dima rabik
︎Artist, Tantric, Spirituality, Music
︎ Ventral Is Golden
dima rabik
︎Artist, Tantric, Spirituality, Music
︎ Ventral Is Golden
︎ Ventral Is Golden
“The ultimate secret of metaphysical reality, if we dare state it so simply, is that there are no boundaries in the universe. Boundaries are illusions, products not of reality but of the way we map and edit reality. And while it is fine to map out the territory, it is fatal to confuse the two.” - Ken Wilber.
Dima Rabik is a peripatetic artist who’s artworks are immersive sensoriums of printed, painted and illustrated matter. Born in Russia, Rabik’s assemblages are a continuation of his folkloric roots that leap between stratified cultural motifs, indicative of his creative impetus, uninhibited as he is by any fixed cultural perspective.
Through his assemblages, Rabik channels his mythical interests in Eastern and Western esotericism (ranging from Theosophy, Shaivism, Smartism and Advaita Vedanta) and draws attention to the ideas extending beyond the artworks themselves.
With an awareness of sustainability and an ecological approach to making his artwork, Rabik uses almost exclusively, hand-made recycled papers, where his aesthetic brings to mind the ancient scribal masters of India and Persia, releasing their spirits through the use of carefully selected and textural materials to invite the gaze of the viewer back into the Temple Invisible.
Through his assemblages, Rabik channels his mythical interests in Eastern and Western esotericism (ranging from Theosophy, Shaivism, Smartism and Advaita Vedanta) and draws attention to the ideas extending beyond the artworks themselves.
With an awareness of sustainability and an ecological approach to making his artwork, Rabik uses almost exclusively, hand-made recycled papers, where his aesthetic brings to mind the ancient scribal masters of India and Persia, releasing their spirits through the use of carefully selected and textural materials to invite the gaze of the viewer back into the Temple Invisible.
A balance of eclectic influences that not only feed his aesthetic output but also his intellectual curiosity, are represented in his interest in ‘Integral Theory’, a concept devised by Transpersonal Psychologist, Ken Wilber.
According to Wilber, it is one of the most comprehensive approaches to understanding modern reality, a metatheory that attempts to explain how academic disciplines and every form of knowledge and experience can fit together coherently inside a fragmented mentality that clings to fixed perspectives. It suggests that all human knowledge and experience can be placed in a four-quadrant grid, along the axes of "interior-exterior" and "individual-collective".
There is a profound charm to these artworks that resonate deeply with 'the nostalgia for the medieval', the return to a manuscript form, the meticulous, showing us that the way out of any fixed perspective is to go within.
Media theorist Marshall McLuhan once remarked that "Electronic man has no physical body, so he puts nostalgia in its place." Within this lies the sentiment contained within Rabik's works. That the revitalised, retribalised man, fragmented, nomadic man, with no fixed perspective, is the characterisation of ourselves within the developmental stages of instant, electric communication, where all cultures happen at once. During this revolution of electric communication, Rabik’s assemblages and his attention to minute details are a soothing visual reminder to leave no stone unturned, no spirit left behind.
According to Wilber, it is one of the most comprehensive approaches to understanding modern reality, a metatheory that attempts to explain how academic disciplines and every form of knowledge and experience can fit together coherently inside a fragmented mentality that clings to fixed perspectives. It suggests that all human knowledge and experience can be placed in a four-quadrant grid, along the axes of "interior-exterior" and "individual-collective".
There is a profound charm to these artworks that resonate deeply with 'the nostalgia for the medieval', the return to a manuscript form, the meticulous, showing us that the way out of any fixed perspective is to go within.
Media theorist Marshall McLuhan once remarked that "Electronic man has no physical body, so he puts nostalgia in its place." Within this lies the sentiment contained within Rabik's works. That the revitalised, retribalised man, fragmented, nomadic man, with no fixed perspective, is the characterisation of ourselves within the developmental stages of instant, electric communication, where all cultures happen at once. During this revolution of electric communication, Rabik’s assemblages and his attention to minute details are a soothing visual reminder to leave no stone unturned, no spirit left behind.
“There is a profound charm to these artworks that resonate deeply with 'the nostalgia for the medieval', the return to a manuscript form, the meticulous, showing us that the way out of any fixed perspective is to go within.“
Being inspired by a rich tapestry of musical genres and working predominantly with electronic musicians, it comes as no surprise that Rabik also co-runs and curates an independent archive of soundscapes, offered by a sprawling array of experimental Djs from across many dimensions. The name, Amateur Exotic. The vision, to condense infinity into a musical ashram, where sounds and literature exist in simultaneous expression as ‘Mix-tales’, guided meditations for discarnate thought-forms.
Further Reading ︎
Artist website
Artist Instagram
Amateur Exotic soundcloud / facebook / Vk