The longer I “make art”, the more I am intrigued by the uniquely human need to conjure up coherent images that are no direct translations of the visual environment as our eyes and brain perceive it. We know that this … Continue reading
Lake Willoughby, grated into plutonic rock by a deep glacier, is a 300 feet deep, water filled scar between two mountains with biblical names, Mount Hor to the West and the Eastern Mount Pisgah. If you stand on the North Shore of the lake, it actually has the appearance of a deep fjord, though there is no outlet to the sea. Instead there is said to be an underground aquifer connecting the basin of Lake Willoughby to that of another eerie body of water beyond Mount Hor, Crystal Lake. In my mind that acquifer had the form of a water filled cathedral, in my mind I saw swimmers gliding swiftly through a space abandoned by a people even older than they were. There was an incredible, inexplicable light the way I imaged this. You have to keep in mind that I imagined this within a dream without actually seeing it, two steps down and under. Even though my sober mind took offense with the inexplicability of the light.
While I was thinking and conjuring up images within the dream I stood at the waters edge of the lake as I had done many summers and the water exactly like the water of lake Willoughby as I remembered it acted like a mirror. The surface seemed to be like a sheet of glass of finest quality, separating the clearly visible underneath from the still world above, and the mirror image of this world like an incomprehensible fourth dimension in between both worlds. Again I saw the forms in the distance, gathering around precariously piled up, submerged boulders. Each winter these boulders avalanche down Mount Pisgah and roll into the lake to form the outline of an inaccessible stone city, creating an intricate mountainous terrain. I wondered how long it would take to fill the deep ravine of the lake with boulders and fleetingly thought of the old story about the small bird wearing away a mountain with his beak to mark the passing of the first second of eternity. In my dream I had this thought.
“My grandfather, your great-grandfather, believed that there is life in the Sirius system. The Dogon, an African tribe with very acute astrological knowledge, have believed for centuries that there is life out there as have the ancient Egypts and the … Continue reading
wearily, the king inspected his ragged group of counselors, the budget long since exhausted, the tin soldiers melted, the castle but a shack with weeds growing through the cracks, human miscellaneous mistakes, crooked timber all of his entourage, and yet there was a light in their eyes that the glorious days had not known, and he was glad he had taken their erroneous advice.he pointed out the fine detail of the scratched figures in the rock, the fish, the symbol of the ancient ones, which so far seemed to have gone unnoticed by his advisers whereas thibeas concluded that their travels had lead them along the old path which they had wandered unwittingly, their tired feet drudging over the worn out stones like so many tired feet before them. wonderingly now they looked back and saw indeed that the smooth surface over which they had come bore the polished colors…
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Once they realized that there was not one king or one queen, but a succession of kings and queens each of whom was “the” king or “the” queen regardless of their individual identity, so that in fact, the king … Continue reading
just plain beautiful …
Ein Kunstbuch von Jón Thor Gíslason und Ylma Ürmeny
Was im Jahr 2000 bereits einmal als Künstlermappe in 13 Exemplaren aufgelegt (und schnell vergriffen) war, ist nun – wenige Wochen vor der Kölner Ausstellung des Isländers Jón Thor Gíslason am 7. Februar im Kultursalon Freiraum – als Kunstbuch im Druck erschienen.
In einer Auflage von diesmal 100 Exemplaren hat der Labonde-Verlag die zehn Kaltnadelradierungen des Künstlers und die Texte gleicher Anzahl seiner Frau Ilma Reißner-Gíslason, die eingedenk ihrer familiären Wurzeln als Lyrikerin unter dem Namen Ylma Ürmeny publiziert, in der seinerzeitigen Originalfolge reproduziert. Jedem der 100 nummerierten und von den Künstlern signierten Exemplare liegt zudem eine Original-Kaltnadelradierung von Jón Thor Gíslason aus dem Jahr 2013 bei.
Die zunächst unabhängig voneinander geschaffenen Radierungen und Texte haben gemein, dass sie um Motive aus Kindheiten kreisen – die Sujets der Grafiken sind Darstellungen von Kindern selbst; die Gedichte geben in unprätentiösem Ton und…
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