The moment I say "school," so many memories come back to me. It's like after every exam, when I walk out, the teacher would say, "Hey, come. How did you do?" I would say with a great smile, "I will definitely pass." And I didn't understand why, in one hand they say, "Speak the truth," in the other hand, when you say the truth, they hated you. So it went on like that, and I didn't know where else to find myself. So I remember those nights I used to go to sleep with asking help from [the] Unknown because, for some reason, I couldn't believe what my father and mother hanged in the Puja room as a god, because my friend's family had something else as a god. So I thought, "I guess I'll pray to [the] Unknown and ask help," and started getting help from everywhere, each and every corner of my life at that time. My brothers started giving me a few tips about drawing and painting.
U trenutku kada kažem "škola" vrate mi se mnoga sjećanja. To je kao nakon svakog ispita, kada bih odlazio učitelj bi rekao, "Ej, dođi. Kako je prošlo?" Ja bih sa smiješkom konstatirao, "definitivno prolazim". Nisam shvaćao zašto, s jedne strane kažu, "govori istinu", a s druge, kad bi rekao istinu, zamrzili bi te. Nastavio sam tako, ne znajući kako da pronađem sebe. Sjećam se tih noći kada bih išao spavati tražeći pomoć od nepoznatog, jer naprosto, nisam znao da moji roditelji sjede u sobi poput bogova, jer su obitelji prijatelja imali nešto drugo kao Boga. Tako sam pomislio, "molit ću se nepoznatom tražeći pomoć", te sam počeo dobivati pomoć sa svih strana, u svakoj situaciji mog života. Braća su mi počela davati savjete u vezi crtanja i slikanja.
Then, when I was in eighth standard around 13 years old, I started working in a part-time job in one of the signboard artists called Putu. And then school also started supporting me. "Oh, he's bad at studies, but let him send to the drawing competitions." So it was good to survive with that little tool that I found to find my own place in school. And one of those competitions, I just won a small, little transistor Philips radio. And I didn't have the patience to wait until I reached home. So I just switched on in the train, loudly. If you travel in Indian trains, you can see people listening to radio and, you know, even from their mobiles.
Kada sam bio u osmom razredu oko 13-te godine života, poćeo sam raditi povremeno u jednoj umjetničkoj radionici natpisa zvanoj Putu. Tada me i škola podržala. "On je loš u učenju ali pustimo ga na natjecanja iz crtanja". Bilo je dobro preživljavati s tim malim alatom koji mi je pomogao pronaći svoje mjesto u školi. Na jednom od tih natjecanja, osvojio sam mali, sitni Philipsov radio. Nisam imao strpljenja čekati da dođem kući. Jednostavno sam ga glasno odvrnuo u vlaku. Ako putujete u indijskom vlaku, možete vidjeti ljude koji slušaju radio čak i sa svojih mobitela.
So at that time -- and I was 13 -- and I was listening to just radio, and someone happened to sit next to me, like these three people are sitting here. You know, like just adjacent to me. He just started asking, "Where did you buy the radio? How much is it?" I said, "It's a prize from [an] art competition." And he said, "Oh, I teach at a college of arts. I think you should study in a school of art. You just quit school and come there." So, why I'm telling you this, you know, maybe, you know, whoever is sitting next to you can change your whole life -- it's possible. It is that we need we need to be open and fine-tuned. So that's what made me enter [the] college of arts after three attempts and just continue to inquire what I really want to do with art work, or art and finally I'm here in front of you.
U to vrijeme -- a imao sam 13 -- i ja sam slušao radio, i slučajno je netko sjeo kraj mene, poput ovo troje ljudi koji ovdje sjede. Znate- tik do mene. Počeo je ispitivati, "Gdje si kupio radio? Koliko košta?" Rekao sam, "To je nagrada iz crtanja" On je odgovorio, "o, pa ja podučavam umjetnost. Mislim da bi trebao upisati umjetnički studij. Odustani od škole i priključi se tamo." I, dok vam ovo govorim, znate, možda, znate, tko god sjedi do vas može vam potpuno promijeniti život. Moguće je. Trebamo biti otvoreni i fino podešeni. To me uvelo na studij umjetnosti nakon tri pokušaja te sam nastavio pokušavati raditi ono što stvarno želim raditi sa umjetninama ili umjetnošću, i napokon sam ovdje, ispred vas.
