MY EARLIEST RECOLLECTIONS OF ARTISTIC EXPRESSION were as a child
    growing up in a logging camp on Vancouver Island. I was fortunate to be able
    to watch the First Nation Canadian Master Totem Pole carver Mungo Martin at
    work on his artistic creations. Though I was too young to know of Mr. Martin’s
    esteemed place in the world of native and cultural art, I was still always
    fascinated by the visions of mythical beings emerging from what I knew to be
    simply tree trunks and logs. In seeing this ubiquitous form of artwork around
    the island, I believe that even as a child, I intuited the fact that these totemic
    forms marked Time, Space and Place yet still pointed to other mythical/mystical
    realms.

    Indeed, living on an island perhaps increased my sense of the mythic realms of
    the world, as the world was something that was still “out there” to be explored.
    Since then, I have been fortunate to travel to many different countries and
    experience firsthand their cultures, art, music, histories and philosophies.

    As an artist it is often challenging for me to put into words what I hope viewers
    to “get” from seeing my works, so I will have to ally myself with the model of the
    Mystic Poet. It has been said that Philosophers remain in the time/space
    continuum of place and culture, speculating and making conjectural thoughts
    regarding all the varied realms of consciousness. In contrast to this, the Mystic
    Poet will delve beyond time and space into a fluidic realm of consciousness,
    where past and future commingle in the present moment free of limiting cultural
    contexts. It is not uncommon for these mystical visions to be beyond
    description, so often they will be veiled in poetry or artwork. The inspiration for
    my artworks seems to come from this realm of unified space/time as my
    creative process is often punctuated by periods of meditative silence which are
    followed by intense bursts of creativity.

    In reflecting further on my process, I realize this is much like the silent spaces
    between the notes in a piece of music. Music makes a linear progression from
    start to finish and is punctuated with many “unheard” silent moments. Though
    we do not consciously hear these “voids”, they do exist making a musical piece
    complete. However, the listener cannot hear a piece of music in its entirety in a
    single moment; they must take the journey from start to finish and gain insight
    and experience along the way. It is the exploration of these voids that I find
    most intriguing. Today’s world fusion music also alludes to the transcendence
    and flux of space time by echoing both ancient and futuristic sounds and
    melding beyond specific cultures.

    I often hesitate to give names to my artworks of even to confine them in
    frames. Titles are often a concession made to assist the viewer in establishing
    a reference point and rapport with the work.

    I have been told that my works are often best seen in the way that a Japanese
    Zen “koan” is presented to the logical mind. If one is asked “what is the sound
    of one hand clapping”, immediately the logical mind will begin to tackle the
    problem in the mediums of time and space. However, there may come and
    instant when logic fails and time suspends and flashes of truth and insight
    prevail.

    After hearing many different interpretations of my artworks from many viewers,
    I am pleased to know that the works can inspire varied insights, unlike a
    photograph which takes a moment of time and simply freezes it. In other words,
    it is often best to approach the works without preconceptions, not even looking
    at the information card that says the work is; “this many inches by that many
    inches, done in this medium, entitled this”… instead, simply be drawn by the
    art. The works are imbued with the fluid consciousness of the universe which
    created them and I invite and welcome the viewers to look, be inspired and let
    the journey take them where it will.

    Brahmi Sardar-Warich ▪ Artist

    BRAHMI SARDAR-WARICH is a self-taught
    emerging visual artist based in the San Francisco
    Bay Area.

    Brahmi was born and raised in a logging camp on
    Vancouver Island in British Columbia, Canada. Her
    original professional aspiration was to become an
    exponent of the art of dance wherein she moved to
    San Francisco to join the Mahadeva (East Indian)
    Dance Company while she concurrently performed
    with a traveling ballet company. Subsequently,
    Brahmi began learning and performing Spanish
    flamenco dance with the dynamic “Los Flamencos
    de la Bodega

    (Photo at right from the star attractions wall at the
    landmark Ye Olde Spaghetti Factory in San
    Francisco’s historic North Beach. Click on photo for
    larger image.)
Brahmi Performing Flamenco
    Following her years in the performing arts, a further desire to create in the
    area of visual arts evolved and Brahmi began experimentation in the fields of
    painting and sculpture. Veteran art patrons have noted the unique qualities of
    Brahmi’s artworks and their complete freedom from the constraints of the
    formally trained artist. Though Brahmi is of East Indian descent, her work is
    diverse and redolent of cross-cultural traditions and symbolism derived from
    her various international travels and explorations of world cultures.

    In recent years, Brahmi has been repeatedly invited to participate in the world
    famous Absolut Chalk Italian Street Painting Festival in Pasadena, CA. By
    taking her artwork from canvas directly onto the surface of the streets,
    Brahmi's work has shown its ability to attract great interest from veteran art
    patrons and connoisseurs.

    Brahmi’s approach to art has found wide resonance among audiences of
    different ethnicities, provoking thoughtful insight and introspection among
    people. Upon seeing the artworks, it is not uncommon for complete strangers
    of diverse backgrounds to stand before the pieces and engage in
    spontaneous conversations regarding their own personal insights gleaned
    from exposure to the works. This quality alone is perhaps the highest fulfillment
    of Brahmi’s art.
About the Artist and Artist Statement
Paintings
Sculptures
Shaman Masks
ABOUT THE ARTIST
ARTIST STATEMENT
Copyright © 2007 - 2014
Brahmi Sardar-Warich - All Rights Reserved
Brahmi Sardar-Warich ▪ Artist