Artistic ideas are shaped in time and space
My knowledge of Indonesian Islamic culture and symbolism has clearly been influenced through my two previous visits.
It has therefore become easier for me to relate to the exhibition building Sarang. But from experience, I know that I do not suddenly get a brilliant idea, but that it is slowly born and shaped in time and space.
Therefore, I have again created some sketches and worked on some visual symbolic basic ideas, I here in Jogja have the opportunity to further develop.
When I said yes to this new installation project here in Jogja, I thought that I would continue where I left, namely to use the materials Bamboo and jars.
Many times, I turn my eyes in and dive into my own sketchbooks to get inspiration and indirectly develop my visual language that I have created over the years.
It has therefore become easier for me to relate to the exhibition building Sarang. But from experience, I know that I do not suddenly get a brilliant idea, but that it is slowly born and shaped in time and space.
Therefore, I have again created some sketches and worked on some visual symbolic basic ideas, I here in Jogja have the opportunity to further develop.
When I said yes to this new installation project here in Jogja, I thought that I would continue where I left, namely to use the materials Bamboo and jars.
Many times, I turn my eyes in and dive into my own sketchbooks to get inspiration and indirectly develop my visual language that I have created over the years.
I actually have this time, instantly inspired by some of the Installation drawing I had designed for the exhibition project 2015 here in Jogja to the Kersan Art Studio.
Metamor’phosis’ Installation B&W skibshal 90x33x22 m.
The water sculpture 'Circular Arc' at Roskilde University.
I regard jars as a preserve of life, food and liquid. I have used the amphora jar before. In the Metamorphosis installation in the B & W ship hall and in the water sculpture 'Circular Arc' at Roskilde University.
Under my inspiration resource work, where I always try to make me visually influence all the many visual expressions that are in the past, I saw this photo of cracked clay.
My subconscious stopped, by this picture with the words Hope-Despair. Contradictions like black / white, life / death, Culture / Nature, are energies I have always worked with in my artistic expression. In these 'Trump Times' it is important that we look at the Global World, think alternatively and in community solve some of the global major issues.
'Time is running away from us'. This sentence made me hang the jars Upside Down, Symbolically the jars pour out time. This symbolism is visualized with the displays of a clock. The actual urgency will be hidden under the clay. The seconds there are in constant motion suggest that time is running.
'Time is running away from us'. This sentence made me hang the jars Upside Down, Symbolically the jars pour out time. This symbolism is visualized with the displays of a clock. The actual urgency will be hidden under the clay. The seconds there are in constant motion suggest that time is running.
If I chose to hang the jars with the bottom in the air, over cracked plates without anything, it would suggest that the last drop of life-giving fluid runs out and down into the muddy clay. - With some rice on the plates symbolizes the lack of food. "By placing the clockwise beneath the jars, it makes us think 'has the time run out'
Review with the bamboo workshop I used in 2015
Already the first day I chose to visit the bamboo furniture workshop, they had made all my bamboo work for my Installations 2015.
For example, the Floating Soul, where I used 6 meter long bamboo.
It was absolutely great to see the craftsmen who helped me with my installations.
The bamboo has again to be the supporting element. I have not decided what kind of bamboo I want to choose. Whether it's going to be the green beautiful bamboo, which I now know, slowly get darker and that the black bamboo will not hold the deep black color. I probably have to paint the bamboo. In this way, I transform nature into culture. I do not yet have the final solution to the design at the top. It's the weak point, which at the same time should carry a jar that weighs about 15 kg. This minimalist simple carrying structure must be absolutely right.
Some decisions I still let float in the air. I took a round and look into their different bamboo furniture and other bamboo items for perhaps to get some design ideas.
Ardi my assistant, has to follows me around the first few days before I can find my around on the scooter. At the same time he is incredibly important as an translater.
Especially in the evening it's hard to find the way, by all the little dark roads because it is a little outside the city. I have to know the way into my favorite cafe / restaurant ViaVia. Here I can sit with my computer in a casual Western environment with a cup of good cappuccino and vegetarian dishes.
It was absolutely great to see the craftsmen who helped me with my installations.
The bamboo has again to be the supporting element. I have not decided what kind of bamboo I want to choose. Whether it's going to be the green beautiful bamboo, which I now know, slowly get darker and that the black bamboo will not hold the deep black color. I probably have to paint the bamboo. In this way, I transform nature into culture. I do not yet have the final solution to the design at the top. It's the weak point, which at the same time should carry a jar that weighs about 15 kg. This minimalist simple carrying structure must be absolutely right.
Some decisions I still let float in the air. I took a round and look into their different bamboo furniture and other bamboo items for perhaps to get some design ideas.
Ardi my assistant, has to follows me around the first few days before I can find my around on the scooter. At the same time he is incredibly important as an translater.
Especially in the evening it's hard to find the way, by all the little dark roads because it is a little outside the city. I have to know the way into my favorite cafe / restaurant ViaVia. Here I can sit with my computer in a casual Western environment with a cup of good cappuccino and vegetarian dishes.
Review with the ceramics workshop I used in 2015
We also went to the ceramics area where I was greeted at the ceramics workshop, where they had turned 365 bowls to the 'Salt Life' installation. The grandfather had made sure that all the dishes were burned and carefully blackened on the underside and top side. The young daughter made me aware that at that time I had promised to send her mail copies of the entire burning process I had thoroughly documented. I immediately made sure to send her copies, as I had the photos on my computer. Embarrasing !
I was also greeted by the young guy who created the beautiful jars for Life Live / Live Life
I would try this time to find a standard jar they had in stock. The next few days I chose to drive alone without Ardi, so I might. could encounter the very jar of size and shape. My thoughts also went in the direction of finding some antique. But I quickly realized that it would be difficult and maybe not fully suited to the universe of my expression, where I work to transform nature into culture.