When I look back, you know, on what happened between that time and now here -- the last 10/15 years -- I can see that most of the works revolve around three subjects, but it was not intentional. And I just start out with a trace because I was thinking, "What really makes us?" -- you know, it's actually [the] past, what makes a person. So I was thinking, but when you look at the past, the way to understand the past is only by the traces available, because we cannot go back [to] the past. It can be ruins, or it can be music, or it can be painting or drawing or writing, whatever it is. But it is just a kind of trace of that time. And that fascinated me, to explore that territory. So I was working on the line, but instead of working about traces, I started capturing traces.
Kada pogledam unatrag,znate, što se tada dogodilo i sada, mislim, ovdje, zadnjih 10, 15 godina, mogu vidjeti većinu radova smijenjena oko tri teme, ali nije bilo namjerno. Nastavio sam sa potragom jer sam mislio, "Što nas stvarno čini?" -- znate, to je zapravo prošlost, ono što stvara osobu. I mislio sam, ali kada pogledate prošlost, način da je razumijete je jedino preko dostupnih tragova, jer se u nju ne možemo vratiti. Može biti ruševina ili muzika, ili crtež ili tekst, što god bilo. Ali to je svojevrstan trag tog vremena. To me nadahnulo, da istražim taj prostor. Radio sam na temi, ali umjesto da radim s tragovima, počeo sam ih bilježiti.
So here are some of the works I would like to show you. So this is called "Self In Progress." It's just a trace of being in this body. So here, what happened then, you know -- what I really enjoyed the most is that this sculpture is nothing but a trace of myself. It's almost like a 3D photograph. So there is an element of performance, and there is an element of sculpture, and there is an element of feeling one's self, so close to one's self. So it's almost like fossils for the future. And then moved slowly to explore the other possibilities of capturing traces. So this is what I was talking about, while molding, it's such a great experience, because we have freedom of like walking, or moving my hand or, moving around in the space, but the moment this becomes solid, when you cannot move even an inch, because this is plaster of Paris, so the moment you pour it it's like liquid; but after 20 minutes, it's almost like a hard stone.
Tako su ovdje neki radovi koje vam želim pokazati. Ovo se zove "Ja u Stvaranju." To je trag o bitku u ovom tijelu. Dakle, što se zatim dogodilo, znate ... ono u čemu sam najviše uživao je to da ova skulptura nije ništa drugo osim moj trag. Izgleda poput 3d fotografije. Tu je jedan element performansa, i jedan element skulpture, i jedan element osjećanja jednom-sebe, blizu jednog-sebe. Poput fosila za budućnost. Polako sam se primicao istraživanju ostalih mogućnosti bilježenja tragova. To je ono o čemu sam govorio, dok modeliram, znate, osjećam ogromno iskustvo, zbog slobode koju imamo- poput hodanja, ili pomicanja vlastite ruke, znate, kružnim pokretima u prostoru, trenutak u kojem je ovo postalo čvrsto, kada to više ne možete pomicati, jer je to pariški gips, u trenutku lijevanja ponaša se poput tekučine, a nakon 20-ak minuta, tvrdo je poput kamena.
So this is capturing the trace of a thumbprint because, knowingly or unknowingly, whatever we do, you know, we leave our traces here. So I just thought, "I'm going to capture thumbprint, footprint, or whatever traces we leave as humans." This is the trace of fire, this is the trace of sun. Because when I was capturing traces, you know, this thought comes to me always: is it, only when the object touches the thing and it leaves the trace, or is there other ways to capture it?" So this work is nothing but like -- because of the focal length of the lens, it just shows what is on the other side. So I just put the paper on the focal length, which was an etching print, then I got the portrait of [the] sun from sunlight. This is called "Dawn to Dawn." What I did here, I just put like 10 feet [of] paper then put a coconut rope, and just burnt it. So it took about 24 hours to get this line. So wherever the fire is eating the paper, that's what becomes the work -- detail.
