in music, in all dimensions of creativity - you are not concerned with the person who is going to see your painting, not concerned what will happen to him when he looks at it; that is not your concern at all. Your art is simply a kind of vomiting. It will help you, just the way vomiting helps. It takes the nausea away, it makes you cleaner, makes you feel healthier. But you have not considered what is going to happen to the person who is going to see your vomit. He will become nauseous. He may start feeling sick.
Look at the paintings of Picasso. He is a great painter, but just a subjective artist. Looking at his paintings, you will start feeling sick, dizzy, something going berserk in your mind. You cannot go on looking at Picasso's painting for long. You would like to get away, because the painting has not come from a silent being. It has come from a chaos. It is a byproduct of a nightmare. But ninety-nine percent of art belongs to that category.
Objective art is just the opposite. The man has nothing to throw out, he is utterly empty, absolutely clean. Out of this silence, out of this emptiness arises love, compassion. And out of this silence arises a possibility for creativity. This silence, this love, this compassion - these are the qualities of meditation.
Meditation brings you to your very center. And your center is not only your center, it is the center of the whole existence. Only on the periphery we are different. As we start moving toward the center, we are one. We are part of eternity, a tremendously luminous experience of ecstasy that is beyond words. Something that you can be... but very difficult to express it. But a great desire arises in you to share it, because all other people around you are groping for exactly such experiences. And you have it, you know the path.
And these people are searching everywhere except within themselves - where it is! You would like to shout in their ears. You would like to shake them and tell them, "Open your eyes! Where are you going? Wherever you go, you go away from yourself. Come back home, and come as deep into yourself as possible."
This desire to share becomes creativity. Somebody can dance. There have been mystics - for example, Jalaluddin Rumi - whose teaching was not in words, whose teaching was in dance. He will dance. His disciples will be sitting by his side, and he will tell them, "Anybody who feels like joining me can join. It is a question of feeling. If you don't feel like, it is up to you. You can simply sit and watch."
But when you see a man like Jalaluddin Rumi dancing, something dormant in you becomes active. In spite of yourself you find you have joined the dance. You are already dancing before you become aware that you have joined it.
Even this experience is of tremendous value, that you have been pulled like a magnetic force. It has not been your mind decision, you have not weighed for pro and for against, to join or not to join, no. Just the beauty of Rumi's dance, his spreading energy, has taken possession of you. You are being touched. This dance is objective art.
And if you can continue - and slowly you will become more and more unembarrassed, more and more capable - soon you will forget the whole world. A moment comes, the dancer disappears and only the dance remains.
There are in India statues, which you have just to sit silently and meditate upon. Just look at those statues. They have been made by meditators in such a way, in such a proportion, that just looking at the statue, the figure, the proportion, the beauty... Everything is very calculated to create a similar kind of state within you. And just sitting silently with a statue of Buddha or Mahavira, you will come across a strange feeling, which you cannot find in sitting by the side of any Western sculpture.
All Western sculpture is sexual. You see the Roman sculpture: beautiful, but something creates sexuality in you. It hits your sexual center. It does not give you an uplift. In the East the situation is totally different. Statutes are carved, but before a sculptor starts carving statues he learns meditation. Before he starts playing on the flute he learns meditation. Before he starts writing poetry he learns meditation. Meditation is absolute necessity for any art; then the art will be objective.
Then, just reading few lines of a haiku, a Japanese form of a small poem - only three lines, perhaps three words - if you silently read it, you will be surprised. It is far more explosive that any dynamite. It simply opens up doors in your being.
Basho's small haiku I have beside the pond near my house. I love it so much, I wanted it to be there. So every time, coming and going.... Basho is one of the persons I have loved. Nothing much in it: An ancient pond.... It is not an ordinary poetry. It is very pictorial. Just visualize: An ancient pond. A frog jumps in.... You almost see the ancient pond! You almost hear the frog, the sound of its jump: Plop.
And then everything is silent. The ancient pond is there, the frog has jumped in, the sound of his jumping in has created more silence than before. Just reading it is not like any other poetry that you go on reading - one poem, another poem... No, you just read it and sit silently. Visualize it. Close your eyes. See the ancient pond. See the frog. See it jumping in. See the ripples on the water. Hear the sound. And hear the silence that follows.
This is objective art.
