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This is a supplement to my post about the end-of-year assignment Art and Culture at the Academy of Visual Arts in Ghent.

Dutch version here.

Dear Fiorella,

Your lessons were always fun for me. You speak in poetic and philosophical words and sentences. I have written them all down and someday I will publish an anthology of them. Chris and Inge advised me to use them as inspirations for my paintwork.

Here are a few examples of sentences and statements that flow from your mouth:

THE CHESSBOARD IS EMOTIONLESS

A GOOD ARTWORK DOES NOT GIVE ANSWERS

THE INTENSITY OF SLOWNESS

BEING BROKEN IS A STATE OF BEING

WORKING WITH CLAY DOESN’T MAKE NOISE

WE CAN ONLY SEE EMPTYNESS WHEN WE FILL IT

THERE SHE LIES IN ALL HER GREATNESS

LYING IN DEATH

360 POSSIBLE VIEWS

IN RELATIONSHIP WITH THE ENVIRONMENT

AND KEEPING TRACK OF THEM IN OUR HEAD

“THE PARCOURS”

CREATION OF THE POSSIBILITIES

TO LET THE IMAGE EMERGE

BLOCKING OF THE VISUAL BRAIN

WHEN IS SOMETHING BECOMING TIRING?

WHEN YOU CANNOT DETERMINE YOUR OWN TEMPO

YOU CAN TAKE A SMALL STEP

TAKING A HUGE SPACE AT THE SAME TIME

THE BRAIN IS LIKE AN OFFICE

A HOUSE WITH ROOMS

SOMETIMES YOU NEED OTHER KEYS

With gratefulness,

petervan-signature

 

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Dit is een aanvulling op mijn post over de eindejaarsopdracht Kunst en Cultuur aan de Academie voor Beeldende Kunsten in Gent.

Dutch version. English translation here.

Fiorella,

Je lessen waren voor mij altijd genieten. Je spreekt in poëtische en filosofische woorden en zinnen. Ik heb ze allemaal opgeschreven en ooit publiceer ik een bloemlezing van ze. Chris en Inge hebben me aangeraden om ze te gebruiken als inspiraties voor mijn schilderwerk.

Hier zijn een paar voorbeelden van zinnen en statements die zo uit je mond vloeien:

HET SCHAAKBORD IS EMOTIELOOS

EEN GOED KUNSTWERK GEEFT GEEN ANTWOORD

DE INTENSITEIT VAN DE TRAAGHEID

BREUK IS EEN STAAT VAN ZIJN

MET KLEI BEZIG ZIJN MAAKT GEEN LAWAAI

WE KUNNEN EEN LEEGTE PAS ZIEN ALS WE ZE VULLEN

DAT LIGT DAAR IN ZIJN GROOTSHEID

DOOD TE LIGGEN

360 MOGELIJKE STANDPUNTEN

IN RELATIE MET DE OMGEVING

EN DIE IN ONS HOOFD HOUDEN

“HET PARCOURS”

CREATIE VAN DE MOGELIJKHEDEN

OM HET BEELD TE LATEN ONTSTAAN

BLOKKEREN VAN HET VISUELE BREIN

WANNEER WORDT HET VERMOEIEND?

ALS JE JE EIGEN TEMPO NIET MEER KAN BEPALEN

JE KAN EEN KLEINE STAP ZETTEN

EN DAARDOOR EEN ENORME RUIMTE INNEMEN

DE HERSENEN ZIJN ALS EEN BUREAU

EEN HUIS MET KAMERS

SOMS HEB JE ANDERE SLEUTELS NODIG

In dankbaarheid,

petervan-signature

 

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Dutch version here.

Last year I had the pleasure of attending the Art and Culture classes at the Academy of Visual Arts in Ghent. The teacher is Fiorella Stinders, who conveys her enthusiasm for art to us in a very poetic way.

At the end of the academic year, we were given an assignment: applying what we had learned about looking at art. We were allowed to choose two works from an imposed list by Fiorella, and a third work that we had chosen ourselves, but that we had seen in real life (not in a catalog or photo).

