Deva Padma Fine Art Prints

Brilliant moon,
how is it that you too
must pass so quickly?


About the Collection

Paper Print

This beautiful collection of works by Deva Padma has never before been exhibited in one place and is available for the first time as fine art reproductions.

It is an invitation to journey with a unique artist as she weaves a magical, multi-colored tapestry in celebration of life, love, devotion and meditation. Viewing is best experienced when savored and taken slowly – each painting was designed to refresh and restore well-being.

Creating art is a way of life for Padma, and an active form of meditation. Each artwork is a visual poem in its own right, revealing meaning in the nuances of shadings, textures, fullness and emptiness.

Aluminum Dibond Print

All together Padma’s diverse creativity defies cultural orientation or categorization, and this is reflected in every aspect of the production process which has been attended to with skill and care by Premendra in Japan and his team in Germany.

The quality of each print is exceptional. Whether a reproduction is produced on 308 gsm weight Hahnemuehle archival paper or onto Aluminum Dibond (which requires no framing) you are assured of the finest quality. Many of Padma’s works were originally painted on gold or silver leaf surfaces, often using iridescent colors and the prints onto aluminum replicate those luminous qualities.

About the Artist

“When a painter looks at the trees, then the green and the red and the gold of the trees is not the same as when you look at the trees. His experience is orgasmic, he is utterly lost in it. He is not there as an observer, he falls in deep rapport. He becomes one with the green and the red and the gold of the trees. The painter knows that looking at the beautiful existence is an orgasmic experience.”

Painting “Floating Fans” 2009

Padma has been painting and exhibiting her art internationally for decades with her creative life beginning as soon as she could hold a crayon.

After graduating from Wellesley High School in Massachusetts, USA, she briefly attended The New England School of Art and the Boston Museum School of Fine Arts, but her longing to explore the world, beyond the confines of her conservative upbringing, and her longing to find meaning in life, eventually took her, and her young daughter, to India.

Padma’s first buddha painting 1976 / Silver screen waratah flowers

It was in India that she pursued her quest to find a spiritual teacher. In 1975 that search culminated when she became a disciple of Osho.
She became a resident in the thriving commune in Pune that expanded rapidly around Osho in the 1970s and ’80s. It was during her years with Osho that Padma’s art became inseparable from her meditation practice.

Since then she has created works that eloquently express serenity. Her devotion to exploring the outer world of nature while reflecting upon the inner dimension of awareness has deepened over time.

Padma and Ashika at their studio…with cats

That depth is apparent in her paintings as her love of the natural world merges with the symbolism and stories of treasured spiritual traditions, particularly that of Buddhism.

In 1998 she moved to Australia and established Embrace Art Studio in North Central Victoria with her stone sculptor husband, Ashika.

Their art practice thrives in the diverse environment that surrounds their home in the native bushland there. Her studio is kept buzzing with projects that express her colorful and ever-expanding creative process.

20 years ago and now

Padma’s paintings are reflections of the beauty and fragility of existence. Many thousands of people, the world over, have been touched by her art. In the 1990s she created the 79 paintings and commentaries for the popular Osho Zen Tarot deck and followed that work with the 64 paintings of TAO Oracle: An illuminated new approach to the I Ching for which she authored it’s accompanying book.

We hope you enjoy your journey through this online exhibition which has been inspired by a most unique and talented artist.

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