In a new series of works, animals sometimes look like wireframes.
I recently came across wireframes of 3D objects and AutoCAD drawings on the internet. I had seen them before, but what I now realized was that these drawings show the object as an idea. They represent objects in a phase before final realization. It is precisely what is rationally constructed and conceived that catches the eye. I thought it would be interesting to contrast this fact with the animal and plant world that are not constructed by humans but are created through evolution and growth.
Today it is becoming increasingly clear that our relationship with nature has been thoroughly disturbed. In our culture there is a tendency to reduce living nature to manipulable objects and then exploit them as efficiently as possible. This is especially the case in intensive livestock breeding and agriculture. expressed. This is one of the ways in which culture and nature interpenetrate
In these computer graphics I initially introduced he farm animals; cow, pig, chicken and sheep and later on a number of wild animals, namely bear, lion, seagull and bat. These are regularly depicted in this work as wire figures or manipulable objects. On the other hand, some also seem to avoid this and call on us to view them differently.
In addition to plants and animals, the work features excavators, urban environments, fighter jets, concrete mixers, construction cranes, etc. All things that are part of a very expansive culture that is spreading all over the globe and also poses a threat to it in the current, non-circular way. While the futurists glorified all these modern things, here the dark sides are emphasized.
In the work I paid a lot of attention to the organization of the various visual elements. I deliberately inserted the empty space. In this way a more philosophical dimension enters the work. It is precisely this empty space that makes everything that appears in it possible. The consciousness of this empty space is in constant danger of disappearing and being replaced by dogmatism and scientism
There is a lot of construction going on in Zuidoost. In Amstel III. One residential building after another is beeing build.
What they have in common is the cage architecture close to design principles that you would expect from a battery cage for chickens
The imagination of the architects and developers working on this apparently does not extend beyond the endless repetition of a square or (very daring) rectangle. The monotony within the facades of the individual buildings, especially above the plinths, is oppressive and deathly. It is clear that this is only about efficiency that kills other forms and variation.
It is an illusion to think that a beautiful neighborhood will be created in this way, despite all the inflated PR talk about a beautiful neighborhood under construction around the Hondsrug Park that has yet to be constructed.
There is a lot of buzz about this new park. Not for nothing because a park is seen as a pleasant environment to stay. Amstel III is not that with the current architecture and will not be that way with this type of future architecture.
Anyone who wants to build a neighborhood for the future would do well not only to build a park, but to be inspired by the nature in that park when designing it. Logically, in 2022, this park can be combined with organic architecture. An architecture with a great wealth of forms, rhythmically alternating, based on design principles that mirror nature.
That would be a truly hopeful break with an urban planning and architectural practice that has led to a horrible urban area like Amstel III.
The tent, primordial reality of each (open air) festival was the weekend of Sept 9 - 11 the starting point for the design of an installation on the Magnet Festival. A tent-like structure of poles, curved blades and guy ropes was the bearer of a transparent organic, rhythmic / musical structure. Three sections of the installantion entered into a visual relationship. This made a spectacle of complex curved lines and surfaces visible what increasingly varied depending on the position which took the audience. The installation did fit in well into the vibrant energy of the festival.
A series of photos of the installation can be seen here or under the menu item: Three dimensional work
The Rembrandt park was on Saturday Aug 27 the location for a new image. The idea for this came when I recently, around six o'clock at the beginning of the evening, cycled through the Rembrandtpark.
My eye was struck by a place which transformed from an ordinary place, in the eveninglight, to a very special location. You can see something back from this in the picture on the left side..
I looked into the sun. The trunk and branches of the trees stood out like silhouettes. The leaves were drawn in the plane in a certain way, and the whole became a kind of decor with an exceptionally beautiful 'lighting'. Behind these trees there is a waterpool and runs an forest edge. This causes the middle part of the image is outlined against the darkness. In addition, the sky at the upper part outlines everything there against the light.
play with lines.
Idea was now to organize a stimulating play for the imagination with the lines of fins and the trees in a organic/dynamic way so that the graphical qualities of both would merge.
To achieve this, we have built an installation in which the slats are above the ground. The construction which was necessary for this is derived from tent-constuctions.Tent-structures are eminently temporary and mobile. With a minimum of resources it is possible to built large structures that have a (relatively) large capacity
The construction here consists of three uprights of two black piles (entirely made with blades) topped by an arc accentuated with gold paint.
Black and gold concerns in this work for a content deepening level.
Between these poles is a line (slat) connected and on this, mainly under but also above, is an organic/dynamic structure attached where you can look through. Behind it are the trunks, branches and leaves.
Piles of the construction, tree trunks and branches sign off black graphical. The slats sign off (more or less) white graphical. More photos of the installation can be seen here or under the menu item 'Three dimensional work'The virtual reality file will follow later on this site
For the realization of this work I am assisted by Ruslan Eliseev in a pleasant way. I want to thank him warmly for his creative contribution and critical evaluation of the image. Also thanks to the cycling and walking public, which passed by, for all there (positive) reactions.
Aug 31, 2016
Sunday, July 3rd an installation has been build in Spaarndammerplantsoen. This park is surrounded by residential blocks belonging to the so-called Amsterdam School. In this expressive architecture, there is a wealth of forms which are arranged in a playful way. Wavy organic elements here are richly represented and contribute significantly to the expression.
The installation build in this park relates to this architecture but without being architecture itself.
Idea is that in an installation which is responsive to the Amsterdam School the use of bricks is a logical thing. The inventive use of bricks is in fact an important feature of this movement. Question was how bricks here could be used constructively in combination with the vertical blinds. The easy way would be that the supporting columns would consist of only bricks but there is chosen for another solution. The bricks are stacked by placing cylinders of vertical blinds between them.The cylinders are the accretive points for the horizontal blinds of the shell. In this way height is gained rapidly with a minimum of heavy bricks. The blinds turned into cylindrical shapes can easily carry heavy bricks. In this way the bricks are playful incorporated into the light blinds structure. It also creates a visually appealing rhythm of brick / cylinder / brick / cylinder etc.
In the central column, this method is continued in quadruplicate. (Four cylinders and two brick), which results in a sturdy stable middle column. The stones are turned in different ways which support the overall dynamics of the flowing organic shapes in the installation.On top of the outer columns, the whole is rounded off with a tilted cylinder that is still present as constructive element. This is then continued in a rhythmic way as a decorative element and adds to the playful nature of the installation. The middle column ends on a sculptural way in which the use of stone and (empty)cylinders comes to a peak.Inside, the installation is mounted a horizontal layer in which so-called paisley shapes 'move' in different directions and create an dynamic appearance
The columns to the side are also used, in addition as a point of attachment for the horizontal structure, for the construction of a vertical structure. This consists of lamellas, which first point away from the installation , then flip over and walk back up to the middle column. At approximately half way here are added so-called paisly forms of different sizes which are also used in the horizontal layer inside
The whole creates a wonderful structure that harmoniously is inserted in the area particular because of the use of red bricks and white blinds which fit in well with the colors of the surrounding architecture and the green grass.
For the realization of this installation I cooperated in a pleasant way with assistant Ruslan Eliseev I want to thank him warmly for his commitment and creatively contribute to the realization of this work. Also thanks to the residents for the interest shown and offered help! More pictures of this work can be seen here or under the menu item "spaciously work '