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The long march III
“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)
After Stacking from 2002, I wanted to see if there would be a different dynamic by adding a print run to the very rigid choice I made there. I also switched from a one point of view (side view only) to two. Obviously because of the logic of two print runs.
For inseparable children who want to share everything they are supposed to eat.
Pas de deux IX
Together with Pas de deux VII, these are the last of a series that I still have in my possession. I all cases connecting two of the same chairs in any way, associations arise with dance figures and/or dance movements.
Doors of perception
A play with space and light. The passe-partout, which normally only serves to properly protect the work in a frame, is given a substantive role here. The space we are in does not reveal anything except the openings to the space or spaces we look out on. Light and shadow are thrown into our space.
Actually, I literally found these schoolchairs on a sunny day somewhere in a gallery. So in my oeuvre this is actually a bit of an outsider because ‘only’ directly more or less made from observation. See also other duets such as Duet II and Duet III and certainly also the Pas de Deux series.