Basho must have written it in a very meditative mood, sitting by the side of an ancient pond, watching a frog. And the frog jumps in. And suddenly Basho becomes aware of the miracle that sound is deepening the silence. The silence is more than it was before. This is objective art.
Unless you are a creator, you will never find real blissfulness. It is only by creating that you become part of the great creativity of the universe. But to be a creator, meditation is a basic necessity. Without it you can paint, but that painting has to be burned, it has not to be shown to others. It was good, it helped you unburden, but please, don't burden anybody else. Don't present it to your friends, they are not your enemies.
Objective art is meditative art, subjective art is mind art.
OshO: from The Last Testament, Volume 3, #24
www.osho.com
| | Osho on ART |
BELOVED OSHO, WHAT DO YOU SAY ABOUT MODERN ART?
The first thing is, it is not ART.
For the first time something exists in the name of ART which is not ART at all. It is more a therapy than an ART Look at the modern paintings and you will be convinced of what I am saying. The painters must be insane; they have poured their insanity on the canvas. It helps them because it releases some tensions inside their being. It is a catharsis, but it is not ART It is therapy through ART but not ART itself. If Picasso is prevented from painting, he will go mad. Vincent van Gogh went mad before he committed suicide. And I have been looking into his life deeply and my feeling is he went mad because he could not paint as much as he wanted. He had no money to paint. His brother was giving him money enough just to survive, and he was not eating for four days per week. He would eat only for three days and four days he will fast to save money to paint. How long can you do that? But painting was more important for him than food -- and it ended in madness. He could not paint as much as he wanted, and when he saw that there was no possibility to paint anymore -- the brother is tired, the family is tired and nobody wants to help him and nobody wants to purchase his paintings -- he committed suicide. The same would be the case with Picasso if he was prevented from painting: he would go mad or he would commit suicide. Suicide is the ultimate in insanity. But his paintings are a great help, a great relaxation. And it is not only so with painting; it is so with poetry, music, dance. Everything modern is a little crazy because modern man is a little crazy, off the center.
Gurdjieff has divided ART into two categories. The modern ART he calls subjective ART The ancient ART -- the real ART -- the people who made the pyramids, the people who made the Taj Mahal, the people who made the caves of Ajanta and Ellora, they were of a totally different kind. He calls that ART objective ART Subjective ART is like vomiting. You are feeling sick, nauseous; a good vomit helps you to feel good. The poison is thrown out, you feel relieved. It is good for you, but not good for others. Now, in the name of modern painting, you are hanging vomited, nauseous, sickening things in your rooms. In the name of modern music you are simply getting into crazier spaces within you. It is subjective ART
Objective ART means something that helps you to become centered, that helps you to become healthy and whole. Watching the Taj Mahal in the full moon, you will fall into a very meditative space. Looking at the statue of Buddha, just sitting silently with the statue of the Buddha, something in you will become silent, something in you will become still, something in you will become buddhalike. It is objective ART it has tremendous significance. But objective ART has disappeared from the world because mystics have disappeared from the world. Objective ART is possible only when somebody has attained to a higher plane of being; it is created by those who have reached the peak. They can see the peak and they can see the valley both. They can see the height of humanity, the beauty of humanity, and the sickness and the ugliness of humanity too. They can see deep down in the dark valleys where people are crawling and they can see the sunlit peaks. They can manage to create some devices which will help the people who are crawling in the darkness to reach to the sunlit peaks. Their ART will be just a device for your inner growth, for maturity. Modern ART is childish -- not childlike, remember, childish; not innocent but stupid, insane, pathological. We have to get rid of this trend. We have to create a new kind of ART a new kind of creativity. We have to bring to the world again what Gurdjieff calls objective ART
The farmer was looking at one of those modern, abstract paintings. "It is a perfect picture of those fellows in New Delhi," he said. "No matter which way you look at it, it does not make sense."
