This work employs mimicry, audio-acoustics and sculptural masks installed upon a barren wood surface to decry the actual spiritual stasis and perversions of iconography in a metaphorical sense. The masks depict Bodhisattva leering, grinning, disfigured and grotesque in a series of eight head totems. The transmission of the sacred syllable, “OM” pervades the static spectacle, and the actual perversion of the Buddhist faith: commercialization of state sanctioned temples and historical sites today celebrated in the PRC return to mind. Enlightenment is far from present in the comic exaggeration found in these masks, the collective lewdness of the eight immortals- if art makes them so- instills a nausea and visual comedy rather than sense of serene contemplation. Each individual mouth orate individual messages due to an interactive mechanism housed in the work. The sequencing is similar to that of an interactive symphony, the conductor being the actual movement of each individual audience and their intervention with the artwork. Kinetic or mechanical movement occurs via electro-solenoid that makes the eyes and the mouth open, infrared proximity sensors instigate invisibly. Indulgence does not seek to transcend meaning but alternatively employs reconstructions of form to deliver juxtaposition to the iconographic language of the Buddhist faith. The vocabulary of today resists the original visionary wisdom of Sakyamuni whom once wrote…” should you see (envision) an image of the Buddha, destroy (fig.) it, for it is the antithesis of Buddhism itself”. Religious symbolism, traditional morph and contemporary falsification, whether reformulated by decree or academic in nature, emerge on witnessing this work. Indulgence invites us to recall our spiritual absence, dependence on doctrine and even further, our collective failing to respect a spirituality inherited from nature, whom itself was the inspiration behind the enlightened whom could control their material appetites. “OM”, the sound which is of all things and which ends in all things, silent…eight mutant visage whom crudely mask the projected mimesis of the sacred in independent sound-sequences. The work epitomizes distortions which extend beyond history, interpretation and spiritual transcendence.