Ovo je bilježenje otiska prsta, jer, znajući ili ne, što god mi radili, ostavljamo trag. Tako sam pomislio, obilježit ću otisak prsta, stopala, ili bilo koji drugi trag koji ostavljamo kao ljudi. Ovo je trag vatre. Sunca. Kad god bilježim tragove, znate, ova misao mi se uvijek vrati, znate: da li je to samo kada objekt takne neku stvar pa ostavi trag, ili postoje i drugi načini bilježenja?" Tako ovaj rad nije ništa osim slično kao -- jer zbog žarišne točke leće, pokazuje samo što je na drugoj strani. Tako sam jednostavno stavio papir na žarišnu točku, koji je bio grafički print, tako sam dobio sunčev portret iz sunčeve svijetlosti. Ovo se zove "Sumrak sumraku." Ono što sam ovdje napravio je da sam stavio papir veličine 10 stopa a zatim kokosovu vrpcu, i jednostavno je zapalio. Trebalo je 24 sata za izradu ove linije. Tako je na mjestima gdje vatra jede papir, to postalo djelo. Detalj.
Even though we have traces when we try to understand them, the perception and context play a major role to understand it. So do we really understand what it is, or are we trying to get what we think it is? Then move towards questioning the perception because, even though there are traces, when you try to understand them, you know you play a major role. So like let's say even a simple act. How many of you saw a cow crossing in India while you were coming from Bangalore to Mysore? Can you just raise the hand?
Čak i kad imamo tragove kada ih želimo razumjeti, percepcija i kontekst igraju veliku ulogu u razumjevanju. Da li stvarno razumijemo što je to, ili samo pokušavamo dobiti što mi mislimo da jest? Tada krenite dalje ispitivati percepciju jer, iako postoje tragovi, kada ih pokušavate razumjeti, znate, igrate veliku ulogu. Kao i kod, recimo jednostavne umjetnosti. Koliko vas je vidjelo kravu kako prelazi cestu u Indiji dok ste dolazili iz Bangalore prema Mysori? Možete li podignuti ruke?
If you just ask an opinion of how, everyone can interpret it. Like, let's say, if a schoolteacher says, she'll simply say, "To get to the other side." Why the cow was crossing the road, you know. The answer can be so different if Potter said it. He would say, "For the greater good." Martin Luther King would say, "I imagine a world where all cows will be free to cross the road, without having their motives called into question." (Laughter) Imagine Moses comes now, and he sees the same cow walking around the street. He would definitely say, "God came down from heaven, and he said unto the cow, 'Thou shalt cross the road.' And cow crossed the road, and there was much rejoicing as a holy cow." (Laughter) Freud would say, "The fact that you're at all concerned reveals your underlying sexual insecurity." (Laughter) If we ask Einstein, he would say, "Whether the cow crossed the road, or the road moved underneath the cow, depends on your frame of reference." (Laughter) Or Buddha -- if he saw the same cow, he would say, "Asking this question denies your own nature [as a] cow."