I am happy to share my contribution in this post. First in Dutch, and then as a separate post in English (a translation by Google Translate, with only minor edits).

A separate blog post follows with a number of the poetic statements of Fiorella that have stayed with me. My coaches at the academy (Chris, Inge, Koen, Annick, many thanks btw!) have suggested that I use these quotes as inspiration for the next academic year.

Two selected works from the Fiorella list

Four Fairies – Michael Borremans

Borremans

A painting – oil on canvas – in a fairly large format (110x150cm). Striking is the large diagonal table oil stain in which the figures seem to be sinking. The void left at the bottom was intentionally left open by the artist. The brown-grey background works as a support surface.

We look from the top down. The colors of the figures are rather neutral, in the sense of not being dominant. There is a surreal peace from the work. The painter uses Claire-obscure effects, especially the shadows against the wall in the background. The mirroring of the hands on the black surface is subtly suggested. It is also the reflection that evokes the black oil effect. The vertical drop of paint has been deliberately retained and accentuates the verticality of a table or of a bath in a stone or concrete base.

There is a depth in the work; the composition is more central horizontally, but vertical light above the center. A diagonal from bottom left to top right.

The work has a certain lightness in color but a certain darkness in the subject. The brush strokes are fast, rhythmic. Shadows and light spots are suggested in a “simple” way: look at the light spot on the black pull of the woman at the very back.

The work is clearly figurative, but not photo-realistic. Depth and light are indicated. When I zoom in on the photo in deep close-up, the self-confident brush strokes of the artist become clear: the light reflections in the hairstyles, the patterns on the green dress, the light-darkness of the left. An inspiration for my own evolution towards the next year painting at the academy.

In some figures I sometimes recognize the silhouette of the artist’s skull, wondering if he has tried to suggest a self-portrait of four schizophrenic transgender identities. The figures are busy with something – something with their hands – but it is not exactly clear what they are doing.

From the work alone I cannot determine whether the artist wants to communicate a message. For me, it evokes themes of devotion, dignity, humility, and also ignoring a dark reality peeking around the corner. It seems like a report or a snapshot of a surreal dream.

The role of the spectator is passively looking; there is no participation as in a performance for example. The viewer views the work from the front. There is no 3D aspect as with a spatial work.

Ali’s Boat – by Saik Kwaish – video animation

Artist website: http://sadik.nl/

Video animation of +/- 6:30 minutes. Used material: charcoal and pencil (I think) on paper. Further information searched on the artist’s website. http://sadik.nl/ali-boat

The video is part of a larger set of videos, sketches, drawings, etc. Inspiring in itself on how the theme of the boat/letter is worked out and internalized in almost infinite variations and can give rise to a total exhibition: nothing has to be thrown away!

The perception of the video is, of course, different from that of a 2D image, as this also includes the aspect of time and storytelling. Rhythm becomes important. Music is supportive and determines the atmosphere.

The atmosphere of the video is rather dark, sad, and melancholic. The “light” of the video is grey. A lot of things move and flow at the same time: the face, the background, the boat that transforms into a bird and back. The tears and the rain. With the eye as a permanent anchor in the composition.

The meaning of this video animation has to do with fleeing and immigrating. The paradox of escaping the misery, while at the same time detaching the identity of your youth and the oddity of the new destiny. The universal desire for happiness, peace and security. The desire and awareness of travel – such as being on the road – for a better future. The image as an expression of this desire where words fall short.

The artist invites us to judge rather than condemn the alien “problem” from a more empathic point of view.

The artist makes a clear link to his own identity and immigration past.

The spectator is invited to participate and reflect emotionally.

Self-selected work

delvoye

Wim Delvoye – As seen in the Royal Museum for Fine Arts in Brussels on 11 April 2019.

Title: Dunlop Geomax 100/90)19 57M 720° 2X – Made in 2013

Based on the catalog, this work is apparently made from polished and patinated stainless steel, made from 3D prints. And then painted and chromed. When viewing the work in real life I did not know this, and I really thought that the artist had somehow twisted together existing wheels with rubber tires. The intended illusion was already successful.