I had, together with Ardi, collected some different types of clay. Ardi came with what they called black clay and used to create clay sculptures with at the Academy. Then there was the reddish brown they used for the jar making. The third type was the one they used to make bricks. We were also past a workshop where they created sculptures of white ceramic clay that became very hard and therefore unusable for my purpose as it would like it to crack.
There was a small brick factory on the opposite side of Sarang Kulturhaus, where we picked up a carrier bag clay that had been dug up from the ground.
I would try this time to find a standard jar they had in stock. The next few days I chose to drive alone without Ardi, so I might. could encounter the very jar of size and shape. My thoughts also went in the direction of finding some antique. But I quickly realized that it would be difficult and maybe not fully suited to the universe of my expression, where I work to transform nature into culture.
I had, together with Ardi, collected some different types of clay. Ardi came with what they called black clay and used to create clay sculptures with at the Academy. Then there was the reddish brown they used for the jar making. The third type was the one they used to make bricks. We were also past a workshop where they created sculptures of white ceramic clay that became very hard and therefore unusable for my purpose as it would like it to crack.
There was a small brick factory on the opposite side of Sarang Kulturhaus, where we picked up a carrier bag clay that had been dug up from the ground.
I made some samples in 1 cm thickness. It dried in and spread over 5 days.
I tried with 2 cm thick, which I had to collect as square slices. But then it happened that they were spreading where the sides supported each other, even though I really pushed them together. The cracks just created a kind of tile pattern.
Global Hope – Global Despair
After a few days of sketches and word dropping - Clock Ticking - Watch Up - Last Drop - Upside Down and phrases like 'Time is running out'. This is and has always been a global issue. The title of my installation therefore becomes Global Hope - Global Despair, even though hope and despair is more personal. But despair has become Global.
Instead of a square rectangle that was visually adapted to the showroom, I now choose to make a circular Installation, the Global World, which is drying out for resources. The number 12 symbolizes the 12 months and the 12 zodiac signs.
Instead of a square rectangle that was visually adapted to the showroom, I now choose to make a circular Installation, the Global World, which is drying out for resources. The number 12 symbolizes the 12 months and the 12 zodiac signs.
The clay circle that gets a diameter of 700 cm are squeezing the room. It forces the viewer to pay attention to the circle, thus giving the Installation additional pressure and dimension to the room.
Instead of 8 jars like in my first draft, there are now 12 jars, I have to hang up and in a circle. In order for it to succeed, I am forced to under the iron construction in the ceiling, create a circle construction that can carry the 12 jars.
I immediately think of creating a bamboo ring. But how is it possible to create such a large bamboo ring with a diameter of 560 cm. It is strong enough to carry 12 jars.
In my sketches and thoughts, I also played with the idea of several jars hanging over each other, but if I choose bamboo, I do Bamboo circle of 560 cm.not dare to pursue the idea with more jars.
In my sketches and thoughts, I also played with the idea of several jars hanging over each other, but if I choose bamboo, I do Bamboo circle of 560 cm.not dare to pursue the idea with more jars.
Bamboo circle of 560 cm.
I went out to the Bamboo workshop to hear how it's possible to create a bamboo circle that is strong enough to carry approx. 180-200 kg. It is impossible to bend bamboo bars there is 10-12 cm thick, as much as my circle ring requires. - I suggest that they might be able to use flaked thick bamboo and possibly. limer 3-4 stk. flækkede sammen.
We agreed to come in a few days, where they would like to show me a design proposal.
We agreed to come in a few days, where they would like to show me a design proposal.
This is the first draft of the final construction. We agreed to add 2 extra spotted bamboo to give it some thickness and strength. In addition, I added an inverted spotted bamboo placed on the inside of the bamboo circle to make the circle more complete and complex.
The cracked bamboo gets some cuts on a regular basis so that they can bend what they need. The circular arc is constructed in four parts, which is then assembled in the showroom. By displacing the 3 layers of bamboo it is possible to assemble them into a large, very flexible circle. In addition to the large collector nuts they used, I got them to make bamboo turns at 50 cm intervals.
Since I have decided to create this 'Time Global' installation, I need 12 clock's of the simple kind. I had checked this simple clock mechanism in Denmark.
I got Nissak to look at internet and find a dealer there has this simple clockwork, but a little in vain.
I therefore searched some watch shops for maybe through them buy the 12 clocks. They could only offer me the simple clockwork and some very short watch shows. I bought one to test it under my clay.
I got Nissak to look at internet and find a dealer there has this simple clockwork, but a little in vain.
I therefore searched some watch shops for maybe through them buy the 12 clocks. They could only offer me the simple clockwork and some very short watch shows. I bought one to test it under my clay.
Perhaps I could find a big wall clock in a department store. I stopped at some big cheap plastic stores. One of these plastic stores had a few different big wall clocks. They had 12 clocks of the model I like best. The price was approx. 45 kr for the clock with glass etc. It was cheaper than the simple clockwork with the small showers I had bought. I screwed the back of in the store to make sure I could use the clockwork and the shows.
Now I had the opportunity to test the clockwork under clay. I learned that if the clay had come too close to the actual pin that caused the wise to follow the time, the watches could stop in their rotation when the clay solidified. If you had not exactly pressed the shows down, they could slow down each other in their rotation. When the clay solidified, it could well rise slightly from the ground and thereby stop the shows.
The jars take shape and color
It was not quite easy to find a jar. At the same time, I was not entirely familiar with the smooth structure that the clay pot have. Then I discovered that some people treated their jars with a plastic mass that made a bit rustic and gave them a more antique look and they could take the rain. I was lucky enough to find a rustic pot in the right size and in the classic Greek form that fits perfectly to Global Hope.
Unfortunately, they only had 1 single copy. The wholesaler could first deliver 19 more in 4 weeks. They should first be rotated, dried, burned and then treated.
I bought the 1 jar. At least I have a model, if I perhaps had to have a workshop to copy the jar. A little frustrated, I left Unfortunately, they onThe wholesaler could first deliver 19 pieces. More in 4 weeks as they should first be rotated, dried, burned and then treated.