Ako samo zatražite mišljenje kako, svatko to može interpretirati. Kao što, recimo, učitelji kažu, oni će jednostavno reći, "da bi prešli na drugu stranu." Zašto krave prelaze cestu. Odgovor može biti različit ako ga kaže Potter. On bi rekao "za više dobro." Martin Luther King bi rekao, "Zamišljam svijet u kojemu će sve krave biti slobodne da prijeđu cestu, bez da se njihovi motivi dovedu u pitanje." (Smijeh) Zamislite da sada dođe Mojsije, i vidi te iste krave kako hodaju po ulici. Definitivno bi rekao "Bog je sišao s nebesa, i rekao je kravama, 'Vi ćete prijeći cestu.' I krave su prešle cestu, i bijaše mnogo slavlja poput svete krave." (Smijeh) Freud bi rekao, "Činjenica koja te zabrinjava otkriva skrivenu seksualnu nesigurnost." (Smijeh) Ako upitamo Einsteina, on bi rekao, "Da li su krave prešle cestu, ili je cesta prošla ispod njih, ovisi o tvom stajalištu." (Smijeh) Ili Buddha. Ako bi vidio te iste krave, rekao bi, "Postavljanjem ovog pitanja niječeš svoju kravlju prirodu."
(Laughter)
(Smijeh)
So, what we see is just what we think often, and most of the time, we don't see what it is. It just all depends on one's perception. And context, what is really context? You know, I could just show you this little piece of paper. Because I always think meaning doesn't really exist. The meaning of what we create in this world doesn't exist. It's just created by the mind. If you look at this piece of paper, this is the breadth and this is called length. This is how we've been taught in school. But if you tear it in the middle -- now, I didn't touch this breadth, but still, the meaning of this changes. So what we conceive as a meaning is always not there; it's on the other side, even when we say dark, light, good, bad, tall, short -- all meaning it doesn't exist in reality. It's just that being a human, the way we train to perceive the reality creates this meaning.
Dakle, ono što vidimo je često ono što mislimo, a većinu vremena to ne vidimo. Sve ovisi o percepciji pojedinca. I kontekstu, što je zapravo kontekst? Mogu vam jednostavno pokazati ovaj komadić papira. Jer smatram da značenje ne postoji uvijek. Značenje onog što stvorimo na ovom svijetu zapravo ne postoji. To je samo produkt uma. Ako pogledate ovaj djelić papira, ovo je širina, a ovo se zove dužina. To je kako nas uče u školi. Ali ako ga rasparate po sredini ... Sada, nisam dirao ovu širinu, ali ipak, značenje ovog se mijenja. Dakle, ono što smatramo značenjem nije uvijek tu, već na drugoj strani, čak i kada kažemo mrak, svijetlo, dobro, loše, visoko, kratko --- sva ta značenja ne postoje u stvarnosti. Samo iz razloga jer smo ljudi, načini uvježbavanja percepcije stvarnosti stvaraju ova značenja.
So this work from this period is mostly like -- you know, this is a work called "Light Makes Dark." It's just captured through from the lamp. So the lamp is not just giving a light, it's also giving a darkness. So this is a work of art, which is just trying to explore that. This is called "Limit Out." This shows how limited our eye or hearing sense or touch -- do we really see? This is an exact negative. It's about six inches deep in the wall, but it just appears like it's coming out of the wall. You know the wall is almost like -- this is the first skin, and this is the second, and there's a third, and each creates a meaning. And we're just pulling the wall off the gallery. Again, "Inward Out." It's a full-figure cast from myself. It's about eight inches deep.
Stoga su radovi iz ovog perioda uglavnom poput --- znate, to je umjetnost zvana "Svijetlo stvara mrak." Samo je zabiježena preko svjetiljke. Kada svjetiljka ne proizvodi svjetlo, ona također stvara mrak. Ovo su umjetnička djela koja to pokušavaju istražiti. To se zove "Izvan ograničenja." Ovo pokazuje koliko su oči, sluh ili dodir ograničeni -- Da li stvarno vidimo? To je tipični negativ. To je oko 15cm duboko u zidu, ali izgleda kao da iz njega izlazi. Znate, zid je poput -- ovo je prvi sloj, a ovo drugi, ovo treći, i svaki stvara značenje. A mi jednostavno čupamo zid iz galerije. Ponovno, "Iznutra van." To je puna figura koju sam odlio. Otprilike je 20cm duboka.
