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Newton to Heisenberg

Newton to Heisenberg

What would you have me
Embroider on my dress
Or my coat?
And would it quell that sense of outrage
That haunts you?

What confession would you
Have me deliver
Or sign?
And would it satisfy your desire
To prove yourself?

(and to whom)

Which ideas would you have me
recant
Or change?
Would it give you a sense of safety
If I stated that
What should not be possible
Will not take place?

(as all children ask in the dark)

Too late, my friend.
The words have been said.
The deed’s done.
A door has been opened.
And there is a rip in the fabric
Of your three dimensions
Admitting a fourth
And a fifth

And so on.

I would gladly give you a hand
To help you find your way
From Newton to Heisenberg
But you see
I already slipped through
That rip
And I just don’t feel
Like coming back.

You’ll be fine.

Palaverous Lament

Palaverous Lament

The empty skies are where we want to go now
released of our desire
to conceive the next beautiful thing

We prefer the leaden days and starless nights,
industrial landscapes, gaping emptiness,
toxic waste and boredom of no-man’s land
(and no woman decorating a corner with market flowers)

You would not understand
if you thought we wanted to leave for silver shores
or even suburban homes, given the opportunity,
we prefer the empty skies and their agents

to the messenger of a glory
unsung

Monsters everwhere

Monsters everwhere

While taking walks I usually pay attention to the marginal ways people express themselves in public. “Marginal” in the sense that one cannot identify a specific purpose to an expression nor the reason somebody had to feel compelled to make such a public, albeit anonymous statement. This picture was taken in a wooded area near to Hamburg. The original sign reads “nature preserve” (Landschafts-Schutzgebiet) and the symbol chosen to communicate the idea is a stylized black owl. I have noticed that these signs seem to be attracting alterations wherever they are displayed. It’s funny, considered that they are only found pretty much out of the sight of urban traffic.

It’s a bit mysterious to me. What is it that the sign communicates (despite the sober, original administrative message)? What triggers the desire to change it? Is it the way the owl stares at the viewer with yellow (paper-cut like) eyes?

The changes mostly interpret or exaggerate the original monster like quality of the cut out owl. Here someone actually spray painted a monster on top of the owl, completely obscuring the original symbol. It seems not too far fetched to state that the simple anthropomorphic quality of the monster points back to the very origin of art, the moment when humans started to express themselves with symbols.

As Mircea Eliade has observed in his work “The Sacred and the Profane”, even in the modern world we pay witness to a deeply ingrained “mythical” comprehension of the world by reacting to triggers. The world through human eyes is “fraught” with religious value, or at least with “meaning” in the sense of an offer of communication not necessarily only between people but also between people and nature, people and the inanimate world, people and the perceived reality of an order of their world that they must adhere to to give their own lives value and meaning.

Could it be that the character of this sign inadvertently triggers such a response? And that the response is rendered in just the same language? Artist’s musings, for sure …

I have often been asked why monsters are a recurring theme in my work. Obviously there is not one answer to that question. Sometimes it’s their naivety and friendly, childlike celebration of the world that attracts me. But I have done other more serious monsters. And I feel that one underlying theme might be a response not unlike these anonymous signs. Though I do not paint on traffic signs …

Just to round this up: I have also seen the signs and the little owl creature changed through weather and sunlight, resulting in faded or partially peeling paint. And in the midst of these beautiful alterations the little owl changes character, always peeking out at the world and talking about time and change … Seems that nature itself takes pleasure in participating in this game …

multiplying y – creating depth

multiplying y - creating depth

I thought it would take at least two more nights to finish this acrylic sheet but as I couldn’t stop drawing I finished it last night. I drew five layers altogether until I felt more lattice pattern would obscure the interlacing layers (which I drew on both sides).

It’s intriguing that working on a transparent sheet creates a drawing that feels at the same time tangible and elusive.

I think it would be great to multiply “y” further but this time not by adding more layers but by creating additional pieces in the same format. Five to ten sounds good for starters. I have always had a taste for the non-identical multiples in art. By the way, each sheet is about 1,30 m high. But I could also start by using up all the small panes I still have (about eight), drawing layered monsters, then proceed to the larger sheets.

