Between Bitumen and Sunlight:
From the series: Research Tables, 2020
(objects, books, thumbnails, digital prints, plexi..)
Between Bitumen and Sunlight Poetry of Change _Politics of Change (working title)
Plato sees the shadow as an example of second-rate knowledge. Pliny the Elder describes in his myth of origin that painting, invented by a woman, originated from the shadow. The origin of painting, therefore, lies in an absent subject. In the 18th century, a Miroir Noir (or Claude glass), a round convex hand mirror with a black background, was used. Painters, tourists, and poets used this to look at the landscape. With their backs to a landscape to be admired, they saw in the black mirror a different image of reality: a broader field of view with a few details and colour effects that evokes the colour palette of Claude Lorrain. The world was seen as one wanted to see it: as an idealized world.
These historical references in the Western history of imagination have greatly influenced me and inspired my artistic practice, because they refer to making present what is absent and vice versa.
Purity is fiction.
Nowadays almost all people around the world look in black mirrors (tablets, etc.) in which the world becomes visible and they have the opportunity to choose which aspects of the world they allow or prefer to see and how they want to be seen themselves.
My current artistic research circles around three concepts in my works Miroir Noir, Waiting (F)or and Golden Hour, in which time recurs again and again as a paradoxical core, hereby reflecting on the relationship between human - time and space, and representing the (in)visible processes of change in which the world is intertwined. I investigate how I can make these processes more perceptive and visible by concentrating on the properties of raw materials such as the viscosity of bitumen, the power of the wind, the light waves of the sun and the rotation of the earth. Not to analyze them all, but to emphasize the 'unsightly' inseparable connection and mutual influence between human and the environment.The processes and their form of presentation are becoming more and more the subject. Giving a voice to this essential dynamic of the ever-changing immeasurable and uncontrollable (in)predictability of Nature and its human dependency. A juxtaposition with the global dominant mathematical conception of reality and the conviction to comprehend by measuring and calculating (from which I, too, seem to find it difficult to escape).
The romantic paradox as a dynamic for change.
Plato sees the shadow as an example of second-rate knowledge. Pliny the Elder describes in his myth of origin that painting, invented by a woman, originated from the shadow. The origin of painting, therefore, lies in an absent subject. In the 18th century, a Miroir Noir (or Claude glass), a round convex hand mirror with a black background, was used. Painters, tourists, and poets used this to look at the landscape. With their backs to a landscape to be admired, they saw in the black mirror a different image of reality: a broader field of view with a few details and colour effects that evokes the colour palette of Claude Lorrain. The world was seen as one wanted to see it: as an idealized world.
These historical references in the Western history of imagination have greatly influenced me and inspired my artistic practice, because they refer to making present what is absent and vice versa.
Purity is fiction.
Nowadays almost all people around the world look in black mirrors (tablets, etc.) in which the world becomes visible and they have the opportunity to choose which aspects of the world they allow or prefer to see and how they want to be seen themselves.
My current artistic research circles around three concepts in my works Miroir Noir, Waiting (F)or and Golden Hour, in which time recurs again and again as a paradoxical core, hereby reflecting on the relationship between human - time and space, and representing the (in)visible processes of change in which the world is intertwined. I investigate how I can make these processes more perceptive and visible by concentrating on the properties of raw materials such as the viscosity of bitumen, the power of the wind, the light waves of the sun and the rotation of the earth. Not to analyze them all, but to emphasize the 'unsightly' inseparable connection and mutual influence between human and the environment.The processes and their form of presentation are becoming more and more the subject. Giving a voice to this essential dynamic of the ever-changing immeasurable and uncontrollable (in)predictability of Nature and its human dependency. A juxtaposition with the global dominant mathematical conception of reality and the conviction to comprehend by measuring and calculating (from which I, too, seem to find it difficult to escape).
The romantic paradox as a dynamic for change.
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