When I was doing that, I always wondered since I've worked with creators -- and now you know, I've moved to questioning the perception -- whenever I see the bird flying in the sky, it just makes me feel like: is there anything behind, are there any traces up there, which as a human, we don't see them? Is there any way to capture the thought into visual art? I couldn't find it. But a solution arrived after being quiet and not working for about six, seven months, in the restroom, when I was changing the air freshener that goes from solid substance to vapor. It's called Odonil. This is the work I made out of that material. The process to get to make the sculpture was interesting, because I wrote to Balsara, who produces that air freshener called Odonil, saying, "Dear Sir, I am an artist. This is my catalogue. Will you help me to make this sculpture?" They never wrote back to me. Then I thought, "I will go to the Small Scale Industries Facilitating Unit and ask help." So I told them, "I'd like to start an air freshener company." They said, "Of course. This is the fee for the project report, and we will give you all the details," and they gave. Finally, I went back to them and said, "It's not for starting the company, it's just to make my own work. Please come for the show." And they did. And this work is in the Devi Art Foundation in Delhi.
Dok sam to radio, uvijek sam se pitao kako sam radio s oblicima --- a sada, znate, prešao sam na ispitivanje percepcije -- kad god vidim pticu na nebu, znate, osjećam se poput: ima li nečeg iza, ima li tragova ondje gore, koji su ljudski, znate, i mi ih ne vidimo? Ima li načina da se zabilježi misao u vizualnoj umjetnosti? Nisam to mogao pronaći. Ali je odgovor došao nakon što sam šutio i ništa radio oko 6 tjedana, sedam mjeseci, u kupaonici, kada sam mijenjao osvježivać zraka koji se iz čvrste materije pretvarao u paru. Zove se Odonil. Ovo je rad iz tog materijala. Proces izrade skulpture bio je zanimljiv, jer sam pisao Balsari, koji je taj osvježivać izradio, rekavši "Dragi gospodine, ja sam umjetnik. Ovo je moj katalog. Možete li mi pomoći pri izradi ove skulpture?" Nikad mi nisu odgovorili. Onda sam pomislio, "Otići ću do tvornice malih poduzetnika u jedinicu za pomoć i tražiti pomoć." Rekao sam im, "Volio bih pokrenuti tvornicu osvježivaća zraka." Rekli su mi, "Naravno. Ovo je naknada za radni izvještaj, i dat ćemo vam sve detalje," i dali su mi. Napokon, vratio sam se i rekao, "Nije to u vezi pokretanja radnje, već u svezi izrade vlastitog rada. Molim vas dođite na izložbu." I došli su. Ovi je u Devi Artu u Delhiju.
In India, nobody really talks about works of art; they always talk about the appreciation of art. You buy this for 3,000 rupees, it'll become 30,000 in two months. This is the craft that was going on, but there are a few collectors who also collect art which can depreciate. And this was collected by Anupam -- which is like, finally in the end, he will not have anything, because it will evaporate. So this is after a few weeks, this is after a few months. It's just all about questioning the preconceptions. So if someone says, "Oh, I see the portrait," it may not be the portrait after a few months. And if they say it's solid, it will not be solid, it will evaporate. And if they say they don't get it, that's also not true, because it's in the air. It's in the same gallery or in the same museum. So they inhaled it, but they are not aware of it.
U Indiji, nitko zapravo ne govori o umjetničkom radu. Govore samo o poštovanju umjetnosti. Kupite ovo za 3,000 rupija, bit će 30,000 za dva mjeseca. To je bila ucjena, ali postoji nekoliko kolekcionara koji skupljaju i umjetnost koja se može podcijeniti Ovo je skupljeno od strane Anapuma -- koji na kraju neće imati ništa, jer će ispariti. Dakle to je nakon nekoliko tjedana. To je nakon nekoliko mjeseci. Sve je to preispitivanje ranih koncepcija. Pa kad netko kaže, "O, vidim portret," možda neće biti portret za nekoliko mjeseci. I ako kažu kako je čvrsto, neće biti više čvrsto, isparit će. I ako kažu da ne razumiju, to također nije istina, jer se nalazi u zraku. U istoj je galeriji ili u istom muzeju. Pa su to udahnuli, ali toga nisu bili svijesni.
