Dedron and Panor (Tsering Namgyal) – be lha’I gleng mon – The God’s dialogue
Leather, metal fob, mantra recitation counter beads, coral, turquoise, thread and pigment
each 35 x 15 cm
2006

Panor (Tsering Namgyal) and Dedron offer commentary on their materials as keys to unlocking the deeper implications of their work. The main material is leather, taken from the nearly worn out soles of a pair of discarded traditional Tibetan boots. To this husband and wife team, the soles represent the footprints of many successive generations that have gradually accumulated to form their Tibetan culture, step by step. Secondly, they use the soles to demonstrate that, from a Buddhist point of view, placing the image of a Buddha on the bottom of the feet is considered very sinful, yet in this modern world changes in attitude locally and different customs abroad have enabled people to see Buddha statues and images as just another material thing which can be bought and sold. The two Buddhas in the pair are discussing (or they are reporting other people’s commentaries), just this fate, in the global language of English. One asks: “Is this your first time to be here?” “Yes,” the other replies, “it is a wonderful place. Where have you been before?” The first replies, “I’ve been many many places like Tokyo, London, Sydney.” They also ask each other their age (“very old”), and the cost of each other’s ‘performance’ (“it’s a secret”). The third Buddha displayed between and higher than the other two is different. The turquoise at this Buddha’s heart is a bLa gYug, a stone that holds and protects the spirit, commonly worn by Tibetan people. This Buddha has not lost its essence and blessing power, and the mantra around it, resembling a carved mani stone, indicates its physical location as within Tibet, as English connotes the rest of the world. Dedron and Panor also explained that for them, the dangling mirror is one of the most important materials of the piece. It is the nature of mirrors to show, without bias or distortion, reality before it; mirrors cannot lie. The mirror hangs from the central Buddha in Tibet, as a marker of truth and honesty, while from the other two dangle mani counters. Taken off a rosary and attached to discussions of value, we have to wonder what they are counting now. Finally, the left and right pieces have stitches holding together the Buddha and the sole (generations of tradition) like an open wound that will not heal. In contrast the Buddha in Tibet is suspended in graceful equanimity.

text by by Leigh Miller-Sangster

back