• monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)

    "Tree of Life", created and copyrighted by Marian Osher in 2001, is one of the most significant mandalas featured in the artist's solo show Connections in 2001 and three expanded solo art shows that followed. The Washington Jewish Week (March 22, 2001), quoted Osher's interpretation of her "Tree of Life"as follows: "Her "Tree of Life", represents life's journey, with turmoil and storms and times when the sun shines kindly on us under God's heavens."

    "Tree of Life" by Marian Osher was also the highlight image of a feature article in the Potomac Almanac in April 2001, "Artist Offers Journey and Connections" by Ken Moore. The caption for the photo of the "Tree of Life" describes Osher's use of symbols representing earth, air, water, fire and spirit to create an outline border for her art.

    Osher's "Tree of Life" was also featured in the Fall/Winter 2002 Jesuit Journal, In All Things, (with credits and permission from the artist) in the article "How Did We Get There? The Roots of Social Investing" by Stephen Callahan.

    Tree of Life by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)

     

    Mandalas, Labyrinths and Chakras

     

    The seeds of creativity for my artwork of mandalas, labyrinths and chakras were sewn in 1997 when I began to make changes to my lifestyle. I came to realize the craziness of my life and the need for a more spiritual presence. I began to meditate again, which I hadn’t done for years. I changed my diet, excluding meat and poultry. I began walking regularly. I learned about Feng Shui and made changes to my home to promote positive energy. I started writing in a journal: stream of consciousness writing without re-reading what I had written. It was a form of letting go and releasing the thoughts running through my head. The Tao, David Spangler, and many other books on spirituality and mysticism became a part of my life. I was also inspired by the small but powerful book Jonathan Livingston Seagull, about a seagull who chooses to fly differently from his flock. Through a friend, I discovered the power of walking a labyrinth. I also began learning about the Kabbalah of Jewish mysticism.

     

    These continuing explorations and my efforts to become more in tune with my own spirituality and that of others have changed me profoundly. I have learned to let go of past resentments, anxieties and worries about the future, and to live more in the present. I have begun to feel the connection that we as human beings have with all of nature. Water, mountain, tree, sky, flower, leaf, humankind and animals are all connected as energy and reality. When we feel that connection, we are in harmony with nature. We realize that when we harm another, we harm ourselves. 

     

    I came to see the concept of oneness and interconnectedness as a common thread in many world cultures - Asian, Eastern, Native American, Aborigine, and Jewish mysticism of the Kaballah. Artwork that implements the symbols and characters of different cultures is another avenue for levels of connection. The mandala, usually a round art form, is often used as a meditation tool. It seemed to be a natural artistic framework to tie together these connections. My mandalas borrow freely from the symbologies of many such beliefs and cultures in order to highlight the commonalities between them. 

     

    My solo show Connections in 2001, and three expanded solo shows that followed, provided an avenue for sharing the transformative effect of spirituality on my life and my art. My goal has been to create art that enhances the awareness, spirituality and inner harmony of the viewer. I have tried to create art that promotes good chi: creative and positive energy and inner healing. 

     

    Media

    Each print requires hours of time to hand color a mylar plate with Caran d'Ache water-soluble crayons. Arches black paper is dampened and laid on top of the mylar plate. The plate is handprinted, using the pressure of a hand roller, a silk-screen squeegee and a doorknob in a sock. After printing, colors are further enhanced directly on the print. Although the mylar matrix can be used to make additional prints, each print must be individually hand-colored on the plate and after printing, making a variation that uniquely reflects the hand of the artist. The layering of colors allows me to create a glow that enhances the spiritual aspect of the print. I enjoy working with a printmaking process that is both non-toxic and direct.

    Ecstasy of Sky Soaring by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 3/4 x 12 1/2 (image), 26 3/4 x 16 1/2 (frame)
    Sacred Geometry by Marian Osher ©2001
    338,600
  • monoprint, var.ed. of 10
    30 x 30 (image), 34 1/2 x 34 1/2 (frame)
    Exaltation by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    23 1/2 x 12 1/2 (image), 27 1/2 x 17 1/2 (frame)
    Hug by Marian Osher ©2001
    338,600
  • monoprint, var.ed. of 10

    22 x 22 (image), 26 x 26 (frame)

    Sacred Site by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    One Soul Between Us by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    Rainbow Snake by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    23 1/2 x 13 1/2 (image), 27 1/2 x 17 1/2 (frame)
    Sephirot by Marian Osher ©2001
    338,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame) 

    Silent Journey by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    12 3/4 x 24 (image), 17 1/2 x 27 1/2 (frame)
    Dancing Runes by Marian Osher ©2001
    1187,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    Presence of Spirit by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    Harmony by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    Unity by Marian Osher ©2001
    600,600
  • monoprint, var.ed. of 10
    22 x 22 (image), 26 x 26 (frame)
    Tree/River/Mountain by Marian Osher ©2001
    600,600
  • Mandalas, Labyrinths and Chakras

     

    The seeds of creativity for my artwork of mandalas, labyrinths and chakras were sewn in 1997 when I began to make changes to my lifestyle. I came to realize the craziness of my life and the need for a more spiritual presence. I began to meditate again, which I hadn’t done for years. I changed my diet, excluding meat and poultry. I began walking regularly. I learned about Feng Shui and made changes to my home to promote positive energy. I started writing in a journal: stream of consciousness writing without re-reading what I had written. It was a form of letting go and releasing the thoughts running through my head. The Tao, David Spangler, and many other books on spirituality and mysticism became a part of my life. I was also inspired by the small but powerful book Jonathan Livingston Seagull, about a seagull who chooses to fly differently from his flock. Through a friend, I discovered the power of walking a labyrinth. I also began learning about the Kabbalah of Jewish mysticism.

     

    These continuing explorations and my efforts to become more in tune with my own spirituality and that of others have changed me profoundly. I have learned to let go of past resentments, anxieties and worries about the future, and to live more in the present. I have begun to feel the connection that we as human beings have with all of nature. Water, mountain, tree, sky, flower, leaf, humankind and animals are all connected as energy and reality. When we feel that connection, we are in harmony with nature. We realize that when we harm another, we harm ourselves. 

     

    I came to see the concept of oneness and interconnectedness as a common thread in many world cultures - Asian, Eastern, Native American, Aborigine, and Jewish mysticism of the Kaballah. Artwork that implements the symbols and characters of different cultures is another avenue for levels of connection. The mandala, usually a round art form, is often used as a meditation tool. It seemed to be a natural artistic framework to tie together these connections. My mandalas borrow freely from the symbologies of many such beliefs and cultures in order to highlight the commonalities between them. 

     

    My solo show Connections in 2001, and three expanded solo shows that followed, provided an avenue for sharing the transformative effect of spirituality on my life and my art. My goal has been to create art that enhances the awareness, spirituality and inner harmony of the viewer. I have tried to create art that promotes good chi: creative and positive energy and inner healing. 

     

    Media

    Each print requires hours of time to hand color a mylar plate with Caran d'Ache water-soluble crayons. Arches black paper is dampened and laid on top of the mylar plate. The plate is handprinted, using the pressure of a hand roller, a silk-screen squeegee and a doorknob in a sock. After printing, colors are further enhanced directly on the print. Although the mylar matrix can be used to make additional prints, each print must be individually hand-colored on the plate and after printing, making a variation that uniquely reflects the hand of the artist. The layering of colors allows me to create a glow that enhances the spiritual aspect of the print. I enjoy working with a printmaking process that is both non-toxic and direct.

    Artist's Statement About Mandalas, Labyrinths and Chakras by Marian Os
    609,808
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