While I was doing that work, my mom and my dad, they were looking at it and they said, "Why do you deal with negative subjects all the time?" And I was like, "What do you mean?" "Light makes dark and now evaporating self. Don't you think it remained something about death," they said. "Of course not. For me," I'm thinking, "this is tucked in some small solid, but the moment it evaporates, it's merged with the whole." But she said, "No. Still, I don't like it. Can you make something from nothing as a sculptor?" I said, "No, mom. It can't be. Because we can create a sculpture by gathering dust together, or we can break the sculpture and get the dust, but there is nowhere that we can bring dust into the universe."
Dok sam radio taj rad, moji roditelji, gledali su u to i rekli, "Zašto se uvijek baviš negativnim stvarima?" Rekoh, "Kako to mislite?" "Poput stvaranja mraka, a sad se isparavaš. Ne misliš li da to podsjeća na smrt?" rekli su. "Naravno da ne. Za mene" mislio sam, "to je ugurano u neku malu čvrstoću, ali je trenutak ispario, spojio se s cjelinom." Ali oni su rekli, "Ne. Ipak mi se ne sviđa. Možeš li napraviti nešto iz ničega kao kipar?" Rekoh, "Ne mama. To ne može biti. Jer možemo izrađivati skulpturu skupljajući prašinu, ili možemo razbiti skulpturu i dobiti prašinu, ali nikako ne možemo dovesti prašinu u univerzum."
So, I did this work for her. It's called "Emerging Angel." This is the first day -- it just gives the appearance that one is becoming the other. So, the same sculpture after a few days. This is after 15/20 days. Through that small little slit between the glass box and the wood, the air goes underneath the sculpture and creates the other one. This gave me a greater faith. That evaporating sculpture gave me a greater faith that maybe there is many more possibilities to capture [the] invisible.
I tako, napravio sam ovaj rad za nju. Zove se "U nastajanju anđela." Ovo je prvi dan. Stvara se pojava da jedno postaje ono drugo. I tako, ista skulptura nakon nekoliko dana. Ovo je nakon 15, 20 dana. Preko te male pukotine između staklene kutije i drva, zrak prolazi ispod skulpture i stvara drugu. Ovo mi je dalo veče uvjerenje. Ta isparavajuća skulptura podarila mi je snažniju vjeru u to da možda postoji više mogućnosti za bilježenjem nevidljivog.
So what you see now is called "Shadow Foreshadow." And what I'd like to tell you is we don't see shadow, and we don't see light too; we see the source of the light. We see where it's bouncing, but we don't see [them] as they exist. You know, that's why the night sky, we see the sky as dark, but it's filled with light all the time. When it's bounced on the moon, we see it. The same thing in the darkroom. The little dust particle will again, reflect the light, and we realize the existence of light. So we don't see dark, we don't see light, we don't see gravity, we don't see electricity. So, I just started doing this work to inquire further about how to sculpt the space between this object and there. Because, as a visual artist, if I'm seeing this and I'm seeing that -- but how to sculpt this, you know? If we sculpt this, this has two reference points. The skin of this is also representing this. And skin at the other end also represents the floor. I did this as an experiment of casting the shadow. So this is a corrugated box and its shadow. Then the second one -- the moment you bring any invisible into the visible world it will have all the characteristics of the visible existence. So that produced a shadow. Then I thought, okay, let me sculpt that. Then, again, that becomes an object. Again, throwing light, then the third one. So what you see is nothing but shadow of a shadow of a shadow. And then again, at that point, there is no shadow. I thought, "Oh, good. Work is finished." You can see the detail.
