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Three linocuts in a triptych in the shape of a laptop. Where in the Middle Ages the (well-to-do) traveler had an altar in his pocket to raise his prayers (devoutly) at the agreed times, today’s commuter has his laptop. He usually folds it out immediately after taking a seat in public transport or park to disappear completely into it: modern devotion.
After having made Stoelgang, it is not such a big step to an entire herd anymore. In terms of name, ‘gang’ comes from the gait of a horse, think of trot, pace or canter. I was well acquainted with wild, somewhat uncontrolled jumping animals, because every spring, after a long winter, the cows were allowed to return to the pasture or the first pasture (eerste weidegang). The enthusiasm of the animals at such a moment expresses itself in wild, strange, uncontrolled jumps and movements that you never see in cattle.
The chair shows its more flexible side here and approaches us energetically. Actually, with this first casually scribbled line drawing, I discover a new possibility. We know that a chair has a certain character; tough, elegant, robust, rustic, etc. But this also gives it its own will and enters the world.
“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)