I have viewed the work as part of the larger Delvoye exhibition, giving the work more context. I was enchanted and fascinated by the twisted crucifixes and truck cathedrals. On another side of the room, there were large truck tires carved out like lattice. The lighting of the whole was precise: the dark backgrounds and bases, and the laser-sharp lighting of the subjects themselves.

As in a claire-obscure painting, the artist plays with contrasting dark (matte) and light (shiny) chrome surfaces and shows he is a master in the intertwining of torsion and movement. This work – and the retrospective exhibition as a whole – provided a broader view of the work and the identity of the artist. Suddenly the provocateur of the tattooed pigs and the cloaca turns into an accomplished craftsman, artist, messenger, and questioner.

I suspect the artist is trying to make us doubt between real and unreal. It is probably not the intention of the artist, but he allows me to make the link with our online world where it is becoming increasingly difficult to distinguish real from unreal (example: fake news), or to sustain the illusion of control of personal freedom and choice in a world that is increasingly driven by artificial intelligence and algorithms. The human “androrhythms” – evoked by the artist – are a relief because they move away from the binary “if-then” computer logic.

This speculative and virtual connection with the world can be perfectly linked to a physical relationship and connection: a relationship bent and twisted time and space.

The spectator is invited to step around the work and to investigate and explore the interweaving of spokes and tires from both close and remote.

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In Dutch – English version here.

Ik had het afgelopen jaar het genoegen de lessen Kunst en Cultuur te mogen volgen aan de Academie voor Beeldende Kunsten in Gent. Lesgeefster is Fiorella Stinders, die op een bijzonder poëtische manier ons haar enthousiasme voor kunst overbrengt.

Op het einde van het academiejaar kregen we een opdracht: toepassen wat we geleerd hadden over kijken naar kunst. We mochten twee werken kiezen uit een opgelegde lijst van Fiorella, en een derde werk dat we zelf hadden gekozen, maar dat we wel in het echt (niet in een catalogus of foto) hadden gezien.

Ik deel met veel plezier mijn bijdrage in deze post. Eerst in het Nederlands, en dan als een aparte post in het Engels (een vertaling door Google Translate, slechts minimaal bijgewerkt).

Er volgt nog een aparte blog post met een aantal van de poëtische uitspraken van Fiorella die me zijn bijgebleven. Mijn coaches op de academie (Chris, Inge, Koen, Annick, veel dank hierbij) hebben me gesuggereerd om deze als inspiratie te gebruiken voor volgend academiejaar.

Twee gekozen werken van de lijst van Fiorella

Four Fairies – Michael Borremans

Borremans

Een schilderij – olie op doek – in redelijk groot formaat (110x150cm). Opvallend is de grote diagonale tafel-olie-vlek in dewelke de figuren lijken te verzinken. De gelaten leegte onderaan is bewust open gelaten door de kunstenaar. De bruingrijze achtergrond werkt als een steunvlak.

We kijken van boven naar beneden. De kleuren van de figuren zijn eerder neutraal, in de zin van niet overheersend. Er straalt een surreële rust uit van het werk. De schilder gebruikt Claire-obscure effecten, vooral de schaduwen tegen de muur op de achtergrond. De spiegeling van de handen op het zwarte oppervlak is subtiel gesuggereerd. Het is ook de spiegeling die het zwarte olie-effect oproept. De verticale verf-druppel is bewust behouden en accentueert het verticale van een tafel of van een bad in een stenen of betonnen sokkel.

Er zit een diepte in het werk, de compositie is horizontaal eerder centraal, maar verticaal licht boven het centrum. Een diagonaal van links onder naar recht boven.

Het werk heeft een zekere licht-heid qua kleur maar een zekere donkerte in het onderwerp. De toetsen zijn vlug, ritmisch. Schaduwen en lichtvlekken worden op een “eenvoudige” manier gesuggereerd, kijk vooral naar de lichtvlek op de zwarte pull van de vrouw helemaal achteraan.