Ovo što sad viditie zove se "Sjena predsjena." I što vam želim reći je da ne vidimo sjenu, niti svijetlo. Vidimo izvor svijetla. Vidimo gdje se odbija, ali ne vidimo kako postoji. Znate, to je razlog zašto na noćnom nebu, nebo vidimo kao tamu, iako je cijelo vrijeme ispunjeno svjetlom. Kada se odbije od mjeseca mi je vidimo. Ista je stvar u mračnoj sobi. Sitna čestica prašine ponovno će reflektirati svjetlo, i tad postajemo svijesni postojanja svjetla. dakle, ne vidimo mrak, ne vidimo svjetlo ne vidimo gravitaciju, ne vidimo elektricitet. Upravo sam započeo ovaj rad da dalje ispitam kako kipariti prostor između ove stvari i onog tamo. Jer, u vizualnoj umjetnosti vidim ovo, i vidim ono -- ali kako to uobličiti? Ako kiparimo ovo, ovo ima dvije referentne točke. Plašt ovog također je ovo. I plašt na drugoj strani također je tvorevina poda. Ovo sam napravio kao pokus ljevanja sjene. Tako je ovo valovita kutija i njena sjena. Zatim Drugi -- U trenutku kada nevidljivi svijet dovedete u vidljivi imat će karakteristike vidljive postojanosti. Dakle, to proizvodi sjenu. Onda sam pomislio, pustite me da to napravim. I onda je to opet postao objekt. Opet, bacajući svjetlo. Zatim treći. I sve što vidite je sjena od sjene od sjene. I zatim opet, od te točke, sjene više nema. Pomislih, "o, dobro. Gotov posao." Možete vidjeti detalj.
This is called "Gravity." It's called "Breath." It's just two holes on the gallery wall. It's a false wall, which contains like 110 cubic feet. So that hole actually makes the air come out and go in. So where it's happening, we can see, but what is happening will remain invisible only. This is from the show called "Invisible," at Talwar Gallery. This is called "Kaayam." Detail.
Ovo se zove "Gravitacija." Zove se "Dah". To su samo dvije rupe na zidu galerije. To je lažan zid, koji sadrži cca 110 kubičnih stopa. Tako da zapravo ta rupa omogućava da zrak izlazi i ulazi. Tamo gdje se to događa, možemo vidjeti, ali to što se događa će ostati nevidljivo. To je s izložbe zvane "nevidljivo" u Talwar galeriji. Ovo se zove "Kaayam." Detalj.
And what I'd like to tell you, our senses are so limited -- we cannot hear everything, we cannot see everything. We don't feel, "I am touching the air," but if the breeze is a little more faster, then I can feel it. So all of our construction of reality is through these limited senses. So my request was like, is there any way to use all this as just a symbol or a sign? And to really get to the point, we should move beyond, you know, go to the other side of the wall, like illogic, like are invisible. Because when we see someone walks, we see the footprint. But if we're just cutting that footprint from the whole thing and trying to analyze it, you will miss the point because the actual journey happens between those footprints, and the footprints are nothing but passing time.
Ono što vam želim reći, znate, naša su osjetila toliko ograničena, ne možemo sve čuti, niti vidjeti. Ne osjećamo, "Dodirujem zrak", ali ukoliko je povjetarac malo brži, možemo ga osjetiti. Dakle, sva naša konstrukcija realiteta stvara se putem tih ograničenih osjetila. Moje je pribježište bilo nešto poput, postoji li neki način da se sve to upotrijebi samo kao simbol ili znak? Kako bi se stvarno prodrlo u bit, moramo se pomaknuti iznad, znate, otići do druge strane zida, kao u logici, poput nevidljivosti. Jer kad vidimo nekog da hoda, vidimo otiske stopala. Ali ako izvadimo taj otisak iz cjeline i pokušamo ga analizirati, izgubit ćemo bit, jer se pravo putovanje nalazi između tih otisaka, a neki su otisci ništa drugo do li tijek vremena.
Thank you.
Hvala.
(Applause)
(Aplauz).