It was impossible for me to wait 4 weeks. On a ceramic sale, there was one who promptly asked what I was looking for. I showed him a photo of the jar on my Iphone. That kind of jar could he make 20 in 3 weeks. They would then be ready 2 weeks before tmy opening. I was ready to take this risk, as he was directly responsible for the jars was ready on time. In the other store, I could not be sure that the wholesaler did not make them i time.
I ordered 20 jars in total.- 8 jars more. I have an idea of also creating a 4 m high sculpture of the jars.
I bought the 1 jar. At least I have a model, if I perhaps had to have a workshop to copy the jar. A little frustrated, I left Unfortunately, they onThe wholesaler could first deliver 19 pieces. More in 4 weeks as they should first be rotated, dried, burned and then treated.
It was impossible for me to wait 4 weeks. On a ceramic sale, there was one who promptly asked what I was looking for. I showed him a photo of the jar on my Iphone. That kind of jar could he make 20 in 3 weeks. They would then be ready 2 weeks before tmy opening. I was ready to take this risk, as he was directly responsible for the jars was ready on time. In the other store, I could not be sure that the wholesaler did not make them i time.I ordered 20 jars in total.- 8 jars more. I have an idea of also creating a 4 m high sculpture of the jars.
3 days later he call and tells me that 15 of the jars are finished. What does he mean by that? He had first promised that they were completely finished after 3 weeks. I went out to him and quite rightly there were 15 copies that he had probably bought from another wholesaler. He would immediately start making the last 5 jars. A few days later he call again saying that he has now obtained the last 5 jars. So he was ready to drive all the jars to Sarang
Now all the jars were in house. I should figure out how to symbolically paint them. To me they symbolized a letter attacked human body. Therefore, they got a little cloudy red. The rope that holds the jar up is more clear red as it is the umbilical cord of life that is connected to the shining red-orange painted bamboo circle floating over the global solidified soil.
The bamboo circle is incredibly artless and flexible
To get the bamboo circle to float, I used 3 mm wires for suspension. It was not so easy to get it up. It was a bit of a ruthless bamboo circle hanging after collecting it. I had chosen that there were four people on their own ladder. But it was hard to find ladders that were long enough. The bamboo men instead had a system with rope, so that they could keep the circle up in the height while the wires were fixed, so that the circle was able to get up and hang.
The next day I saw that the bamboo circle was far too close to the black iron bars in the ceiling. The whole circle must be lowered 20 cm. to get more visually free of the bars, so the bamboo circle is experienced more floating. I quickly realize that I need the two bamboo men to come and help me lower the circle. At the same time, I had the opportunity to correct the circle so that it hang so precisely as possible so the jars float straight across the markings of the clock shows.
The next day I saw that the bamboo circle was far too close to the black iron bars in the ceiling. The whole circle must be lowered 20 cm. to get more visually free of the bars, so the bamboo circle is experienced more floating. I quickly realize that I need the two bamboo men to come and help me lower the circle. At the same time, I had the opportunity to correct the circle so that it hang so precisely as possible so the jars float straight across the markings of the clock shows.
Reggae musicians created a soundloop for the installation
I had from the start asking Nissak and Ardi if they could not try to get in touch with a young composer at the The Academy Music Department to make a soundloop for my project. Where the installation was the script. Ardi said that he Academy Music Department student, they were stiff and not as free as in the image department. So he had no contact with anyone from there.
I've been lucky to get a soundloop for my Installation made by a real reggae type.
I met Black here at Sarang when he visit the Korean artist Choi. She had met him last year when she exhibited with other Korean artists.
When I found out that he was a musician and played and sang reggae music, I asked him, despite the fact that he probably was more to fast and powerful rhythm, if he might know or even be interested in creating a short soundloop for my installation project. He thought a little about this invitation.
When I saw him a few days later, he would hear more about my project. I found some sound sequences so he got an idea of what I was looking for when I talked about soundloop to my Installation Global Hope-Global Despair. Sounds that blend the positives with the sad reality of gloomy downturns.
A week after, I meet him again and he tells me that in a few days he will go to the studio with one of his friends and make the sequence. There goes 10 days and I hear nothing. He may have regretted. He seemed a little skewed every time I met him, so I expected that time and place disappeared a bit for him.
Via Choi, I received and heard the soundloop he had created over her iphone. We had otherwise agreed that he came to me. But now he was teaching some young people.
The sequence was incredibly rhythmic and positive, so Choi and I took a little dance on the spot to the positive beautiful tones. But the Soundloop I hoped to receive would bring the audience into a slightly meditative, gloomy, thoughtful mood, mixed with bright tones of optimism.
We agreed to meet that same evening. I let him understand that his music was hugely inspiring with beautiful beautiful tones, which could well be used in the soundloop. The rhythms has to get out. It was more sounds and no rhythms I would like in my Installation. He listened, but I do not know how much he understood.
I suggested him that I also took with him to the audio studio, so he did not have to return if there were still sounds or rhythms I could not get to fit my intentions with the exhibition.
I met Black here at Sarang when he visit the Korean artist Choi. She had met him last year when she exhibited with other Korean artists.
When I found out that he was a musician and played and sang reggae music, I asked him, despite the fact that he probably was more to fast and powerful rhythm, if he might know or even be interested in creating a short soundloop for my installation project. He thought a little about this invitation.
When I saw him a few days later, he would hear more about my project. I found some sound sequences so he got an idea of what I was looking for when I talked about soundloop to my Installation Global Hope-Global Despair. Sounds that blend the positives with the sad reality of gloomy downturns.
A week after, I meet him again and he tells me that in a few days he will go to the studio with one of his friends and make the sequence. There goes 10 days and I hear nothing. He may have regretted. He seemed a little skewed every time I met him, so I expected that time and place disappeared a bit for him.
Via Choi, I received and heard the soundloop he had created over her iphone. We had otherwise agreed that he came to me. But now he was teaching some young people.