Back to home depot it is …

multiplying y – the next night

IMG_5722 IMG_5723 IMG_5724 IMG_5725 IMG_5726 IMG_5727So I started multiplying y. Drawing the net pattern on the larger glass panes allows the rhythm of the pattern to emerge. I started with white on one side of the acrylic sheet and drew a loose knit-like pattern. Then I layered black organic lace-work on top. I drew about five hours, then I called it a night. But not before playing a bit with my new building block system of drawings, creating deep, three-dimensional images by arranging and rearranging different elements in front of a big mirror. You can see that the combination of smaller drawings getting “caught” in the net-pattern of the larger pane really works well. I have to finish the larger drawing, I think it will be another two to three nights. After that I want to try a wilder, more impulsive web of lines on a large sheet. What if …

Monstrous Spelling Mechanism / Zen practice of giving thanks to a teacher

Monstrous Spelling Mechanism / Zen practice of giving thanks to a teacher

Art is time travel, no question. I didn’t know I still carried this monster around – but here it is. I learned how to read pretty early, before school, scanning my grandfather’s newspaper and imitating the strange throat clearing sounds he produced every now and then while reading. It was quite literally his newspaper, he was a co-publisher of some small town daily newspaper, back in the days when they were still independent.

Anyhow, reading and drawing quickly grew into something alike to breathing and running around for me. Imagine my bewilderment when in first grade I discovered that someone had torn all the words apart and stuck them into a strange primer expecting me to study each one of them separately. I decided not wanting to have anything to do with it and skipped to the end of the book where most letters founds themselves tidily arranged back to sensible words and stories.

I was quickly found out though by our teacher who then consulted with my mother, complaining about my absolute messy reading habits (being able to read but not to practice sound exercises with random letter-combinations). The following week she caught me with a book under the table again – and I still refused to fill out the worksheet according to the primer. We were at war. She took away my book and I kept busy studying the colophon in the reading primer.

Before you give me credit for my precocious rebellious behavior I have to admit that I plain did not understand what was expected of me, and for some reason the teacher had such a vague personality that I found it incredibly hard to focus my attention on that pale, almost transparent if upset presence who did not stop elaborating on how I was not supposed to read what I hadn’t been taught to read. It seemed to me that I could see the squiggles on the chalkboard behind her – through her. I could literally look right through her. It was a mess.

At home my mother followed up on my homework assignments and had me fill the lines of my notebook with squiggles and squabs. It was monstrous, it really was. I had absolutely no clue what I was doing and why. My mother meticulously instructed me how to fill a page with doodles, then she left me to it. When she left the room I took out a book and read instead. There were tears that night.

I don’t know what would have happened had we not moved to a new suburb. I got a new teacher who very nice about my keeping a book under the table and even encouraged me to put it on the table instead. While in the first school my teacher had insisted on my using the phonetic approach which was still brand new back then to acquire a skill I already possessed, in my new school I was allowed to spell with the whole word sight system which happened to be the way my reading comprehension just happened to work anyways.

Later I did learn to take the words apart, by the way. Today I am the master of the monstrous spelling mechanism. I wonder if the second elementary school teacher ever knew that she was a life saver. Thank you, Frau Bock.

Time is but the clockwork of a frightened heart

Time is but the clockwork of a frightened heart

Drawing on acrylic glass panes. It’s been about 6 months that these black and white, sometimes gold drawings keep evolving, taking up a lot of my time recently. Sometimes I almost despair of them because I don’t know where they are going, I don’t understand them the way I would like to and quite honestly they feel like a well disguised vice. Then again I feel they are too beautiful, too blank to be allowed to take up so much of my time. They started, simple enough, as a way to find back from painting to drawing for an illustration project. At first it was plain black marker on white paper. I had chosen marker because it allowed me not to think “small”, not to think “precious”, and as usual I was drawn to the ready availability and comparative cheapness of the technique which seems like a quality in itself to me. Now I am still using marker, but the creatures have freed themselves from paper, have migrated to glass panes, they cast shadows on walls and mirrors, they congregate to create 3 dimensional theatrical settings, and I still don’t know where this may lead me and why I still draw these night after night (instead of now taking up ink and the fine pens and engage in the illustration projects I had been meaning to prepare for). The saying “Life is what happens when you are busy making other plans” seem to perfectly apply here. Some small insignificant but very persistent kind of original thought seems to defend its way against my larger ideas. Art is what happens when you are busy making other plans …