Artist Lia Chavez exists somewhere in the beautiful intersection of performance art, meditation and neuroscience. Known for her durational meditative performances, intense bouts of introspection that can last up to 10 hours, she explores what she deems “interior optics” or a series of otherworldly visions accessed by depriving herself of light for prolonged periods of time.
Essentially, she slips into deep states of reflection (theta rhythms), blindfolded, and attempts to capture the visions she perceives in the void of her own mind. To do so, she positions herself atop large pieces of paper, recording the images with paint, charcoal or ink as she meditates. She likens the process to Hubble Ultra-Deep Field imagery which collects the light of luminous objects in the void of galaxies beyond. Her explosive mental imaginings resemble electricity, clouds, firebolts and stars, drawing an eerie parallel between the mysteries of outer and inner space.
Carceri 11, 2013, 72 X 113 in Photo Courtesy of Two Rams
Chavez’s collected drawings are on view at New York City’s Two Rams Gallery until April 5, 2014. We recently chatted with the artist to discuss her mesmerizing process and how meditation enforces her artistic output:
Could you take me through your process? What type of preparation precedes the sensory deprivation?
For the “Carceri” works, I set up a variety of mark-making implements — among them acrylic paint, charcoal, conte, oil pastel, ink, graphite — alongside the edge of a large sheet of delicate Japanese paper in a random, chaotic order. I then sit on the surface of the paper. I blindfold myself and insert the earplugs. As the process is rooted in performance, it requires intense focus for several hours. Any given piece can last from six to 10 hours during which my perception of light and sound are blocked. I take no breaks. I’ve trained my body to inhabit this state for long durations of time with a carefully timed eating and drinking regimen. Usually the preparation period for a piece or series of pieces will last several weeks until the rhythms of my body have adjusted and I can comfortably and joyfully sit for up to 10 hours without taking a break.
I begin by blindly selecting a utensil from the wide array strewn along the paper’s edge. Then I begin to meditate, connecting with my breath and stilling my mind. As I delve deeply into the expansive silence of interior space, I can sense when my mind enters a theta brain wave state because I begin to experience vibrant interior optics in my mind’s eye. Sometimes the visions occur in rapid sequence and at other times, I will sit on the page, watchful and waiting through what feels like an infinite void. Sometimes they form gradually, and at others, they appear to be seared by fire upon my mind’s eye. Each individual vision forms the dictate of a mark I make on the paper. When I sense that a phase of the meditation has passed (similar to the way in which meteorological systems dramatically disintegrate), I blindly choose another drawing or painting implement and enter into the next meditation phase.
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