The sequence was incredibly rhythmic and positive, so Choi and I took a little dance on the spot to the positive beautiful tones. But the Soundloop I hoped to receive would bring the audience into a slightly meditative, gloomy, thoughtful mood, mixed with bright tones of optimism.
We agreed to meet that same evening. I let him understand that his music was hugely inspiring with beautiful beautiful tones, which could well be used in the soundloop. The rhythms has to get out. It was more sounds and no rhythms I would like in my Installation. He listened, but I do not know how much he understood.
I suggested him that I also took with him to the audio studio, so he did not have to return if there were still sounds or rhythms I could not get to fit my intentions with the exhibition.
The following day we went out to his young friend's sound study, which Black had decorated with his visual language.
I quickly found out that Black was pretty outdated. He told me he had a nightmare and slept very little when he feared that I did not like his music.
I then told him my nightmare. The night before I received his Soundloop, I had dreamed that in Soundloopen he was talking about a little girl who had entered the jungle, more I can not remember of this story in the dream, but I remember telling him in the dream, that he should not tell poetic adventures, but create a sound that could make mankind understand it was completely wrong with the global state.
The young techniques turned to me to hear what we have to do with the soundloop he had created with Black. Slowly, I got him to understand what I was looking for. Black was still completely in his own world, so I understood that he would not really participate in this transformation of his rhythmic sound.
I could sense that he had left. He thought he was best at reggae rhythms. Sound without rhythm was not his specialty. I was welcome to use and transform his audio universe until my universe. If I was satisfied, he was also satisfied. For almost 2 hours, the young techniques, who were completely self-taught and I worked together, worked to create a sound universe with Black's tones and it got a tiny rhythms.
We made a 2½ minutes soundloop. Sound that I think will work in the installation. The sound makes me feel like I'm moving around in the jungle alone, being out of time and space. The audio technician, Black and I, were pleased with the Soundloop.
I quickly found out that Black was pretty outdated. He told me he had a nightmare and slept very little when he feared that I did not like his music.
I then told him my nightmare. The night before I received his Soundloop, I had dreamed that in Soundloopen he was talking about a little girl who had entered the jungle, more I can not remember of this story in the dream, but I remember telling him in the dream, that he should not tell poetic adventures, but create a sound that could make mankind understand it was completely wrong with the global state.
The young techniques turned to me to hear what we have to do with the soundloop he had created with Black. Slowly, I got him to understand what I was looking for. Black was still completely in his own world, so I understood that he would not really participate in this transformation of his rhythmic sound.
I could sense that he had left. He thought he was best at reggae rhythms. Sound without rhythm was not his specialty. I was welcome to use and transform his audio universe until my universe. If I was satisfied, he was also satisfied. For almost 2 hours, the young techniques, who were completely self-taught and I worked together, worked to create a sound universe with Black's tones and it got a tiny rhythms.
We made a 2½ minutes soundloop. Sound that I think will work in the installation. The sound makes me feel like I'm moving around in the jungle alone, being out of time and space. The audio technician, Black and I, were pleased with the Soundloop.
I have slowly learned to disconnect and enjoy the moment
This time I have enjoyed the working processes so far. I have become much better at also unplugging and enjoying the different facets life constantly offers one. Especially when you are in a new place filled with new impressions. So I try to keep the stress a little away.
This time I have many work processes I have chosen to manage, since Ardi more this time, just has been my guide and itranslator than working artistic ass.
I rest more in myself this time, as I astonish quickly and partly painlessly have been able to overlook the time perspective. The different materials and work processes have not in the same way caused the major problems they did in 2015.
I have been better this time to take into account the fact that the workshops / Indonesians have a tendency to push the tasks in front of them. Days are going to be weeks. You must be aware of the fact that you also have to push a little extra.
Throughout my years I have only a few times connected an assistant to my projects. Quite economically, I have chosen not to have an assistant, as I would otherwise not have been able to afford to create the installations I have created over the years. Everything has a price.
This time, I do not have the feeling of being after. I got 2 weeks to set up the installation in the showroom. Everything must be done at least 10 days before the oppening, as it takes 3 cm of clay to dry.
Once they have smoothed the 700 cm circle of circle in a layer of 3 cm above the floor, everything has to be hung up, as it is no longer possible to get on a ladder.
The bamboo circle must be suspended in the correct position. The twelve jars must be finished and hanging just above the spot where the watches circulate and placed at the right height.
This time I have many work processes I have chosen to manage, since Ardi more this time, just has been my guide and itranslator than working artistic ass.
I rest more in myself this time, as I astonish quickly and partly painlessly have been able to overlook the time perspective. The different materials and work processes have not in the same way caused the major problems they did in 2015.
I have been better this time to take into account the fact that the workshops / Indonesians have a tendency to push the tasks in front of them. Days are going to be weeks. You must be aware of the fact that you also have to push a little extra.
Throughout my years I have only a few times connected an assistant to my projects. Quite economically, I have chosen not to have an assistant, as I would otherwise not have been able to afford to create the installations I have created over the years. Everything has a price.
This time, I do not have the feeling of being after. I got 2 weeks to set up the installation in the showroom. Everything must be done at least 10 days before the oppening, as it takes 3 cm of clay to dry.
Once they have smoothed the 700 cm circle of circle in a layer of 3 cm above the floor, everything has to be hung up, as it is no longer possible to get on a ladder.
The bamboo circle must be suspended in the correct position. The twelve jars must be finished and hanging just above the spot where the watches circulate and placed at the right height.
Atelier visit to Indonesian colleagues
Nissak has been organized so Choi and I, along with some other artist, visit some of the local artist collegues. It's great in this way to come more directly into a colleague's visual universe. You get an insight into what conditions one's Indonesian colleagues have.
Gusmen Heriadi
Komroden Haro
Here Dono has built his own museum to his mechanical sculptures, many of which have a political and social aim
Positive thoughts here from the equator
Bjarne v.H.H.Solberg
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Jeg har faktisk denne gang, direkte lade mig inspirer af nogle af de Installations ideskitser, jeg havde udformet til udstillingsprojektet 2015 her i Jogja til udstillingsstedet Kersan Art Studio.