But the farmer is saying something which Picasso himself has said. Picasso has said, "The world today does not make sense, so why should I paint pictures that do?" If the world today does not make sense, that means more pictures, more music, more poetry is needed that makes sense -- to help humanity to come out of this absurd state. That was the function of objective art: to help you come out of your absurd state. But Picasso says, "The world today does not make sense..." as if it was making sense in the past. It has never made any sense; the world has always been the same. But he finds a rationalization. He is saying, "If the world itself makes no sense, why should I paint pictures that do?" If you ask me, that should be precisely the reason to make pictures that DO make sense. Otherwise, how is the world going to be helped? It needs music, it needs poetry, it needs dance. It needs paintings which can help it to rise above its misery, its schizophrenia, its neurosis, its psychosis. But Picasso himself is only a representative of the neurotic mind. Picasso became so famous for the simple reason that he represented us very clearly.
The marriage broker introduced a really ugly girl to a young man. The victim protested that the lady had misplaced eyes, a broken nose and a deformed face. "Ah," said the marriage broker, "it is apparent that you do not like Picasso."
Looking at Picasso's paintings, have you not felt it? Everything is deformed, misplaced.
I have heard that a very rich lady wanted a portrait of herself done by Picasso. He agreed for a fantastic sum. The lady was ready to pay. Six months he took to make the portrait. When the portrait was ready, the lady looked at it and said, "Everything is okay; I just don't like the nose. You will have to improve it." Picasso looked at the lady, then he looked at the painting and he said, "It is impossible." The lady said, "Why? I am ready to pay. If you want more money, I am ready to pay." Picasso said, "It is not a question of money. I don't know where the nose is."
His paintings are nightmarish. And it is not only Picasso; Picasso simply symbolizes the whole of contemporary ART He is the most representative modern artist. He is right, in a sense, because the world makes no sense. The world has never made any sense, but there have been people who created such ART that it helped people to find some sense in a senseless world. And that finding of sense helps you tremendously to become centered.
"It is terrible to see men looking like girls, with long hair and all. You can't tell the difference. I was sitting in a restaurant when a girl came in. I turned to the person at the next table and said, 'Isn't it terrible how girls look like boys these days?'" "That's my son," she said, pointing to the girl. "Ah, I'm sorry. I didn't know you were the mother." "I'm not," the neighbor said indignantly. "I'm the father!"
Things are topsy-turvy. Things are becoming more and more topsy-turvy. The world seems to be less a cosmos now and more a chaos. In the ancient philosophies, cosmology was one of the most important things to be discussed. Now there seems to be no cosmos, no cosmology. The whole world seems to be in a chaos, as if all is accidental. Nothing seems to be essential, intrinsically valuable; everything seems to be just happening as an accident. And this is reflected in everything. It is reflected in ART it is reflected in science, it is reflected even in religion.
We need again a cosmology. I know the world IS a chaos; that is a challenge for human consciousness to create a cosmos out of it. It is a tremendously valuable opportunity to create a cosmos. Just to say that it is a chaos, remain with it as it is, is to fall below human dignity; it is not accepting the challenge. It is really a great challenge to change yourself AND the world. It IS a puzzle, but it is a puzzle only if you have already concluded that there can be no meaning at all; otherwise it is a mystery, not a puzzle. A mystery may not have any meaning, but it has significance. And there is a difference between meaning and significance -- and significance is far more meaningful than meaning itself; significance is far more important. What meaning is there in a roseflower? -- but significance certainly is there. Just think of a world without roses. It will be a poor world; some significance will be lost. What significance is there when you hear the sound of running water? Have you not felt some significance? Yes, meaning you cannot prove. Meaning seems to be imposed by the mind upon existence; significance seems to be part of existence itself. We have lost contact with the language that can understand significance; we only understand meaning. Meaning is intellectual, significance is existential. There is no meaning in love, but great significance; no meaning in God, but great significance; no meaning in meditation, but great significance, great splendor. I would like to say to my sannyasins, Asang, that my sannyasins have to be not only meditative, they have also to be creative. And they have to create what Gurdjieff calls objective ART They have to create something which can help a wandering humanity to come to a resting place. Yes, much can be created that can give shelter, that can become a deep, deep experience of communion with nature. That is the real function of art: helping people to commune with nature, because out of that communion arises religion. Science is an intellectual effort to understand nature, ART is an emotional effort to understand nature, and religion is an existential effort to COMMUNE with nature. ART is higher than science, religion is higher than ART Science has to be objective; if science is subjective it will be just fiction -- science fiction. ART has also to be objective; otherwise it will be fiction. And that's what modern ART is -- fiction. And religion has also to be objective, really authentic; otherwise it is speculation, philosophy. |
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