r i s k o l o g y ?

it is a risk not to take risks

o n e . d a y

what do you keep from one day, somewhere in a drawer of your brains?

the 'I want?'
the 'I will?'
the 'I desire?'


the desires . .

| desire for perfection - a icon of my thoughts |

icons in a sea of waves
in a sea with little shades
in a sea with flying fish

waves as a shade,
flying thoughts,
fishing solutions,
waves, slowly they clot

solidification of the mind


a sea which makes you wonder
what do you see if you know less then you're used to be?

l o w . c l o u d s . b u t . . .

intense passion

longtemps dans la mémoire

15 mn . d r e s s

inner fashion 15mn dress - see how it works - a fast fashion production line

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http://vimeo.com/52766496
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i n n e r . f a s h i o n

i n n e r . a n d . o u t e r . l a y e r

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inner and outer layer

glue
stretched and shrunk

fast fashion production line

c - fabriek

t e n s i o n . l i n e

tension line

fast fashion production line

c - fabriek

b e h i n d . t h e . s c e n e s

just a gap behind

the window blown open

a bit

i m p e t u o s i t y

impetuosity

silence to the ear

very loud for vision

d a y . b y . d a y

minute by minute

a changing world around me

mmm . . .

mmm . . . 

monkey !

s t a r e

stare

empty

I watched how the air moved

I look

eyes in a heart

Dr. J o h n . s a y s

quitters never win
winners never quit

k n o w i n g . t h e . w o r l d

Knowing the world means knowing ourselves.

So, what do we learn about ourselves? 
Well, it depends on what parts of the world we are considering. 
For instance: when we sense something, we always sense it in space and time. 
It always has a place in the world, and it always exists through time. 
But does space and time exist apart from us?

h a z e

a delicate web around the world

m o o n l i g h t

your eyes want to hear


first movement of moonlight

moonlight gives me tears 

sometimes

somewhere

someone



and then there was this man in front of me

sometimes (17 juli 2012)
somewhere (paris)
someone (next to me)


a way of moonlight

me, body, space, things

and vice versa

s p a c e . t i m e

there are things, stuff in the environment
there is the body, which takes up a privileged centre of our environment
there is space - time, in which both meet in a organised sort of way

space - time is our capacity to receive the world

time as a duration
space as movement

actually the body is a machine to relate itself to its environment
we receive the world with the body and its capacity to remember

w h e r e . i s . t h e . p a s t

where is the past?
the past is what is present
the lost past is truly lost ...
or hiding in which case it is the present

p o s t c a r d . f o l d e r . f o r . t w e l v e . p i e c e s

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almost finished my proposal.....

the cuts gives shadow thus form

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the folder as a link to the architecture of residential 't Hool

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www.woonwijkhethool.nl

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d r e s s . o f . t h e . i n . b e t w e e n

waving in the wind
glimpse
soft folds
a moving building


past to future
the now to the in between
the in between to the future


the future of what it could be
imagine


imagine
what it could be


a desire to undress




(or the desire of this in between, the sometimes present glimpse through)

p r o c e s

the sea washes and polishes
time crystallizes

s u d d e n l y

s i l e n c e . a t . w o r k

My thoughts have no time.

A recess in a overcrowded world.

  

Cheers to the big occurrence, silence at work.

j u s t . t o d a y . t h e . t i m e . a n d . t h e . t h o u g h t s

Actually I have nothing to say here right now,

but I want to write.

I smell you and feel my own thoughts at the same time, time.

Time?

I shrink at the time of reality.

I shrink because the now is too big for me, elusive.

As elusive as the universe.

Is this reality really real?

Real.

What is real?

Time?

Time.

When the reality is seen

everything is beautiful.

But how it can be seen,

just check the time?

It is time.

(and yet, time is an elastic concept, stretching reality or pin down and stick to an agreed spot)

Maybe the spot is the reality here,

a spot to consider the spot.

b e i n g

in between

Space traced by the senses.

Space as apertures, as glimpse of the hidden.

Space behind.

Space which gives me the feeling of being the only witness.

Space which allows me to desire his behind.

Space with intimacy.

Space as a flash.

Space which reveals what you thought.

Space which intent to be tender, gives you a invitation of informal privacy.

Space which dims the sharpness of being.

Space which is showing you the passing time.

m y . c l o u d

I like to see the invisible, the hidden, or the glimpse. The world ‘between’ intrigued me.