Metamor’phosis’ Installation B&W skibshal 90x33x22 m.
Vandskulpturen ’Circula
Krukker opfatter jeg som bevare af livet, føde og væske. Jeg har benyttet amfora-krukkeformen før. I Installationen Metamorfose i B&W skibshal og i Vandskulpturen
'Circula
Under mit inspirations resurse arbejde, hvor jeg altid forsøger at lade mig visuelt påvirke af alle de mange visuelle udtryksformer der er oppe i tiden, så jeg dette foto af krakkeleret ler.
Gensyn med bambusværkstedet jeg benyttede 2015
Jeg lavede nogle prøver i 1 cm tykkelse. Det tørrede helt ind og sprækkede i løbet af 5 dage.
De flækkede bambus, får nogle snit med jævne mellemrum, for at de kan bøje det de skal. Cirkelbuen konstrueres i fire dele, der så samles i udstillingsrummet, Ved at forskyde de 3 lag bambus er der mulighed for at samle dem til en stor meget fleksibel cirkel. Foruden de store samlemøtrikker de benyttede, fik jeg dem til at lave bambusvindinger med 50 cm mellemrum.
--> ’Global Time Installation’ med 12 tikkende ure
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Kunstneriske ideer bliver formet i tid og rum
Mit kendskab til Indonesisk islamisk kultur og symbolsprog er gennem mine to tidligere besøg klart blevet påvirket.
Det er derfor blevet nemmere for mig at relatere til udstillings bygningen Sarang. Men af erfaring ved jeg, at jeg ikke pludselig får en genial ide, men at den langsom bliver født og formet i tid og rum.
Derfor har jeg igen skabt nogle skitser og bearbejdet nogle visuelle symbolske grundideer, jeg her i Jogja har mulighed for at videreudvikle.
Da jeg sagde ja, til dette nye Installations Projekt her i Jogja, tænkte jeg at jeg ville forsætte hvor jeg slap, nemlig at satse på at benytte materialerne Bambus og Krukker.
Mange gange vender jeg blikket indad og dykker ned i mine egne skitsebøger for at hente inspiration og indirekte videreudvikle mit visuelle formsprog jeg igennem årene har skabt.
Jeg har faktisk denne gang, direkte lade mig inspirer af nogle af de Installations ideskitser, jeg havde udformet til udstillingsprojektet 2015 her i Jogja til udstillingsstedet Kersan Art Studio. Metamor’phosis’ Installation B&W skibshal 90x33x22 m.
Vandskulpturen ’CirculaKrukker opfatter jeg som bevare af livet, føde og væske. Jeg har benyttet amfora-krukkeformen før. I Installationen Metamorfose i B&W skibshal og i Vandskulpturen
'Circula
Under mit inspirations resurse arbejde, hvor jeg altid forsøger at lade mig visuelt påvirke af alle de mange visuelle udtryksformer der er oppe i tiden, så jeg dette foto af krakkeleret ler.
Min underbevidsthed stoppede op, ved dette billede med ordene Hope-Despair. Modsætninger som sort/ hvid, liv/ død, Kultur/Natur, er energier jeg altid har arbejder med i mit kunstneriske udtryk. I disse ’Trump Tider’ er det vigtigt at vi ser den Global Verden i øjnene, tænker alternativt og i fælleskab løser nogle af de Globale væsentlige problemer.
’Tiden er ved at løbe fra os’. Denne sætning fik mig til at hænge krukkerne Upside Down, Symbolsk hælder krukkerne tiden ud. Denne symbolik visualiseres med viserene fra et ur. Selve urværket bliver skjult under det sprækkende ler. Sekundviserne der er i konstant bevægelse, antyder at tiden rinder ud.
Hvis jeg valgte at hænge krukkerne med bunden i vejret, lige henover krakkelerede tallerkner uden noget på, ville det antyde, at den sidste dråbe livgivende væske er løbe ud og ned i den spækkede ler. - Med lidt ris på tallerknerne symboliser det mangel på føde. – Ved at placere ur-viserne lige under krukkerne, får det os til at tænke ’Er tiden ved at løbe fra os’
Gensyn med bambusværkstedet jeg benyttede 2015
Allerede første dag valgte jeg at tage ud til bambus møbelværkstedet, hvor jeg fik lavet al mit bambusarbejde til mine Installationer 2015.
Fx ’Floating Soul’ hvor jeg benyttede 6 meter lange bambus.
Det var helt hjerteligt at gense håndværkerne, der hjalp mig med Installationerne.
Det var helt hjerteligt at gense håndværkerne, der hjalp mig med Installationerne.
Bambussen skal igen være det bærende element. Jeg har ikke besluttet mig for hvilken type bambus jeg vil vælge. Om det skal være den grønne smukke bambus, som jeg nu får jeg at vide, langsom vil blive mørkere samt at den sorte bambus heller ikke holder den dybe sorte farve. Jeg må nok vælge ligesom sidst, at male dem. På den måde omdanner jeg natur til kultur. Jeg har endnu ikke den endelig løsning på samlingen i toppen. Det er det svage punkt, der samtidig skal bære en krukker der vejer ca. 15 kg. Denne minimalistiske enkle bærende konstruktion, skal være helt rigtig.
En del beslutninger lader jeg stadig svæve i luften. Jeg tager en runde og ser nærmere på deres forskellige bambusmøbler og andre bambus elementer for evt. at få lidt konstruktions ideer.
Ardi min assistent, som jeg er afhængig af følger med mig rundt de første par dage, før jeg på egen hånd igen, kan finde rundt. Samtidig er han utrolig vigtig som tolk.
Specielt om aftenen er det svært at finde ind til byen, af alle de små mørke veje, ind til min ynglings cafe/restaurant ViaVia. Her kan jeg sidde med min computer i et afslappet vesterlandsk miljø med en kop god cappuccino og vegetariske retter.
