When addressing an installation by Bob Verschueren, what is striking from the outset, it is perfectly constructed aspect of his work is limited in space with precision and same meticulousness. Any alteration from a viewer could be an insult. This geometry is perfect, however, consists mainly of shifting elements, those who are in nature, that generate regular and irregular at once: in drying, these elements will shrink and shrivel into forms similar movements contradictory of Baroque art.
Fragments of nature he uses are often harvested in fallow fields, ditches and embankments, which, by their failure to maintain, provide access to the exuberance of nature, which sometimes produces plants rich and voluptuous.
These plants (often implemented in places sophisticated, with beautiful materials very polished arrangements), the artist has a very orderly, delicate and precious. The geometric shapes used are essentially round, square, rectangle. The proportions of insertion into a room importance primordial power because it puts them in dialogue with the space invested.
In his assemblages, he blends colors, either using different plants or at different stages of maturity: for example, a young plant-green surrounded by deep green or acid and a burnt red is associated with a pine green .
Not only the materials used to respond harmoniously to each other, but he chose them based on materials (pavement, wood, marble or otherwise) that their support.
Implemented, these elements of nature to develop their independent living, are changing the structure of his compositions remain the same but each one varies, both shape and tone, thus taking the imprint of time, an essential element of the meditation of the artist. This pulsating
of the work, through time, and is captured in images through photography: the pictures make up a process of evolution of the work and remain, after all, the testimony of a unique and sustainable intervention, essentially fleeting.
Sometimes, Bob Verschueren uses wood in interiors as old churches, preferring, in this case, places robbed or experienced by the mystics. The geometric shapes are then used essentially the cone, the dome and the niche of the church. These forms may know two different applications, whether the tip is extended toward the sky, or it sinks into the ground, in the case of the cone. Cosmology is reported here and lived.
We are entering the sphere of communication earth-sky, a concern at all times. The density of the branches into action creates a play of soft light. In the context of interventions outside the shadow fragments of these facilities has a great importance: in the forest, for example the verticality of the shaft extends, in foot, horizontal trace of shadow Bob Verschueren blooms.
Sometimes he uses the roots of huge trees whose cutting rootlets occurs along the line of a niche: we are witnessing the transition from solid to very end, a passage between strength and fragility, rootlets maintaining a fluidity of movement. They curl and change color gradually.
These mutations have their own lives, their own rhythms, the artist invites us to look like him: they invite us to meditate on life, its manifestations and its path, fast or slow to decay and destruction.
The perpetual metamorphosis of life and its material, particularly plant fascinates Bob Verschueren not point across a glance but by a psychologist artist's eye for aesthetics that meditation is essential and as important as thinking about time, life, death. All steps
Bob Verschueren induce reflection, the viewer, on time and its implications for the nature and humans whose fates are intertwined.
Some of these facilities include a rise geometrized that reminds the viewer the richness of cosmologies that are distant sources of our civilization.
How can we not mention, also that through the work of Bob Verschueren, we remember some of our cultural and artistic as in painting where the spaces are identified, where the colors are also materials with all their variations and that some contrasts are desired to express forces.
If photographs of exhibited works and taken at successive times show the effects of time on the facilities Bob Verschueren and subtleties of the integration of his work in architecture, they simply lack an important element, and c ' is the variety of plant odors from the facility. These scents, which have a random art because the artist wants nullment master the evolution of his work, we confront an enjoyment immediate physical and sensual, which is slower than that of light and keeps us close to the work practice.
If Bob Verschueren gives us, through its facilities, new lines of interpretation of life and aesthetics, he also likes to shoot, the viewer, his faculties dreamy, sensitive and intellectual because he wants the encounter with his work is done in freedom and respect: to each his own "reading" of his work in line with his experience and the discovery of his being.
Fragments of nature he uses are often harvested in fallow fields, ditches and embankments, which, by their failure to maintain, provide access to the exuberance of nature, which sometimes produces plants rich and voluptuous.
These plants (often implemented in places sophisticated, with beautiful materials very polished arrangements), the artist has a very orderly, delicate and precious. The geometric shapes used are essentially round, square, rectangle. The proportions of insertion into a room importance primordial power because it puts them in dialogue with the space invested.
In his assemblages, he blends colors, either using different plants or at different stages of maturity: for example, a young plant-green surrounded by deep green or acid and a burnt red is associated with a pine green .
Not only the materials used to respond harmoniously to each other, but he chose them based on materials (pavement, wood, marble or otherwise) that their support.
Implemented, these elements of nature to develop their independent living, are changing the structure of his compositions remain the same but each one varies, both shape and tone, thus taking the imprint of time, an essential element of the meditation of the artist. This pulsating
of the work, through time, and is captured in images through photography: the pictures make up a process of evolution of the work and remain, after all, the testimony of a unique and sustainable intervention, essentially fleeting.
Sometimes, Bob Verschueren uses wood in interiors as old churches, preferring, in this case, places robbed or experienced by the mystics. The geometric shapes are then used essentially the cone, the dome and the niche of the church. These forms may know two different applications, whether the tip is extended toward the sky, or it sinks into the ground, in the case of the cone. Cosmology is reported here and lived.
We are entering the sphere of communication earth-sky, a concern at all times. The density of the branches into action creates a play of soft light. In the context of interventions outside the shadow fragments of these facilities has a great importance: in the forest, for example the verticality of the shaft extends, in foot, horizontal trace of shadow Bob Verschueren blooms.
Sometimes he uses the roots of huge trees whose cutting rootlets occurs along the line of a niche: we are witnessing the transition from solid to very end, a passage between strength and fragility, rootlets maintaining a fluidity of movement. They curl and change color gradually.
These mutations have their own lives, their own rhythms, the artist invites us to look like him: they invite us to meditate on life, its manifestations and its path, fast or slow to decay and destruction.
The perpetual metamorphosis of life and its material, particularly plant fascinates Bob Verschueren not point across a glance but by a psychologist artist's eye for aesthetics that meditation is essential and as important as thinking about time, life, death. All steps
Bob Verschueren induce reflection, the viewer, on time and its implications for the nature and humans whose fates are intertwined.
Some of these facilities include a rise geometrized that reminds the viewer the richness of cosmologies that are distant sources of our civilization.
How can we not mention, also that through the work of Bob Verschueren, we remember some of our cultural and artistic as in painting where the spaces are identified, where the colors are also materials with all their variations and that some contrasts are desired to express forces.
If photographs of exhibited works and taken at successive times show the effects of time on the facilities Bob Verschueren and subtleties of the integration of his work in architecture, they simply lack an important element, and c ' is the variety of plant odors from the facility. These scents, which have a random art because the artist wants nullment master the evolution of his work, we confront an enjoyment immediate physical and sensual, which is slower than that of light and keeps us close to the work practice.
If Bob Verschueren gives us, through its facilities, new lines of interpretation of life and aesthetics, he also likes to shoot, the viewer, his faculties dreamy, sensitive and intellectual because he wants the encounter with his work is done in freedom and respect: to each his own "reading" of his work in line with his experience and the discovery of his being.
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