The works belonging to the series of the Gohonzon are highly complex, since their composition is articulated as an interpretation both of symbology and inconography on the basis of a structuring of the original Gohonzon. The Gohonzon is considered as equivalent to the Treasure Tower, an allegorical tower described in the Lotus Sutra that emerges from the center of the earth during the ceremony of the air to represent our potential for spiritual illumination or Buddhahood. The artist is especially fascinated by this tower, and combines its allegory with the form in which she recreates the Gohonzon, which is constructed in an abstract fashion out of compositions of circles that are associated and superimposed.
The Practicables, Postales, and the Gohonzon series can be read as an abstract articulation of the intangible process of awakening the Buddha inherent and latent inside us. According to the artist, they lay emphasis on the transit from the Nam-Myoho-Renge-Kyo to reality, from effect to cause and vice versa. All these works share the concept that every moment of every day encloses an eternity of concentrated value. Their singularity lies in their rootedness in the artist’s life, offering us a personal, intimate, and private experience that might be described as profoundly human. These three series are now brought together on the occasion of the exhibition at Henrique Faria Fine Art, the motive for this publication, giving us an opportunity to appreciate this vital conductive thread in the work of Emilia Azcárate.
Extract from Cecilia Fajardo-Hill, “Full Emptiness and / or the Inconclusive Infinite”, in Emilia Azcárate, Liminal, Madrid: Turner, 2014