Gensyn med keramikværkstedet jeg benyttede 2015
Vi tog også ud til keramikområdet hvor jeg fik hilst på keramik værkstedet, hvor de havde drejet 365 skåle til Installationen ’Salt Life’. Bedstefaderen havde sørget for at alle skålene blev brændt og omhyggeligt sortsodet på underside og overside. Den unge datter gjorde mig opmærksom på, at jeg dengang havde lovet, at sende hende mailkopier af hele brændingsprocessen, jeg grundigt havde dokumenteret. Jeg sørgede straks for, at sende hende kopier, da jeg havde fotoerne liggende på min computer. Flovt !
Jeg fik også hilst på den unge drejer, der skabte de smukke krukker til Life Live/ Live Life
Jeg ville denne gang forsøge, at finde en standard krukke de havde på lager. De næste dage valgt jeg derfor at køre alene rundt uden Ardi, så jeg evt. kunne støde på den helt rigtig krukke i størrelse og form. Mine tanker gik også i retningen, at finde nogle antikke. Men det erfarede jeg hurtigt, at det nok ville blive svært og måske ikke helt passede ind i mit udtryks univers, hvor jeg arbejder med at omforme natur til kultur.
Jeg havde sammen med Ardi fået samlet nogle forskellige typer af ler. Ardi kom med den de kaldte sort ler og anvendte til at skabe ler-skulpturer med på Akademiet. Så var der den rødbrune de benyttede til krukkefremstillingen. Den tredje type var den de anvendte til at lave mursten af. Vi var også forbi et værksted, hvor de skabte skulpturer af hvidt keramisk ler, der bliver meget hårdt og derfor ubrugeligt til mit formål, da der gerne skulle sprække
Der var en lille murstensfabrik over på den modsatte side af Sarang Kulturhus, hvor vi hentede en bærepose ler der direkte var gravet op.
Jeg lavede nogle prøver i 1 cm tykkelse. Det tørrede helt ind og sprækkede i løbet af 5 dage.
Jeg prøvede med 2 cm tykkelse, som jeg var tvunget til at samle som firkantet skiver. Men så skete der det, at de sprækkede, der hvor siderne støtte op til hinanden, også selv om jeg virkelig trykkede dem sammen. Sprækkerne skabte blot et slags flise mønster.
Global Hope – Global Despair
Efter et par dage med skitser og orddropping – Clock Ticking – Watch Up – Last Drop – Upside Down samt sætninger som ’Tiden er ved at rinde ud’. Dette er og har altid været et Globalt problem. Titlen på min Installation bliver derfor Global Hope - Global Despair også selv om håb og fortvivlelse, mere er en personlig tilstand.- Fortvivlelsen er blevet Global.
I stedet for en firkantet rektangel der er visuelt var tilpasset udstillingsrummet, vælger jeg nu at lave en cirkulær Installation, den Globale verden, der er ved at udtørre for resurser. Tallet 12 symbolisere de 12 mdr. og de12 stjernetegn.
Lercirklen der får en diameter på 700 cm presser rummet. Det tvinger beskueren til at være opmærksom på cirklen og på den måde giver Installationen et ekstra tryk og dimension til rummet.
I stedet for 8 krukker som i mit først skitseforslag, er det nu 12 krukker, jeg skal have op og hænge og danne en cirkel. For at det kan lykkedes, er jeg tvungen til under selve jernkonstruktionen i loftet, at skabe en cirkel konstruktion der kan bære de 12 krukker.
Jeg tænker straks på at skabe en bambusring. Men hvordan er det muligt at skabe en så stor bambusring med en diameter på 560 cm. der er stærk nok til at kunne bære 12 krukker.
Jeg har i mine skitser og tanker også leget med ideen om flere krukker hængende over hinanden, men hvis jeg vælger bambus, tør jeg ikke forfølge ideen med flere krukker.
Bambuscirkel på 560 cm.
Jeg tager sammen med Ardi ud til Bambus værkstedet for at høre, hvordan det kan lade sig gøre at skabe en bambuscirkel der er stærk nok til at kunne bære ca. 180-200 kg. Det er umulig at bøje bambus stænger på 10-12 cm tykkelse, så meget som min cirkelring kræver. - Jeg foreslår at man måske kunne benytte flækkede tykke bambus og evt. limer 3-4 stk. flækkede sammen.
Vi aftalte at jeg kom om et par dage, hvor de så vil vise mig et konstruktionsforslag.
Dette er det første udkast til den endelige konstruktion. Vi blev enige om at tilføje 2 ekstra flækkede bambus for at give det en vis tykkelse og styrke. Desuden fik jeg tilføjet en omvendt placeret flækket bambus lagt på indersiden af bambuscirklen for at at gøre cirklen mere hel og kompleks.
De flækkede bambus, får nogle snit med jævne mellemrum, for at de kan bøje det de skal. Cirkelbuen konstrueres i fire dele, der så samles i udstillingsrummet, Ved at forskyde de 3 lag bambus er der mulighed for at samle dem til en stor meget fleksibel cirkel. Foruden de store samlemøtrikker de benyttede, fik jeg dem til at lave bambusvindinger med 50 cm mellemrum.
Da jeg har besluttet mig for at skabe denne ’Time Globale’ installation, har jeg behov for 12 stk. af den type enkel ur-værker. Jeg havde tjekket denne enkle ur-mekanisme i Danmark
Jeg fik Nissak til at lede på internet og finde en udbyder af dette enkle urværk, men lidt forgæves.
Jeg opsøgte derfor nogle ur-butikker for måske igennem dem at opkøbe de 12 urværker. De kunne kun tilbyde mig det enkle urværk samt nogle alt for korte ur-viser. Jeg købte en for at afprøve den under mit ler.