What if you asking; what’s next? what’s behind? What if..? And if you know, what then? That is the world behind? The world of ‘the behind’ is so intangible, so impalpable. I have a desire to know the unknown. When there is that glimpse, a flash, it attracted me. It gives me a feeling of the only witness. It is a tender approach of the ‘behind’. It is a poetic entity. Something unattainable which is moving and passing time. It invites you to a more private and non-public world. It invites you unconscious. 

It shows you the intimacy of the other side, the intimacy like touching someone’s skin, unbutton a mans jeans, or in a less erotic way, it shows you another approach and thinking about the behind, as a attraction. There are different apertures that can show and let experience this. There is a kind of movement involved.

Is one of your senses influence the in between?

Vision reveals what the touch already knows.

When you make the hidden visible, what’s happening? Then ‘the in between’ is gone? Or, when you hide something what is visible, can you shape this ‘in between’? Why would you make the hidden visible? Why would you shape ‘the in between’? Would you make some flashes fascinating for other people or is this not the subject and goal? What do you want to do with this theme? What is your intention? Is ‘the in between’ a mediator between two worlds? Or is it a world itself? Can something dim the sharpness of it? Is there a kind of distance you can cross?

Is shadow a ‘in between’, or only showing you that? The space traced by the ear in the darkness becomes a cavity sculpted directly in the interior of the mind.

Is music making a in between? Then time is the instrument? What can be the instrument of the in between? 

The conductor sculpted ‘the in between’, not visible through the eye but he sculpted with his hands the air before him. Hands are the sculptor’s eyes, but they are also organs for though.

We behold, touch, listen, and measure the world with our entire bodily existence, and the experimental world becomes organized and articulated around the center of the body. A sport player understands where the goal is in a way which is lived rather than known. The mind does not inhabit the playing field but the field is inhabited by a ‘knowing’ body. So, the art of reconciliation between ourselves and the world, and this mediation, takes place through the senses.

So, your senses are involved in the recognition of ‘the in between’?

We cannot see the movement of the sun with our naked eyes but there is a method to catch the suns’ path, the method of solargraphy.

How to make the hidden visible?

Is there a way that I can engage, register, choreograph, invent, or in short, design this?

Instead of answering what I asked myself today (a lot for sure) I want to stay a little longer in my wide and extensive theme, my fascinations and all that what is filling my cloud.

f r e e z e . a . m o m e n t . o f . w h a t . i s . f e l t . # 31

skin

second skin

skin as a music layer

skin memory

tangible emotion

sensitve scar

imprinted

moments of touch

s o m e t h i n g . I . w a n t . t o . s h a r e

Something I want to share. 
Sorry, in dutch..

In de academie

De leerling stond op en sprak:

Eeuwen en eeuwen 

Hebben wij in de schaduw van de geest geleefd

Hebben wij gedacht 

Dat het verstand de wereld spiegelt 

Dat de dingen aan een naam gehoorzamen

Dat in het lichaam een innerlijk huist 

Dat het wezen ergens achter de verschijning

In de diepte schuilt

Maar zie de vorm van de wolken in de lucht 

Luister naar de groeiende bamboestengels

Zie het getal van de schuimkoppen in zee

Kijk naar het gedrag van de gletsjers

De woorden zijn contouren 

De geest is een theologische inblazing

De verschijning is qualitate qua het wezen

En het innerlijk is omgekeerd het lichaam

Laten wij ons dus allen ontkleden

Naakt als de stenen, de dieren in het veld

Het wegdek van verlaten wegen

Laten wij het licht van de wereld 

Op de huid van onze lichamen ontvangen

De huid die inzicht en troost zal schenken 

De huid die verlichting zal brengen

Erkenning en rijkdom doen niet meer ter zake 

Voor schaamte is nu geen plaats

Het licht wacht

De waarheid is hier

K. Michel

c h i m e r a s

in between

. . .


You maybe just find my other side, trought somewhere, my chimeras.
I want to share my thoughts and wonderments, my approach in surtain imaginations and analyses. Sometimes it is going to be just typed, sometimes it is in images, sound, sketch, or otherwise that is now unknown.

f r e e z e . a . m o m e n t . o f . w h a t . i s . f e l t . # 1 8

(used material; music as rule, myself as medium, polyester textile and as an instrument a soldering iron)

When I was ready and turned the tension ring for 90 degrees, the sunlight came trough, I immediately though, wow, how nice. By looking closer to the detail you see the burning in the fabric, like a lace of expression. The expression is precisely but in the mean time really rough in appearance. It is the instrument that engages with the material, the material melting away the feel of music. Love it! And thinking about the shadow, what a nice drawing.

