Amarnath Amaru

Biography

Artist Statement

Born March 17, 1985

Amarnath is a multidimensional visionary artist, storyteller, digital & 3D graphics wizard, ceremonialist,

musician, and quantum crystal healer from the Transcendental Meditation town Fairfield, Iowa.

He began his journey immersed in meditation and art, home schooling

with his siblings Alison & Rae, and community of local home scholars.

2000-2002 Amarnath attended Interlochen Arts Academy.

2002 Amarnath met Ammachi, the "hugging saint". Amma initiated Amarnath into his Shiva mantra, gave him the name Amarnath, (meaning "Lord Shiva, God beyond the Gods").

2003-2004 Amarnath attended Maryland Institute, College of Art: where he met Binah Zing, who would become an important part of Amarnath's journey, and bridge to Portland.

2011 Amarnath received his own healing modality Mani Mokshaaya from his interdimensional spirit guides, for transitioning the body from binary separation structure to quantum fractal holistic system.

2012 Amarnath moved to Portland Oregon to join Binah Zing's community

OneDoorLand, where the beginnings of the crystal chakras grew into full form.

2014 Amarnath went back to Iowa, then Binah passed away suddenly, leaving the Earth-party

so early, but she continued guiding Amarnath through synchronicities and mysteries.

2024 Amarnath was led through these very synchronicities back to Portland, Oregon,

(after a decade away, with family in Iowa.)

Ask any questions, share your thoughts, make friends:

(641) - 233 - 7482 / newartspirit@gmail.com

Amarnath's Photography Statement:

My mission is to bring humans closer to nature, closer to reality. In this day and age, that often means bringing nature closer to humans. Photography is a perfect way to begin. I feel an urgency about rekindling our connection to mother Earth and our animal siblings, before they are further destroyed with blind eye turned. My personal path to that connection is through photography; it takes me to the land, and makes me look closer, to study and connect. I love extreme macro photography, because worlds I never knew existed come to life before me. My favorite macro subjects are arthropods (segmented creatures such as insects). Seeing their fantastic forms, and their tiny faces magnified, I see such goodness and Divinity in these tiny beings. Photography develops within me patience, visionary thinking, and communion with the subject. Then, it allows me to share the glory of the natural world, my personal vision of her, my evolution through her, with others. I hope that when others see the Divine Arthropods, it will help end speciesism and irrational phobia of their genus. As long as there is one person out there who will find meaning and inspiration from me documenting and sharing my path, I will continue attempting the impossible: articulating and externalizing the subtlest energies and forms of the inner experience, expressed though outer form. This is where post processing comes in. One of the most common questions I get is if a photo is 'Doctored' or if it is 'Real'. The first thing that people who's primary question is that must understand, is that from the moment the light travels through many elements of glass and is burned into the cameras sensor and interpreted as pixels, everything changes. The eye can see quite a bit more dynamic range than the camera can. In order to get a 'true to life' photo, one must shoot raw, than bring back all that dynamic range, contrast and saturation that the camera failed to document from your experience. Furthermore, Robert Henri said in Art Spirit 'Exactitude is not truth'. In other words, even if I were to capture a photo, then technically post process it to exactly match the tones seen with the human eye, that may not accurately represent my feelings about the place, and energy of the place itself, and the dialogue between human and nature taking place. I am a technician only subserviently to the artistry and transfer of energy taking place. I am a painter first, having spent decades learning to paint from life like a photograph; now in this chapter of taking photography seriously, I photograph like I paint. A painting grows from nothingness to ever more complicated form; the first stoke a complication of its blank surface. A photograph is opposite. It starts with an infinitely busy and detailed world, and refines into the power and simplicity of following the most important elements through to their essence. Some of my photographs might be called 'over processed' by the photo community, made to look more like paintings than literal representations. We are all entitled to our taste and opinion. I have come to see the world like that, after decades of looking at form and thinking 'how would I paint that?'. In all my nature hikes I would see paint moving before me as the land, trees and animals welcomed me.

Amarnath's Artist Mission

God is my Mission in life and art. My mission is to know the art of God, the infinite artist within us. Art is a concrete testament proving awareness to be manifestation's source. The process of art-making is an experiential lesson that matter was born from consciousness. Art is a physical consciousness, a dream to exist in the world of forms. Fractals and chambered nautiluses are formed around nature's perfect algorithm; they are mirrors to God. Art is a mirror of Man's condition. In the age of ignorance (Kali Yuga), agony and ecstasy grew further and further apart, yet more and more intertwined; art mirrored the dual polarity. many say that we have just begun a new age, the golden Sat Yuga, in which man finishes the drama and finds himself. Art is beginning to materialize humankind's new inner workings. Selfless love and devotional art are service to God, paths to enlightenment. It is my service and joy to share my vision of tomorrow's world with those in this present era of energetic transition. I'm not claiming to have all the answers, or a total view of the future. I'm simply sharing what I experience, like the artists in every age have done. In meditation I have often felt a unity with everything; I think this feeling is intensifying across the globe. We have already divided the world into smaller and smaller boundaries with more and more names, this is what mind does. We are beginning to shift out of the understanding that mind does all the understanding, and the heart value is sewing all the bits back together as a living whole. Intellect divides; art unites. In love, what is an art critic to do? My mission is to experience and document the state of unbounded, selfless love. This is the thread which strings every bead which is. In this state, each being, each country, each religion, sees itself both as an individual Lego (and accepts that placement among others) as well as the whole structure, the totality of Lego pieces in the tower (the universe). I'm working with the underlying transcendental truths spoken in all religions in relating to humankind's trajectory; what is our path, and where does it go? I'm interested in the Mayan Calendar in relation to the Hindu God Nataraja (a form of Lord Shiva). I feel the end of the Mayan calendar (2012) marks the end of a time comprehensible to that paradigm, (not a black and white 'Judgment Day'). The Mayans said that time progresses exponentially faster and faster in gears toward the center of the mandeliac calendar. The very center, however, is absolute stillness, the face of God. This motion is portrayed in many cultures' account of reality. Nataraja is Hinduism's vision of this eternal cyclical progression. He dances in an arch of fire, simultaneously creating and destroying the cosmos. This ever-changing nature may appear frightening when we're attached to the world of plural forms. But remembering the thread of life running through each of our centers, we remember that never was a time when we were not, and always shall we be. As is the atom, so is the planet. Personal feeling mimics collective feeling. Healing yourself is healing the earth and healing the earth is healing yourself. Our eternal nature coexisting with our transitory embodiment is what I make art about. Art represents a preservation of present moments to me, an unwinding of the notions 'past' and 'Future'. When my art shares the experience of transcending space and time, I am happy.