Måske kunne jeg finde et stort væg-ur i en lejetøjsbutik eller et stormagasin. Jeg stoppede op, ved nogle store billige plastbutikker. En af disse plastbutikker havde et par forskellige store væg-ure. De havde meget heldig 12 stk. af den ur-model jeg synes bedst om. Prisen var ca. 45 kr for uret med glas osv. Det var billigere end det enkle ur-værk med de små viser jeg havde købt. Jeg skruede bagbeklædningen af et af urene i butikken, for at være sikker på, at jeg kunne benytte ur-værket og viserne.
Nu havde jeg mulighed for at afprøve ur-værkerne under ler. Jeg erfarede, at hvis leret var kommet for tæt på selve tappen der fik viserne til at følge med tiden, så kunne ur-viserne god blive bremse i deres rotationen når leret størknede. Hvis man ikke helt præcist havde presset viserne ned, kunne de i deres rotation bremse hinanden. Når leret størknede kunne det godt hæve sig lidt fra underlaget og derved stoppe viserne.
Krukkerne tager form og farve
Det var ikke helt så let at finde en krukkeform. Samtidig var jeg heller ikke helt vild med den glatte struktur lerkrukkerne har. Så opdagede jeg at nogle behandlede deres krukker med en plastmasse der gjorde lidt rustikke og gav dem et mere antik look. Jeg var heldig ret hurtigt at finde en rustikbehandlet krukke, i den rigtige størrelse og i den klassiske græske form som passede helt fint til Global Hope.
Jeg købte den enkelte krukke. For i det mindste at have en model, hvis jeg evt. skulle have et værksted til at kopier krukken. Lidt frustreret forsatte jeg min søgen. Det var umuligt for mig at vente 4 uger. På et keramik udsalg, var der en, der direkte spurgte hvad jeg søgte. Jeg viste ham foto af krukken på min Iphone. Den type krukke, kunne han godt fremstille 20 stk. af i løbet af 3 uger. De ville så være klar 2 uger før ferniseringen. Den risk turde jeg godt tage med ham, da han var den direkte ansvarlige for, at de blev færdig til tiden. I den anden butik, kunne jeg ikke være sikker på at grossisten ikke overholdt tidsplanen over for butikken.
Jeg bestilte 20 stk. i alt.- 8 stk. mere, da jeg har en ide om også at skabe en 4 m. høj skulptur af krukkerne.
Krukken jeg havde købt fik han som model, så han fremstillede 20 krukker præcis i den form og med samme rustikke ydre. Jeg skrev og betalte halvdelen af det endelige beløb. De kostede kun ca. 90 kr.stykket.
3 dage efter ringer han og fortæller mig, at 15 af krukkerne er færdige. Hvad mener han med det. Han havde først lovet at de var helt færdig efter 3 uger. Jeg tog ud til ham og ganske rigtig stod der 15 eksemplarer, som han sikkert havde opkøbt hos en anden grossist. Han ville straks gå i gang med at lave de sidste 5 krukker. Et par dage efter ringer han igen og siger at nu har han skaffet de sidste 5 krukker. Så han var parat til at køre alle krukkerne til Sarang
Nu var alle krukkerne i hus. Nu skulle jeg så finde ud af, hvordan jeg symbolsk skulle male dem. For mig symbolisede de et letter angrebet menneskeligt organ. Derfor fik de i en lidt grumset rød. Rebet der holder krukken oppe er mere klar rød, da den er livets navlestreng, der er forbundet til den lysende rødorange malet bambuscirkel, der svæver over den globale størknede jord.
Bambuscirklen er utrolig levende, leddeløs og fleksibel
For at få bambuscirklen til at svæve, benyttede jeg 3 mm wirer til ophængningen. Som det tydeligt ses på fotoerne, var det ikke så lige til, at få den noget leddeløse bambuscirkel op og hænge efter at have samlet den. Jeg havde satset på, at der var fire personer på hver sin stige. Men det var svært at finde stiger der var lange nok. Bambusmændene havde i stedet et system med snore, så de kunne holde cirklen oppe i højden mens wirerne blev fastgjorte, så det lykkedes at få cirklen op og hænge.
Da jeg næste dag, skal til at hænge krukkerne op, kan jeg godt se, at bambuscirklen var alt for tæt på de sorte jernstænger i loftet. Hele cirklen skal sænkes 20 cm. for at komme mere visuel fri af stængerne, så bambuscirklen derved opleves mere svævende. Jeg indser hurtigt, at jeg har brug for, at de to bambushåndværker kommer og hjælper mig med at sænke cirklen. Samtidig fik jeg mulighed for at rette cirklen til, så den hænger så præcis det er muligt, så krukkerne svæver lige henover afmærkningerne af ur-viserne.
Reggaemusikker har skabt en soundloop til Installationen
Jeg havde helt fra starte spurgt Nissak og Ardi om de ikke kunne forsøge at få kontakt med en ung komponist til at lave en soundloop til mit projekt. Hvor Installationen var manuskriptet. Ardi havde det svært med Akademiets Musikafdeling, de var ligesom mere stive og ikke så frie som på billedafdelingen. Så han havde ikke kontakt til nogle derfra.
En rigtig reggae type, har jeg været heldig at få til at lave en soundloop til min Globale Installation.
Jeg mødte ham her på Sarang, da han var og hilse på den koreanske kunstner Choi. Hun havde mødt ham sidste år, da hun udstillede med andre Koreanske kunstner.
Da jeg fandt ud af at han var musiker og spillede og sang reggae musik, spurgte jeg ham på trods af, at han sikkert var mest til hurtige og bastante rytmer, om han måske kendte eller selv var interesseret i, at skabe en lille kort soundloop til mit Installations Projekt. Han tykkede lidt på denne opfordring.
Da jeg igen så ham et par dage senere, ville han godt høre mere om mit projekt. Jeg fandt nogle sound-lydsekvenser frem, så han fik en ide, om hvad det var jeg søgte når jeg snakkede om soundloop til min Installation Global Hope-Global Despair. Lyde der blander det positive med den sørgelig virkelighed af dystre undergangstoner.
