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“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)
An important fulcrum separates itself from the chair but, paradoxically enough, provides relief at the same time.
After the first Toren van Babel, somewhere in the back of my mind, a feedback about a true Tower of Babel is so overwhelming and should be present that it is one with and rises from the land (-ship) of which it is part. Stronger what he is with that. The impression that the Tower of Babel by Pieter Bruegel I (Museum Boymans-Van Beuningen Rotterdam) made on me also plays a major role in this. This, at least for me, was more or less ‘primal tower’ round and my first tower was not.
At some point drawing the spiral, which is now the top, I thought in a flash that such a shape could go on endlessly outwards.
The amazing thing is that I ended up with a birds eye view, which is less obvious if you want to draw an imposing tall shape. See the first version that is drawn from a low point of view, or frog perspective.
Two of the same chairs create a connection: for example, they share a leg or the backrest overlap. For me this immediately resulted in associations with dancing. A dance for two or a pas de deux. From the ensemble to be exhibited as a block of four or six, this one, with Pas de deux IX, is the last remaining until ….
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A second child! This will of course come to the fore. There is already one child that is also pulled by the parental train. Where else do you end up if one of the two parents is employed at the railways?
After Time circle this one followed. Quite otherwise more mythical and mysterious. In this case my own association was at least that with Stonehenge. Are the backrests moving away from the seats or towards them?
Everything is aimed at the center of the circle where the bright light source is located. What’s up there?