to the life and works
to the works and life
to a works life
to a life's work
AN INTRODUCTION, a general view, a fragment
In the beginning there is movement
where am I ?
A story of stories of stories.
It's not always clear where the work starts
there is (was) a series of actions ( I run through experiences)
there is a specific chosen period there is the walking through urban and other land scapes
in the flow of life experience the biking and their contents
the air travelling
the car travelling ... like a sight ...
the train travelling a passing story ...
is it now ? the boat travelling
or after ?
ACTING OUT OF NOT KNOWING (out of fascination)
very intensive notations (first materialisation)
+ collected materials, elements are
or is if one experience ? what is my place in art ?
analysed, sythetisized, reconsidered, reworked, in the world?
an attempt to reconstruct the experience,
the complexity of that experience not as " I ", but as human being
certain systems are used, which are constantly modified according to my fascination
touching time, touching space, touching an experience: you take it, describe it, turn it I hope to comunicate
around, observe it attentivly, you touch it again,...and you're completely surprised by this what we could call
the undiscribable, the untouchable; a short moment of very intensive consciousness 'complex beauty'.
drawings, sculptures, soundscapes, vídeo, slides,...
a materialisation of a certain dematerialisation ?
THE RESULTS OF THE WHOLE WORK ARE CERTAINLY NOT LIMITED TO THE MATERIALISATION
maybe it has also to do with respecting the landscape
or the need to respect the landscape
landscape in the large sense of the word
Experience as an artistic behaviour, Charles Ives wrote
a romantic essay about sitting in a rocking chair on
a terrace, looking out towards the mountains,
"listening to your own symphony"
It can be many ways
It can be many things
People have great difficulty paying attention to something
they don't understand (...) many people think
that art has something to do with understanding, but it doesn't,
it has to do with experience
9 : 48' 17 " pm = 0 : 03 ' 00 "
october 4. 1995
on a train comming back from Venice to Ghent (fragment)
9 : 38 ' 30 " ... magnificent dramatic heavy rain clouds close to the deep
green peinetreetops. The grass is fresh-green (also dark, as a dark as
fresh-green can be dark)
10 : 05 ' 50 " ... almost standing still; the micropart of the macro landscape
becomes visible, paddles, pieces of old railway tracks, little railway crossings,
leafs, branches, stonegrit, ...
(...) And year by year the landscape grow (...)
V.S. Naipaul, A Way in the World
Christoph Fink, June - July 1996