Things can go live at night, what is the reason for this? More than fear seems to me, you know the things they know for years in the same place and they made of wood, glass or metal for example. Movement implies the presence of another being, a stranger, or more ominous, an unknown force. It happens to me now but as a child I never really thought that the desk had moved, the bent silhouette against the cream by moonlight illuminating curtain was just different. Nonsense, remains alert you in the dark, even in your house. In the darkness the sound daggering are inactive, the night sounds manifest. As the last fire that incinerated kuzco lighting falls through the grate, the soft ticking electricity kuzco lighting meter, kuzco lighting a mouse tripping over the ceiling but also sometimes an inexplicable flop, flip or how it sounds. Admittedly sound gives me peace, lives the house.
As a child I was terrified of the space under my bed. I was sure there was someone. A meter on the edge of the bed I took a leap and before bed I checked without getting out of bed was upside down or right below me. But some time after the light having extinguished the fear came over me that there was still someone, not seen in the rear black. The light again and again upside down slowly until I saw the plinth looming, I could only sleep. Later, some twenty years ago, I saw a program a woman who since the death of her husband every night sat on the top step. My fear of leftover night I was healed instantly, never, what a horrible life. The night was even welcomed by my project, The Commitments. Around 2002 during the making of the work on space, kuzco lighting mass and light came the realization that darkness is not negative, kuzco lighting black was spacious, if the light goes out, the real space, the endless universe, visible. That thought the kwadrateerde for me until then conscious dimension, so my fear disappeared for the night, a matter of understanding and definition. kuzco lighting
Last year I saw Muzee in Ostend work The Blue Part of Spilliaert in 1907. A drawing loaded with only one blue bowl. Happened almost nothing, a vibration. I found it fascinating and beautiful, my companion thought it was terrible and scary. I was surprised, why scary? She turned her face away and wanted to leave. I looked again, I found it scary? Two very different reactions in the exact same look. No I did not find it scary, maybe because I love the night with her rising silence. kuzco lighting
Why this work has more than one hundred years later still impact? Visible is the felt smooth surface of the enamel, the undefined substrate and the light that is captured and shows itself. The curve of the bowl makes the light smoothly, the object makes itself smoothly. Cant is the view and the tub is not in the center but high so it is not a central issue. There seems to be something else down, just out of the picture, the feet of the beholder? Is this about the distance? Is that the look, thinking? The realization that a simple domestic thing can catch the moon? During the day was at night the white light coming from a day elsewhere kuzco lighting in the world. While you as a viewer, a thinking being, nowadays by robots still not replaced, the moon can only see? The mystery man, anything can be rationalized and given but no physical amalgamation place, not even for a moment, kuzco lighting like the moonlight and tub momentarily become visible. Body and mind stand alone, the skin absorbs, kuzco lighting does not reflect the spirit mirrors but not visible. Nowhere kuzco lighting on the body a cavity kuzco lighting to store something, merely bulging so that nothing can be added.
In the explanatory sign at the work the phrase 'The impulse kuzco lighting to paint comes neither from observation nor from the soul (All which is probably blind) but from an encounter: the encounter between painter and model: even if the model is a mountain or a shelf or empty medicine bottles. " John Berger.
It is known that Spilliaertstraat around this time had a fragile health and was able to sleep, wandered through the house and town. That is enough knowledge, kuzco lighting digging deeper is stirring. I once wrote about Aldo Rossi when I was two very different versions of his personality learned from two different people "after death is speculating," which for me is a fixed. I stick to the idea that it is about the encounter as Berger suggests. A physical encounter has a certain distance defined kuzco lighting by the realization that it is a meeting kuzco lighting and at that distance something immaterial kuzco lighting place. Spilliaert saw that the moonlight was caught right in front of his feet manifested in his house and painted pure present, the string of a meeting moon on the ground, which somewhat expressive movement of the object seems to be
