Below: Rhythm of Hearts, Walk
Tibetan Kings used symbolic language to rule the kingdom -- a symbolic language that is also visual art. Archaeologists discovered many such symbolic rock carvings in Tibet.
The oldest Tibetan inscriptions date from 7th to 8th century CE in what is called the dbu can (which translates into "with a head") script,which also appeared on manuscripts from around 11th CE and remained until the modern day in the form of printed Tibetan text.
Tibetan visual poetry is not clearly recorded in Tibetan traditional literature and has an uncertain role in modern Tibetan poetry. But Tibetan calligraphy is reappearing in Tibetan classic literature. Especially in traditional religious texts.
In Tibetan traditional Thangka painting, we can use the words of a mantra to create images. I also try to create images with linguistic materials.
I try to create a visual image in letters, with colors and without colors. Also I use marks, the beginning of text: it is called getter-ma or rediscovered text. Therefore I rediscover visual poetry.
I use three languages (Tibetan,English and Chinese) to make a common visuality of feeling -- beyond linguistic borders. Visual poetry globalises the expression and communication of poetry.
Being a Tibetan, of course, Buddhist philosophy is involved in my work -"Visual hand". I try to connect body and mind. The Tibetan syllable "ah" in the center of hand means I visualize and mediate on "ah" in the center my body as well in center of my visual poetry .
Beyond visuality, I search for my words. I used Tibetan word "aTsol" or search self, searching word, searching for an image beyond colors. This is the best way to read self: within selfishness and selflessness. In my visual poetry, searching self is like using a microscope to search the world for poetry.
The Tibetan tragedy is my own tragedy. When I write "walk" in Tibetan, in that moment the image of foot appears in my mind. In my vision, many Tibetans escaped from Tibetan to India across the Himalaya mountains.