Het werk is duidelijk figuratief, maar niet fotorealistisch. Diepte en licht worden aangegeven. Als ik inzoom op de foto in diepe close-up, worden de zelfzekere toetsen van de kunstenaar duidelijk: de lichtspiegelingen in de kapsels, de patronen op de groene jurk, het licht-donker van de gelaten. Een inspiratie voor mijn eigen evolutie naar het volgende schilder jaar toe.

In sommige figuren herken ik soms het silhouet van de schedel van de kunstenaar, me afvragend of hij een zelfportret van vier schizofrene transgender identiteiten heeft proberen te suggereren. De figuren zijn bezig met iets – iets met hun handen – maar het is niet precies duidelijk wat ze aan het doen zijn.

Vanuit het werk alleen kan ik niet bepalen of de kunstenaar en boodschap wil meedelen. Bij mij roept het thema’s op van devotie, deftigheid, gedeisdheid, een negeren ook van een donkere werkelijkheid die om de hoek gluurt. Het lijkt een verslag of een momentopname van een surreële droom.

 

De rol van de toeschouwer is passief kijkend, er is geen participatie als in een performance bijvoorbeeld. De toeschouwer bekijkt het werk frontaal. Er is geen 3D aspect zoals bij een ruimtelijk werk.

Ali’s Boat – by Saik Kwaish – video animation

Artist website: http://sadik.nl/

Video animatie van +/- 6:30 minuten. Gebruikt materiaal: houtskool en potlood (denk ik) op papier. Verdere informatie opgezocht op de website van de kunstenaar. http://sadik.nl/ali-boat

De video is deel van een groter geheel van video’s, schetsen, tekeningen, enz. Op zich inspirerend hoe het thema van de boot/brief op een bijna oneindig variaties wordt uitgewerkt en geïnternaliseerd, en aanleiding kan geven tot een totaal tentoonstelling: niets moet worden weggegooid!

Uiteraard is de waarneming van video anders dan die van een 2D beeld. Omdat hier ook het aspect van tijd en storytelling komt bij kijken. Ritme wordt belangrijk. Muziek is ondersteunend en bepalend voor de sfeerzetting.

De sfeer van de video is eerder donker, droevig, en melancholisch. Het “licht” van de video grijs. Er beweegt en vervloeit veel terzelfdertijd: het gezicht, de achtergrond, de boot die transformeert in vogel en terug. De tranen en de regen. Met het oog als vast anker in de compositie.

De betekenis van deze video animatie heeft te maken met het vluchten en immigreren. De paradox van het ontvluchten van de miserie, en tegelijkertijd onthechten van de identiteit van je jeugd en het bevreemdende van de nieuwe bestemming. Het universeel verlangen naar geluk, vrede en geborgenheid. Het verlangen en bewustzijn naar reis – zoals in op-weg-zijn – naar een betere toekomst. Het beeld als uitdrukking van dit verlangen waar woorden te kort schieten.

De kunstenaar nodigt ons uit om het vreemdelingen “probleem” vanuit een meer empathisch standpunt te beoordelen eerder dan te veroordelen.

De kunstenaar legt hiermee een duidelijke link naar zijn eigen identiteit en immigratie verleden.

De toeschouwer wordt uitgenodigd om emotioneel te participeren en te reflecteren.

Zelf gekozen werk

delvoye

Wim Delvoye – Gezien in het Koninklijk Museum voor Schone Kunsten in Brussel op 11 April 2019.

Naam van het werk: Dunlop Geomax 100/90)19 57M 720° 2X – Gemaakt in 2013

Op basis van de catalogus, is dit werk blijkbaar gemaakt van gepolijst en gepatineerd roestvrij staal, gemaakt van 3D prints. En daarna beschilderd en verchroomd. Bij het bekijken van het werk in het echt wist ik dit niet, en dacht ik echt dat de kunstenaar bestaande wielen met rubber banden op een of andere manier verwrongen in elkaar gevlochten had. De bedoelde illusie was alvast geslaagd.

