Based upon 942 photographs of sky and a small strip of rooftops. Interaction is based on surrounding environmental sounds audible inside. The work concretizes the connection between inside and outside, observation and sound. Visitors slowly become aware of their own part. The more noise, the less image. The visitor confronted with the bare space, each other, the self. The position of the slideshows corresponds with the original direction from which they were taken. This happened by hand, during a longer period, from approximate equal positions.
The inner space functions as a canvas. The walls of this roofed courtyard catch the projected images related to an urban surrounding. Dried leaves from the outside are placed randomly on the floor to break the mirroring reflections on the flat surface; elements related to it’s actual surrounding. The installation as a whole is turned into an environmental experience. Looking outside at the surrounding, at the light, into the distance, towards the seemingly endless in which we find ourself is a basic thing to do.
Endlessness and connecting
My total installations come into existence through connecting. Each manifestation is in fact a fragment in time. Everything is in motion and transitory. With my work I embrace endlessness.
The gaze in the distance and the look at the sky is rooted in the inseparable connection with our existence and life on earth. Here the ‘skies’ exist artificially. They’re framed by the camera, urban surrounding and eventually by the projection itself. Our minds open the suggested windows, and we seem to enter a different, endless space.
View from the window...
We relate to the surrounding, space and light. ’View from the Window at Le Gras’ (1826) by Joseph Nicéphore Niépce, being the first permanent photograph is an interesting connection. Both actions are partly of a pragmatic nature, related to capturing an image of the immediate surrounding. However, it’s also related to experiencing space and visual endlessness. Starting from our own body, our own position, and a look in the distance.
The connection with ‘Air’ is not of a conceptual kind but through comparison afterwards. It is significant however, for it shows that such manifestations of human creation incorporate basic universal aspects we all relate to and connect us as understanding beings.
Art historian and curator at the Van Abbemuseum Steven Ten Thije did an introduction on why 'Air' and not 'Sky'. Watch the video by clicking the second image of this page, left.