Semiopticon was meant to examine the visual cross-referential aspect of semiotics (i.e. interpreted signs) through multiple cultures. The show drew on the educational references of the artists and included appropriated images from Tibetan Buddhists, Pop-art visionaries, hip-hop fashion, the Bible, Christian Bumper Stickers, Mayan Heiroglyphics, Greek Mythology, Childrens Cartoons and Animated Movies, Tarot Cards, Etc. For those who came to see the show, the enveloping nature of this installation evoked many emotional responses depending on the educational, religious, spiritual, and experiential background of each individual viewer. Each image (and the installation as a whole) was experienced as signs or symbols laden with meaning unique to each individual in the room, and, theoretically, in the world.

The Kali image specifically includes many references listed below:

1. “Kali”, is the feminine version of the word “kala”, meaning “black, dark coloured” and so I used an image of an African woman for her facial construction. In this way I represented her as “dark” using an American racial stereotype rather than painting her in color. Although “kala” also means death, I do not think of Kali as a destructive force, but rather as a free and freeing one.

2. Around her waist she wears a skirt of the arms of “men” whom she has released from the Karmic cycle. She wears a garland of skulls around her neck, each one representing a letter in the Sanskrit alphabet (I did not paint them all on her in this image, as some are behind her neck). Her hair is disheveled and she is naked.

3.In the “Mahanirvana-Tantra”, Kali is praised as “the Beginning of all, the Creatrix, Protectress, and the Destructress”. In the Book of Revelation, Jesus/God (disputed) is referred to as “the Alpha and Omega, the first and the last.” This originates from the Greek Alphabet, in which Alpha is the first letter and Omega is the last. The tattoo on Kali’s hip utilizes the Christian visual symbol of the conjoined Alpha/Omega to refer to Kali’s position as the creator and the destructor. The left hand position over Kali’s heart also is the symbol of Alpha/Omega. This hand position refers to that of Sandro Botticelli’s “Portrait of Young Man”, as well as “West-side” gang hand-symbols.

4. Four of Kali’s hands stay true to Hindu painting traditions. One is gesturing to dispel fear (abhaya) and one is offering blessings (varada). A third holds a sword (divine knowledge) and a fourth holds a severed skull/head (Ego – the visual of which is borrowed from tibetan imagery).

5. A fifth, and the upper-most arm holds a torch. Fire is represented here with the Mayan Heiroglyph for the former, and the bodily position references the Statue of Liberty (and therefore freedom from oppression).

6. In another hand, not far from her “lolling tongue” (referring to her descendancy from the river Agni as one of the seven “tongues”) is a large steak. Of all of the things in this painting, this is the one thing I can imagine a Hindu taking the most offense to, but it is not referring directly to meat, beef, vegetarianism or a sacred cow. For us, it serves as a reference to the pop-culture term “beef” (as in having a beef with someone) and the destructive aspects of the human ego, confrontation, and the world of the competitive artist.

7. Another hand holds the rope connected to the foot of the Tarot-card “Hanged Man”. This is meant to be yet another reference to the Karmic cycle and the Ego. The “hanged man” reminds us that when we relinquish our desire for control and stop struggling, we can move forward in a natural, peaceful way.

8. The two last hands hold an infant and a revolver respectively. The gun brings forward in time the weapons of the Mughal Miniature paintings and represents modern day aggressive sexuality, while the child refers to the Maternal Kali. Usually holding an infant Shiva, she is soft-hearted and nursing rather than destructing. Instead of Shiva, she holds a smaller version of herself, reflecting on the Christian idea that god created man in the image of himself. The position of these two images so close to each other is a powerful dichotomy especially when looking at the hands, the strained tight grasp on the gun versus the calmly curled palm around the infant.

I hope I have addressed everything necessary. Please let me relate that I meant to offend no one in my production of this work. I studied under and befriended people of Hindu faith when I lived in Jaipur, and I appreciate the religion whole-heartedly. Let me also express my appreciation for your comment on the website. Your emotive response to the work exemplifies its effectiveness in conception. What is art without controversy?

Looks like you have imitated a Hindu Goddess Kali and have shown in a disrespectful manner.

DO you think what you have done is legit and requires no approval from the religious community. Please review this work of yours and try no to hurt any community feelings.

Personally, I am offended and I think the whole Hindu community will be offended by this work of yours.

http://i115.photobucket.com/albums/n302/mrdiff/tod_mola_ram.jpg