Ik heb het werk bekeken als deel van de grotere Delvoye tentoonstelling, waardoor het werk meer context kreeg. Ik was betoverd en gefascineerd door de verdraaide kruisbeelden en vrachtwagen-kathedralen. Aan een andere zijde van de ruimte stonden als kant uitgekerfde grote banden. De belichting van het geheel was precies: de donker gelaten achtergronden en sokkels, en de laser scherpe belichting van de onderwerpen zelf.

Zoals in een claire-obscure schilderij, speelt de kunstenaar met contrasterende donkere (matte) en lichte (blinkende) verchroomde vlakken en toont zich een meester in de vervlechting van torsie en beweging. Dit werk – en de overzichtstentoonstelling als een geheel – geven een ruimere kijk op het werk en de identiteit van de kunstenaar. Plots ontpopt de provocateur van de getatoeëerde varkens en de cloaca zich tot een volleerd ambachtsman, kunstenaar, boodschapper en vragensteller.

Ik vermoed dat de kunstenaar ons probeert te doen twijfelen tussen echt en onecht. Het is allicht niet de bedoeling van de kunstenaar, maar hij laat mij daardoor de link maken met onze online wereld waar het ook steeds moeilijker wordt om echt van onecht te onderscheiden (voorbeeld: fake news), of om de illusie van persoonlijke keuzevrijheid en controle hoog te houden in een wereld die meer en meer aangestuurd wordt door artificiële intelligentie en algoritmes. De menselijke – door de kunstenaar geëvoceerde – “androritmes” zijn in zijn werk een verademing doordat ze afstappen van de binaire als-dan computer logica.

Deze speculatieve en virtuele verbondenheid met de wereld kan perfect gekoppeld worden aan een fysische relatie en connectie: die van de ge- en verbogen tijd en ruimte.

De toeschouwer wordt uitgenodigd om rond het werk te stappen en de vervlechting van spaken en banden van zowel dichtbij als vanop afstand te onderzoeken en te verkennen.

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I just started reading the briefing for the 2019 exam Art & Culture of the Art Academy in Ghent.

The briefing is so well written – it almost feels like poetry – and it touches some deeper qualities/sensitivities in myself. Qualities/sensitivities that I have neglected for much too long and will keep neglecting as long as I work.

I long for stillness, disconnectedness, alertness, and expression. The keywords are rest and space to breath.

The idea of craftsmanship and the mastery of a technique is becoming more and more seducing. The seduction of exclusive, un-watered noise-free focus.

What is the core of “me”, that part that always stayed the same since I was born? How does that core feel? Soft? Aggressive? Sensitive? Sensual? Seductive? Reflective? Liberated?

(Almost) nobody gives a shit about me and my work and that is at the same time very liberating: it means I can do what I want. I can create what I want. I can create what wants to be created.

Sticks on Water painted cropped

Petervan Artwork © 2019 - No Title - Acryl on Canvas - 50x50cm

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Artist Mario Klingemann’s groundbreaking piece of Artificial Intelligence (AI) generates a never-ending real-time stream of original art.

I found this mesmerizing video, where the artist explains how it works:

 

“If you hear somebody play the piano, would you ever say “the piano is the artist”? No. Same thing here: just because it is a complicated mechanism, it does not change the roles.”

The neural network is the brushes that I use, but in the end, it is always the feedback between me the artist and the medium and the material.

“It’s like a child that I can say “ok, now you go out in the world alone, and I can trust that you will keep on doing what I hope you would do, even if I am not sitting next to and still able to change something.”

That’s a hard moment for me when I can say “Ok, now I take my hands off the keyboard, and let it out in the world.

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Here is my Sep 2018 update. On what happened the last couple of months, some new insights, some updated plans.

IMG_1684

© Petervan Performance “Get out of your prison cell” – Sep 2018
Picture by Eduardo Morales

Many people ask me what I am doing, and I usually answer “nothing”. But if you look at the overview below, there is not yet something close to “nothing”.

The luxury of time and silence has given me the possibility to let emerge and mature some concepts that were brewing inside me for quite some time.

