De bovenstaande hoofdcategorien Art, Design of Architecture, zijn onderverdeeld in subcategorien. Deze vindt u aan de rechterzijde van deze pagina zoals Exposities, Fotowerk, inside the mind, installaties, Music, Text, The other site en schetsen
Curtain of Light is an installation composed of a series of high-voltage Jacob’s ladders that together generate a rhythmic and dynamic field of electrical energy. Each ladder produces rising arcs that weave into a transparent membrane, an energetic curtain that simultaneously shields and reveals.
The installation creates a tension between visibility and opacity, between physical danger and visual seduction. Electricity is not merely employed as a technical phenomenon but as a material manifestation of energy itself , fleeting, intangible, and in continuous transformation.
The work raises questions about the nature of perception and reality. Can one see through energy, or does energy itself form the boundary between worlds? Is this curtain a passage, a threshold, or a mirror reflecting our own gaze? Within this field of tension, a visual landscape emerges that explores the relationship between matter, time, and consciousness, a liminal space where the artificial and the real merge.
Conceptually, the work addresses the duality between control and unpredictability, between technology and poetry. The installation operates both as a physical experiment in high voltage and as a symbolic exploration of the plastic nature of matter and the possibility of parallel realities. Curtain of Light thus becomes a philosophical investigation into the limits of sensory experience, a search for what remains visible precisely at the moment it begins to disappear.
Panta Rhei stands for movement, “everything flows” (Heraclitus). Everything is constantly changing. Time, space, and matter are also subject to change, even when these changes are not immediately perceptible. In principle, it is impossible to do something in exactly the same way twice.
The diamond pattern symbolizes a defined space within which movement and change take place. The light of the cross laser delineates the space, yet space itself is not static. It explores the relationships between body, boundary, and space. The laser geometry becomes an immaterial space through which the viewer can move. It is a temporary architectural construction: its boundaries are visible, yet they have no physical existence. As a viewer, you become a perceptive and participating part of the work. The laser lines are not merely boundaries; they are also a metaphor for movement that is continuously present, even when it cannot be perceived. Within the defined spatial order—the laser-generated diamond—everything appears to stand still except time. Yet the laser lines themselves are electromagnetic waves propagating at the speed of light. What appears to be a static line is therefore, in reality, a dynamic process. A tension emerges between perception and actual movement. Moving through the geometric order continuously produces a different perception of the work. The position of the body changes in relation to the geometry, and with it, the experience of space.
Within this concept, time is the only movement that becomes visible through change. One moves through an architectural structure that appears to remain unchanged. Yet nothing is static. Matter transforms, energy flows, structures age, and systems gradually lose their coherence and cohesion.
Why does decay always return?
Why can no flourishing culture ever escape the passage of time?
Sound is ephemeral; it cannot be grasped like matter. Yet it creates a landscape of its own — a soundscape that carries information, memories, and emotions. Through sound, the identity of a space is formed, shaped by its materials, its use, and the passage of time.
Capturing sound becomes a form of research: a technical registration of a specific moment and the condition of that moment. The movement of the invisible is transformed into a narrative.
The method of recording is intentionally primitive, with minimal interference from technology, allowing the place itself to speak. The sonification of a site translates the invisible dynamics of a space into an audible experience, revealing layers of presence, history, and transformation.
hen a select group behaves as hedonistic enjoyers of life, while the larger group must conform and bear the consequences, one must ask oneself as an individual what one stands for. How sustainable are excesses, how decadent are your goals? Survival means that the limits are not close at hand, but lie in the future. That the knowledge of history is translated into better ideas and the development of every organism. A symbiosis instead of parasitism.
