statement

my works circulate around the phenomenon called time.
in the perception process , while being in an out of certain concepts of this ‘measurement’, rhythms appear.
i like to focus on the beauty and the awe of natural habitats.

a collection of stories and extracts of other people’s sayings that trigger my imagination:

timotheus vermeulen ‘now & beyond’:
(…) a number of thinkers has adopted affect as a strategy not just of deconstruction, but also of reconstruction, as an orientation, or promise, that may alter not only our experience of life, but also ‘living’ itself. those thinkers appear to reclaim for themselves a relationship to an ideal ‘reality’ of unity , coherence and truth that they nevertheless realize is forever beyond their recognition and reach, that they realize cannot exist.

peter sloterdijk ‘kritik der zynischen vernunft’, 1984:
‘je mehr das leben sich absichert, desto mehr wird es virtualisiert, abgeschrieben und ausgesetzt; es wird zu einem potential reduziert, das sich nicht verwirklichen will, da wirklichkeit ohne risiko nicht möglich ist.

victor vasarely , 1959:
“What is the duration of life of a piece of art, even if it is millennia, compared with the space of time of geology or astronomy? but still the light or the warmth which a human is able give off in order to cheer him/herself up or to be touched (even if it is just for a couple of seconds) is all worth the effort. because of the fact that there is continuity we may well be optimistic.’

martin seel ‘eine ästhetik der natur’, 1996:
“die kontemplative naturbetrachtung begreift nichts, sie nimmt alles, wie es gerade ist. (…) sie ist in einer weise auf das besondere fixiert, wie keine literatur, keine dichtung, überhaupt keine kunst es sein kann.””

francesco micieli ‘tagebuch eines kindes – ich weiss nur dass mein vater grosse hände hat’, 1986:
‘im winter kommen die wölfe. sie kommen, weil sie hunger haben. dann fressen sie die schafe. in unserem dorf gibt es einen armen bauern. der hat einen grossen hunger. er frisst alles. auch die wölfe.’

klaus kertess ‘drawing desires’ in ‘terry winters’ , catalogue by lisa phillips, whitney museum of american art, 1991:
‘in his empowerment of the hand and individual touch as well as in his emancipation of the nature of his media, winters has propagated a personal culture that becomes metapersonal. He has embraced the sensual disorder of our mental processes and accepted the ephemeral absences and muscular doubts of secularity. He has drawn a universe of desires knowing full well that his cosmogony is a fable. But one that sustains.’