Having examined and pondered the Avatamsaka concepts that were developed in Asia in the early 5th century AD to great length, I have often been engaged and influenced in my work by the sutra’s profound and striking vision in respect to the interdependency of all phenomena and it’s concomitant description of a cosmos replete with infinite realms-upon-realms, mutually containing one other.  Often times these pathways have also introduced the concept of simultaneity and the web of endless connections that essentially link together all that exists. Avatamsaka is the name of a seminal Mahayana Buddhist scripture that is often translated as the “Flower Ornament” or “Flower Garland” sutra and has also been described as an “ entryway into the inconceivable.” Avatamsaka, as a time-based work of art, is replete with spontaneously generated symbols that remain polyvalent in every sense as they cascade into being, sustain for a moment and then rework themselves into a yet another form. So then, Avatamsaka becomes more of a suggestion calling to mind the deep and intense mystery behind all of this eternal unfolding that is in fact our world.