sein und zeit
October 31, 2009
Sein und Zeit (2009)
acrylic on wood
the thickness of the skin is brittle
May 13, 2009
Photographic montage. Mixed documentative images, old and current, others and mine, northern and southern, abstract and figurative. Co-existence of a conflictive argument.
day 1
April 11, 2009
nieuw jurk
April 11, 2009
untitled
March 21, 2009
The investigation of wall putty/hole filling material. Movement away from canvas, elimination of words illustrating a conceptual point, to a direct visceral relationship between space and sculpture as non-seperated. Claiming institutional art space as a physical work freed by the artist.
rome was built in a day
March 8, 2009
Departure time: 14:00
February 27, 2009
It’s point of departure, Joseph Kosuth’s ‘Three and One Chairs’. Use of found and discarded industrial materials. There are no fasteners, no joins or added layers of construction. Temporary by nature.
“Sitting on a pattern”, Willem van Weelden.
Art and Space as Extensions of the Body
January 31, 2009
“…eternity gives the gallery a limbolike status; one has to have died already to be there. Indeed the presence of that odd piece of furniture, your own body, seems superfluous, an intrusion. The space offers the thought that while eyes and minds are welcome, space-occupying bodies are not- or are tolerated…”
Brian O’Doherty, ‘Inside the White Cube: Notes on the Gallery Space’
Art is a living, functioning body fluctuating within time and space. Each space is changing in form, as it’s context becomes evolved given the response and interaction of its audience. The human gaze becomes inseparable, as an extension of this space. But are space and art created as a personification of the body of the artist, architect, or rather do they precede thought, acting as inspiration and catalyst to an audience’s own body and remembrance of self?
Preceding art by object form, thought is the first creation of art, it’s space or gallery being viewed within the mind.
In Brian O’Doherty’s ‘Inside the White Cube’, he enlightens us on a change of current incurring within the post-modern era, “We have now reached a point where we see not the art but the space first.”
O’Doherty connects the function of the gallery space to the constructs of a medieval church building, where sacral protection is offered from the outside world. Pure celestial white walls, appear to neither add or substract from an art piece, while it’s reflection of light serves to illuminate a work, acting as a shrine or homage to our artistic human/god dieties, the canvas, a window or porthole to other realms.
As we approach the coming era beyond post-moderenism, where the demise of previous evolutions of art meet their inherent mortality, one cannot help but taste the coldness on one’s lips, as cross-currents of commerce overtake radical movements in art, limiting them to bi-products of a glutonous global village and his insatiable appetite for all things pleasurable.
Where is the new direction for conceptual art in our present?
Have we only our own gallery in the mind left to view quietly, these works?
The interaction between art, space and audience is thus vital to question.
I cannot help but wonder, is it that space acts as a projection of our own body or do our bodies become material within a body of work?
Man Escapes Cube
January 31, 2009
Unfinished Works
January 30, 2009
chair- a fluctual living representation that spans moments of overlapping time, past, present, future simultaneously while occupying a single space.
a- announcement; derivative of the historic human propensity to remind one’s self of existence.
fluctual- vehicle performing an act of multi-spacial movement.
living- a 3-dimensional projection of imperceptible existance; the performance of an organism in the act of collective expansion.
representation- repetitious validation of collective trans-dimensionality.
that- distancing from a source, while presuming its present moment in non-linear time.
spans- the act of splaying.
moments- re-enactments of time, as a measurement of expansion theory in minute form.
of- an announcement of transgressive origin.
overlapping- a condition of loose formations, briefly interconnecting before tranversing incalculable distances, hovering over while at the same time passing through.
time- a human invented, illusionatory restriction calculating experiential impressions, in order to coordinate one’s surroundings.
past- a calculation of time, fixating a specific experience of one’s self in relation to an environment for the purpose of recollection, re-positioning or prediction of new experience.
present- a calculation of time, the embodiment of time as a mirrored personification extended outside one’s self.
future- a calculation of time, prediction of an experience invisible within a 3-dimensional realm.
simultaneously- dualistic synthesis of an action or condition, acknowledged within a viewed measure of time.
while- an ambiguous measurement of time, within constant reference to the self.
occupying- an immense force of pressure.
single- solitary act of seperating from a collective organism.
space- an expression of complete inter-connectedness of all elements in fluctual expansion.
announcement- a declaration drawing attention to that which is deemed important, effecting a greater audience beyond the subjects previous proportions
derivative- artifice made present by its mirror, unstable familiarity
the- a sense of entitlement
historic- pertaining to a system of moments trapped in a frame of sentiment; oral, written or visual reference based on religious hierarchical landscapes
human- spectrum of colour made visible through a density of light, reflected off a biochemical reaction of atmosphere and organic inertia taking place in a concentrated moment; the shell of celestial finite particles
propensity- shift of movement beginning with thought
to-