My ambition has not changed: to inspire other people to dream. Not “realise” their dreams, or realise their potential, but just “dream”. It’s a mantra, like Guy Kawasaki’s two-words mantra “Empower others”. Mine is a five-words.

And I think I have found a way – a tactic – to articulate that ambition. The tactic of a “job”. In that sense, I think my job is to create “Time Capsules”. These are interventions, interruptions and provocations that lead to higher states of alertness and aliveness. Formats can be artwork, installations, performances, immersive learning experiences, writings, soundscapes, recordings, documentaries, arrangements, compositions, or just casual conversations that resonate at another level than the pure cognitive.

It seems it took me two years to peel the old corporate skin and re-invent myself into something more artistic and closer to my real self.

Family

Life is rippling slowly onwards with some small and some bigger family events.

Astrid is back at school, 2nd year secondary school. She went on summer camp at Lago Trasimeno in Italy. She struggled over summer and still now with an ingrown toenail, and like the other toe, it will probably require surgery. She started horse riding lessons, as well as trampoline and tumbling courses at the local athletic club. In addition she stays very creative, alert and energetic with a good sense for aesthetics.

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Astrid horse riding and appreciating contemporary art - summer 2018

Mieke turned 50 in May, but she doesn’t seem to age (I will score some points with this one). She keeps being super-patient with this unpredictable guy, and makes sure I don’t get out of the house like a vagabond. She keeps us tidy 😉

Our father in law made a nasty fall from the stairs in his house and broke his wrist. Out for the next 4 months or so.

And we lost our dear uncle Toon, who was also my godfather. He’d grown old, the body was used up, but his mind was still alert when he passed away quietly in the presence of his wife and children. Farewell, my dear uncle…

kerk toon Ver-Assebroek

Uncle Toon passed away
The old Marian pilgrimage church of Ver-Assebroek near Bruges

The Artschool Project

The 2018-2019 season of the Ghent Art Academy restarted in September, entering my 4th year painting. I initially tried to get a cross-over year combining painting with digital media, but that did not work out for the academy. So, no cross-over, and it’s probably better for me to keep it simple, and to focus on doing one thing right.

Despite the ambitious plans for summer, I have not done any painting/sketching during summer, but improved a bit my video editing and soundscape creation skills in preparation for the performance.

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My new spotless spot at the start of the 2018-2019 Art Academy year

landscape V1

©Petervan Artwork 2018 – Landscape #1 – Acryl on canvas – 100x120cm

Prison cell performance

Finnovista invited me to do a performance at the Finnovista Summit in Mexico-City on 12-13 Sep 2018. I was invited last year, but the event needed to be cancelled halfway due to the 7,4 magnitude earthquake on 19 Sep 2017. So the organizers were so kind to invite me again.

The working title of the performance was “Get out of the prison cell! – An artistic reflection on listening, learning, and leading”

Petervan Performance moving walls

@Petervan Performance 2018 – Peter moving prison walls

I already documented the overall narrative in my “Get out of your prison cell!” post.

This time – in addition of the multi-media approach – I included props on stage, a life camera feed, even some vestimentary attributes like suite, hats and masks, and a lightning script for the light technician.

Here is a link to the slide-deck I used during the performance

As soon as the video and (professional) pictures of the performance will be available, I will post them here.

PLACEHOLDER OFFICIAL VIDEO/PICS

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It was a fantastic experience preparing, executing, and getting feedback on something I wanted to do for the last two years. I felt at home on stage in this new vulnerability, an encouragement to continue on this new journey.

Many thanks to Andres Fontao and Fermin Bueno and their Finnovista team for taking the risk of letting me do this.

Time Capsules Project

There is something new brewing: a sort of documentary starting with a navigator and a spark. It is an evolution of the Studio Oxygen idea, and working title is “Petervan’s Time Capsules”. This project is also somehow a natural continuation/evolution of the performance project.