Good to mention; when I saw the making off video a couple of times I realized that the ‘writing’ or ‘reading’ manner I express is from left to right and then to the left to start the next ‘line’. That’s strange, it should be more fluent, and the glue or the instrument shouldn’t make a stop or still to start again at the other side.

I, as medium, should be moving like this; left – right, right – left and not left – right, left - right.

In this experiment I apply this new way and it’s much better! Now the expression doesn’t suffer under this technique anymore.

. - .

f r e e z e . a . m o m e n t . o f . w h a t . i s . f e l t . # 03

The most designs starts with a designer’s vision. 

I made a collection of expressions, the selected items understand that design is much more than simply assembling, arranging or editing, it is something that is felt.

It started with the rule, a part of the music, expressed with different instruments on different material.  

 

(used material stretch mesh fabric and as an instrument a tube of transparent contact glue - making off video)

Above you see one of the items where the glue causes the fabric to shrink on a impressive way. It freezes the moment of touch, the glue that just touches the surface. The surface, which is a mesh fabric, ensures that the contact glue clots together between all the small holes and dry faster because of the open structure of the fabric.

By using a tension ring, normally this is used to embroider, as a tool; the stretch fabric is prepared and used in the most tensioned state. After the glue is dry and the tension was taken off you saw that the whole piece shrinks. The drops, linked together by a line of glue became more 3 dimensional. The moments of touch became more visible and now are touchable in relief. Here you see really a engagement between the instrument, the glue, and the material. And, besides, this is visible from both sides.

o n e . o f . m y . f a v o u r i t e . p i e c e s . o f . m u s i c

counting the pavements stones, 

repetition (me as a repetition minded person), 

improvising in a prepared structure, 

expressive between the rules, 

the rhythm of the tides, 

day and night and the shadow and light in life;

that is ‘Canto Ostinato’ for me.

What is the feel of music?

Expressions of a part of the music piece ‘Canto Ostinato’ by Dutch composer Simeon ten Holt.

(used material; music as rule, myself as medium, blank paper and a pen used as an instrument)

i n t a n g i b l e . r e a l i t y

“[…] a product makes its own expressive logic visible.” Wim Quist, architect.

Yes! That is what I now have to start trying to do.
To convert my thoughts, my analysis, together with the beginning image of wonderment into a design.
A design which makes its own expressive logic visible.
The design should make visible that what at first was the intangible reality.

b e y o n d . d e s i g n

i t . j u s t . t a k e s . a . s p e c i a l . e y e . t o . h e a r . i t

Thinking about that ray of light, that moment of experience when something has so much impact and indicates an emotional experience, still touches me. Such an emotional experience is difficult, but essential for beauty. I don’t mean anything secretive by this and do not intend to use an incomprehensible language only understandable to insiders. Feeling is an emotional reaction with a consequence: wanting to ‘recognise’ genuineness, and being able to progress in the process of awareness, of seeing (going to see) better. That is why this wonderment is a touchstone as well as a vision.

There are of course many moments of wonderment: a small village on a hill in the bay in Normandy, where the only light at night is one single lantern next to the church. The centre, the only crossing of roads is defined by the light source mounted on the spire. The lantern measures out the light, exactly enough. I find this beautiful. This is also much more attractive than the excess of light that engulfs us daily. More with less. I am aware that filtering, reducing, bundling, spreading, limiting, etc. belong to the nuance of intangible aspects.

Limiting the visible is necessary for differentiation. That is how it works with the visible: limitless space is invisible (does not actually exist); the special value of a spire is, for example, that it determines place and indicates height gauge; the space around the spire becomes ‘real’. Light that does not meet a reflection surface anywhere, does not illuminate the space. Material is visible through its boundaries; the boundary is the division between material and surroundings. That is why the lantern, placed so exactly right on the spire, is so special. The spire in itself orders the landscape on a larger scale level. Everything is coming together so well there. Comfort? Such self-evident simplicity. Clarity and balance in any event.

I like to compose spaces. I record during seeing a reality, although together with my emotions. I like to see something others don’t see, an elusive reality. That is what I like to make visible.

A design which makes its own expressive logic visible. The design makes visible that what at first
was the intangible reality. A material space that we can perceive with our senses.



A good design feels good, you can sometimes even say that it sounds good, has an own sound.
That is how the design speaks.

...it just takes a special eye to hear it.

 

t w e n t y - f o u r . h o u r s . l i g h t . r e g i s t r a t i o n