The dust settles and everyone is gone. The guests. The tourists. The competitors. Staying from an event last the memories as an inner film in constant change. And things. Selected, arranged, not randomly. Some stories they affably tell everyone. Some they reveal only to their owner. Most are created in the in-between, when biographies meet the objects and charge them in the viewing. Then the "unmoved existence" (the original meaning of "stil leven" in Dutch) turns into a personal plot.
The author Björn Kern writes about nature: "When I am outside, I learn to see without judging,
to hear without judging. To perceive without interpreting. To capture without construing." Nature on the canvas
offers this lack of judgment, this "sudden agreement". Much of its fruit is on the doorstep. Björn Kern
has invented a word for it: The "Nahweh". It takes only a few strokes to satisfy it. Or a technique that
leads one to reach out and say: "Oh, I thought those leaves were real."
Most pictures in the treasure chest House of Arts would also feel comfortable in this category, wouldn't they be better off there because they were made under a pseudonym.
Not only the fox has its history in the collective soul. Every animal has an aura of old myths and
legends. A field of narratives and attributions, some thousands of years old. This is the one level. The
others are formed by the individual character. The personality, which the supernatural direction for a change
this time has not set on earth's stage as a Homo sapiens. It lives within every animal of the soil, the water
and the air. Capturing it is the real challenge.
Many of the images were taken from a project with Sylvia Temming.
Even the oldest philosophers stress the importance of concentrated repetition. "We are that which we do in repeat", Aristotle says. "Excellence is therefore not an act but a habit." About 2.350 years later Hartmut Rosa makes the difference between "world domination" and "world transformation". Only the latter would bring us into "resonance" and creates a "vibrating wire between us and the world". A motif in variance instead of a hundred motifs in haste, creates resonance, with creator and viewer alike.
What Goethe said about the open range is also true for small towns: "Nature is the only book that offers great content at every page." No one can paint Frankfurt's Zeil or New York's Times Square without criticizing the hectic pace and resource-guzzling nature of humanity - or at least being understood as doing so. A village with cobblestone alleys or a clearing in the forest, on the other hand, opens up further spaces for associations, meanings and desires.
Everything begins with the first stroke. The outline is little and yet everything. It carries the germ of the finished product within itself, like a graphic analogy to Plato's idea. Step by step the characters are created, along formal touching, partly by trial and error. It's similar in the literature, except that the individual stages of a novel character cannot be so beautifully tracked as the path to work in drawing. Here from a part of the protagonists of the great children's book classic.
After four years of work on the David, Michelangelo once during the unveiling answered the question of how he was capable to it: "The David had always been there. All I had to do was to remove the excess marble around him." A variation of this motto for sculptors could also be applied to the shaping of the figurative from all kinds of material: "What and who they tell is always there." Whereas many of the stories were originally created as gifts for festive occasions.