Time Capsules are encounters with an interesting person. Open ended expeditions, with no agenda. The purpose is to scratch beyond the surface, to go under the skin of the guest, to appeal to his/her unconscious beyond the cognitive. The spark – the start of the journey – for each Time Capsule is a tangible artistic object (painting, sculpture, clothing, music, poem, dance,…). The spark sparks a high quality conversation – where information can flow freely. This conversation is guided and facilitated by an expert and/or a professional facilitator and leads to a found learning (vs. searched learning). This learning is recorded, edited, produced, and externalised in a new tangible artistic object (painting, visualisation, sculpture, clothing, music, poem, dance, video, ) and thereby made shareable for internalisation by an audience.

A more in-depth blog post is cooking in the kitchen on that one.

The first Time Capsule will be an art-historical dissection/critique/buildup of Beyoncé’s latest APESH*T video. One could call it “Beyond Beyoncé’s Apeshit”.

The aesthetics in the video are great, and the background of the Louvre museum gives it some extra credibility, but from an art historical point of view, it is all plain wrong and misleading. S**t sold as culture.

My cousin Joost will be our navigator for this first Time-Capsule. Joost is Senior Curator at the Royal Museums of Fine Arts of Belgium in Brussels. He is also the Co-Founder and Project Leader of the international multidisciplinary Jordaens Van Dyck Panel Paintings Project (JVDPPP) and the Project Leader for the establishment of the visitors centre at the Brueghel House, Brussels.

joost

My cousin Joost and JVDPPP team in Lazienki Krolewskie Museum in Warsaw

The second Time Capsule is planned on the immense property of a count and countess in Austria. It’s a documentary of two very wealthy people who still live in a very traditional way in the Austrian Alps. A real time machine expedition resulting into another time capsule. Also here, Joost will be our navigator.

We have some cool ideas for our next guests and navigators. But by no means, if you have an idea for a subject, guest, or navigator, please contact me via email.

Little Drops

The Silence-is-Broken Project (see previous update) resulted in some more silence-scapes.

@Petervan Silence-Scape 2018 - The sound of grazing cows

I am also experimenting with an alternative calendar: A year would start on 27 April, a week would be 11 days, the 11th day is a rest day, a month has 7 weeks, and we have 17 months.

How would a year look/feel like? How would you plan for it? How does that change your priorities? How more/less stressed would you be? How much stress/pressure would you get from normal-calendar-people?

Exhibitions

There are not so many art exhibitions during summer. The season really restarts mid September.

I went to one very small exhibition, titled “Gemeubelde Kamers/Furnished Rooms”, in Ressegem (Herzele) of all places, truly Flanders centre for the arts. It had works from Pirò Pallaghy and Luc Degryse.

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Combined artwork by Pirò Pallaghy and Luc Degryse in Herzele, Sep 2018

Chickens and Pigs Project

With such an exceptionally warm and sunny summer, our garden was a real treat.

We enjoyed our first organic harvest of salads, tomatoes, carrots, spices and herbs. The fruit trees just did fantastic. One of our apple trees gave us more than 1,000 apples. We gave away a lot for free to our neighbours and family.

Unfortunately, the hot weather also had its consequences for the chickens. They were plagued with blood lice, and we tried to battle those terrible insects in natural and not so natural ways. The battle will continue till deep in autumn, when temperatures will get consistently below 10°C.

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One of our apple trees gave us more than 1,000 red apples – Summer 2018

Finding interesting work

All the above is non-paid work (more play than work to be honest), and something needs to pay the bills at the end of the month. Maybe one day a company or institution wants to be a patron of my work.

But I am standing two feet on the ground, and finding a job is probably a more realistic option.

So, I am looking for “job(s)”, more along the lines of what I did before in events (immersive learning experiences) and/or what I am doing now (using art in support of content) or other interesting work.

So, if you know of somebody who can use my talents, please contact me via email.

Eternal gratitude will be your reward.

What’s next?

The plan for Sep – Nov 2018 is to work on:

  • Finding interesting paid work
  • V1 of “Time Capsules”
  • Paint, Paint, Paint
  • Publish my first fairytale – surprise !

So, that’s it for this edition. If there is something worth reporting, next update is for Nov-Dec 2018.

Warmest,

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