Everywhere Present Yet Nowhere Visible
When I stand in front of Rinpoche's paintings the firstthing I feel is an open unselfconsciousness, a joyous freedom in the way thepaint is laid down, and a feeling for the whole space of the canvas. I sensethat the painting begins with the first stroke and proceeds not fromconception, but from reception, and that "ideas," when they appearare free ideas that carry the artist along on the trip they have taken him inon. I most often see landscape ideas embedded in the work, but they aresuggestive rather than literal, they appear more in terms of scale than inrendered actuality. There are forces at work here, lyrical, playful forcesthat, like magical realism, assert themselves in the form of color or momentumor physicality; they direct the artist to their potential, and he follows, openheartedly.
What is amazing to me is how sure his touch is. I don't seehesitation or overworking of anything in these paintings. My sense is that heis everywhere present and yet nowhere visible.