MOTION

MOTION

write it down

write it down

from here we slowly set of too much illusion
and from this we go further to nowhere no weather stopping us no movement
from here as well we go looking at very little motions
and from here we go towards hulling over an otherwise rise in movement
from no motion to slowly an action forwards perhaps  perhaps first a bit back flow towards
progress passing the onwards section on movement touching the flowing source of life
emotional manoeuvre  no hurry just go on swinging on current solution
tendency touch me stirring an inner connection from advance thinking
over to development  feelings  inspiring bustle
effecting the fluctuation she becomes excited an idea in movement
act upon herself reliance perhaps
a trend flows over in time running past all possible illusions
moving going going yet never ask where?
she will go as long the unfixed stays around she feels good
a propel behind her steers her in no correction go her own
no development she sees as her own prospect
she shift fast just goes on her current
her vision on nothing push forwards a momentum
a short slow moment in motion perhaps slow motion
you think to see her yet she disappear to nowhere
lets poke her prod her poke the site and
go on move further she goes and you go and all together
we move creating movement within agitation so to say
moment after moment we created last moment on a mountain
moving over a low hanging branch as we go on and on no stopping
over and over we never stand still until it is pop
late yet it was the moment of my life flow
that life is to show to go on
stand

motion

motion

My first experiment of writing poetry in a different more visual way. The poem was written with the idea in my mind of the never ending running of our society never having time or taking time to stand still. The lines went in circles endless circles and i just kept on writing what ever came to my mind.

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VIEW ZICHT

How we view art all depends on the position from which we see it, not only where we stand but also where our opinion lays towards that particular piece of art.
In our modern times the media plays an even more important role, where do we see it: internet, book, magazine, TV, movie. Even if we take one media like books – the importance of who took the photo, when was the photo taken, who published it – will influence how we see the art.
One of the most famous pieces of LandArt is the Spiral Jetty from Robert Smithson, made in Great Salt Lake, Utah in the year 1970.

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Spiral Jetty

The above photo shows it from a certain angle, position. The next photo also shows it from a similar angle and position.

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Spiral Jetty

The first photo appears in a book with the title Land Art written by Ben Tufnell published by  Tate, the photo was taken in 2002.
The second photo appears in a Dutch art magazine called Kunst Schrift, the photo was taken in 1970.

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Spiral Jetty

Again Spiral Jetty from a different angle and position, from a book with the title Land Art written by Michael Lailach published by Taschen the photo was taken in 1970.

Spiral Jetty is a large piece of work 460 metres long and 4.6 metres wide, Robert Smithson moved 6650 ton of earth to make the piece. To capture a piece of work like this on a A4 size piece of paper will alter the perception of the work no matter how you do it. Photos can be altered these days very easy to give a certain impression, that’s all it ever will be, an impression.
The real Spiral Jetty on the moment is very different as the water level in the Great Salt Lake has risen which makes it much harder to see it with many parts of it been washed away.
The 3 publications want to give a certain impression of a piece of work that doesn’t exist anymore, all what is left are 2D images to give us an impression of what it once was.

To see 3D works of art in 2D will give a different perspective even without the use of photo alteration.  I can never give you a true vision of a 3D piece of work which stands here in front of me by using photo’s and the internet.

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Serialsly Wrong

Not even when I give you a closeup vision of the piece of work.

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Serialsly Wrong

A photographer who is 10 times better than me still do not get the true feeling of the piece of work. In this case even more as every site of the work gives a different impression and shows a different image. You need to experience it to get the full impact of the work.
No website can truly give you the meaning behind the work, no words will ever describe it. The moment you hold it in your hands you see and even feel Serialsly Wrong or the moment you stand at Great Salt Lake you will see Spiral Jetty.

A 2D piece of work can be represented on the web a lot better as 2D into a different form of 2D isn’t so hard to perceive.

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Like this painting from Paul Hey which hangs on my wall for a long time now and by showing a close up you get an even better feel of the work.

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The scene painted here has changed and might not exist anymore but the piece of work still does, the painting exist. Yet I can only guess what the painter wanted to show me by painting this scenery.

Even when you have a high grade of immersion or a high ability of immersion the art represented in book-form or virtual can only be experienced by being in direct touch with the art. The photographs here on this blog, the words I am writing about it can tickle your imagination only. The total immersion of your imagination will be achieved when you are in touch with the art.

ZICHT
hoe zie je de foto
als de foto jou
iets toont met het gezicht
op gezichtsbedrog
de gezichtshoek geeft een
ander veld
dan het gezichtspunt
jou gezichtsvermogen houdt
alles in de hand 

wie ben ik om jou te vertellen hoe je moet zien
how can I tell you what to see