En uge efter møder jeg ham igen og han fortæller mig, at han om et par dage vil gå i studiet hos en af hans venner og lave sekvensen. Der går 10 dage og jeg høre intet. Han har måske fortrudt. Han virkede lidt skæv hver gang jeg har mødte ham, så jeg forventede at tid og sted forsvandt lidt for ham.
Via Choi modtog og hørte jeg så Soundloopen han havde skabt, over hendes iphone. Vi havde ellers aftalt, at han kom til mig. Men nu var han blevet forhindret, da han var i gang med at undervisning nogle unge mennesker.
Sekvensen var utrolig rytmisk og positiv, så Choi og jeg tog en lille dans på stedet til de positive smukke toner. Men den Soundloop jeg håbed at modtage skulle bringe tilskuerne i en lidt meditativ dyster sagtmodig eftertænksom stemning, blandet med lyse toner af optimisme.
Jeg fik fat i ham og vi blev enig om, at mødes samme aften. Jeg lod ham forstå, at hans musik var enorm inspirerende med fine smukke toner indimellem, der godt kunne anvendes i soundloopet. Men rytmen skulle væk, da det mere var lyde og ikke rytmer jeg gerne ville have i min Installation. Han hørte efter, men jeg ved ikke hvor meget han forstod.
Jeg forslog ham, at jeg tog med ud i lydstudiet, så han evt. ikke behøvede at vende tilbage, hvis der stadig var lyde eller rytmer, jeg ikke kunne få til, at passe med mine intentioner med udstillingen.
Dagen efter tog vi ud til hans unge vens lydstudie, som Black havde dekoreret med sit visuelle sprog.
Jeg fandt hurtigt ud af at Black var temmelig udkørt. Han fortalte mig at han havde haft mareridt og sovet meget lidt, da han frygtede, at jeg ikke kunne lide hans musik.
Jeg fortalte ham så mit mareridt. Natten før jeg modtog hans Soundloop, havde drømte at han i Soundloopen fortalte om en lille pige, der var gået ind i junglen, mere kan jeg ikke huske af hans historie, men jeg kan huske at jeg i drømme fortalte ham, at han ikke skulle fortælle poetiske eventyr, men skabe en lyd der kunne få menneskeheden til at forstå, det var helt galt med den Globale tilstand.
Den unge teknikker vendte sig mod mig, for at høre, hvad vi kunne gøre ved soundloopen han sammen med Black havde skabt. Langsomt fik jeg ham til at forstå, hvad det var jeg søgte efter. Black var helt i sin egen verden, så jeg forstod at han ikke rigtig ville være med på denne transformation, af hans rytmiske sound.
Jeg kunne fornemme at han var stået af. Han holdt sig det han var bedst til, nemlig reggae rytmer. Sound uden rytme var ikke hans speciale. Jeg var velkommen til at benytte og transformere hans lydunivers indtil mit univers. Hvis jeg var tilfreds, var han også tilfreds. I næsten 2 timer arbejdede den unge teknikker, der var helt selvlært og jeg sammen, for at skabe et lydunivers med Black’s toner og få rytmer.
Vi fik skabt 2 ½ min. lyd som jeg synes og tror vil fungere i Installationen. Det er en soundloop med lidt rytme. Lyden får mig til at føle, at jeg bevæger mig rundt i junglen alene, med følelsen af at være uden for tid og rum. Llydteknikeren, Black og jeg var tilfredse med Soundloopen.
Jeg har langsomt lært at koble fra og nyde nuet
Denne gang har jeg indtil nu, nydt arbejdsprocesserne. Jeg er blevet meget bedre til også at koble fra og nyde de forskellige facetter livet hele tiden tilbyder en. Specielt når man befinder sig et nyt sted fyldt med nye indtryk. Så jeg forsøger at holde stressen lidt på afstand.
– Denne gang har jeg mange arbejdsprocesser jeg selv har valgt at klare, da Ardi mere denne gang, har været min guide og tolk end arbejdende kunstnerisk ass.
Denne gang hviler jeg mere i mig selv, da jeg forbavsende hurtigt og til dels smertefrit har kunne overskue tidsperspektivet. De forskellige materialer og arbejdsprocessen har ikke på samme måde voldt de store problemer som de gjorde i 2015.
Jeg har denne gang været bedre til at tage højde for at værkstederne/Indoneserne har en tildens til at skubbe opgaverne foran sig. Dage bliver til uger. Det skal man være klar over, samtidig med, at man er tvungen til at presse lidt ekstra.
Jeg har igennem alle årene kun få gange koble en assisten på mine projekter. Rent økonomisk, har jeg valgt at vælge en assistent fra, for ellers ville jeg ikke have haft økonomisk råd til at skabe de installationer, jeg gennem årene har skabt. Alt har en pris.
Denne gang har jeg ikke følelsen af at være bagefter, da man har givet mig 2 uger til at etablere Installationen i udstillingsrummet. Alt skal næste være klart mindst 10 dage før ferniseringen, da det tager så langtid for 3 cm ler at blive gennemtør og sprække det den helst skulle.
Når de først har glattet den 700 cm store lercirkel i et lag af 3 cm ud over gulvet, skal alt være hængt op, da man nu ikke mere kan komme til med en stige.
Bambus Cirklen skal være ophængt i rigtig position. De tolv krukker skal være færdigmalet og ophæng lige over pletten hvor ur-viserne cirkulere samt placeret i den rette højde.
Atelier visit hos indonesiske kollegaer
Nissak har fået organiseret, så Choi og jeg, sammen med nogle andre kunstner besøger nogle af de lokale kunstnerkollegaer. Det er dejligt på denne måde at blive lukket mere direkte ind i en kollegaes visuelle univers. Man får et indblik under hvilke betingeler ens Indonesiske kollegaer arbejder og fungere.
Gusmen Heriadi
Komroden Haro
Heri Dono har bygget sit eget museum til sine mekaniske skulpturer, hvor mange har et politisk og socialt sigte
Kærlige tanker
Bjarne v.H.H.Solberg
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