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at Particles Gallery, Beurs van Berlage
sketch of complete installation
detail of pattern
detail of ikat weaving
pochampally (india), 2013 Uitvoering: Mister Ramdas.

Description of the Ikat installation I-kat silk fabric, 3 kilos light, 36 kilos long. The fabric is suspended in a shape that forms alcoves, thus creating a space. There is an interaction between the pattern in the fabric and the space that the fabric -when hung- forms. The pattern reacts to the shape in which the fabric is suspended; it consists of only vertical lines that differ in their width, height, sequence and also resonance (with i-kat you have a sort of outlier/margin at every edge, which we have determined for every point). The fabric is red with black, and a white edge at the bottom. It hangs from silk threads. Depending on where you stand in the room, you see a different pattern, and, thus, a different image.

Ikat is a weaving technique, where each thread is dyed before weaving, depending on its location in the weave. This requires a very structured working method throughout the process.

Concept The installation is an object - an entity - that forms a space to which you relate as a spectator - architecture-. These two properties reinforce each other and are set out in the installation. The installation influences your sense of time, similar to how music can. A comparison that Le Corbusier proposed: 'Architecture is not a synchronising phenomenon, but a gradual unfolding. It consist of a sequence of tableaux, associated in time and space. Like music, it is a means of conceiving in time.' Broon Die Reihe: a periodical devoted to developments in contemporary music. Cited by T.Pressor, 1958, p44. The relationship between time and space is dictated on the one hand by the work, by its size; it takes a while to see the whole canvas, to walk around it, to absorb it. At the same time, there is the space to take a step back, a moment to contemplate it as an object - a wall-. There is, however, never a complete overview because the work can be viewed from both the front and the back. The image thus lays claim to your memory and your understanding of what you see. Contrasting the installation as a whole - the wall/the overview - is the intimacy of the alcoves, the fine structure of the silk and the extremely refined transition from one surface to another. These factors form what one might call the 'duration of the object', where room for meaning and experience is created within a coherent design.

The presentation of this work makes use of the visitor's memory and the human capacity to make connections. Our perception of 'the new' does not exist without our memories. Our understanding of the world, your surroundings and that which is in front of you is an interaction between that which you knew (have seen) and that which comes to you. This work sets these notions against each other by introducing and repeatedly showing some very clearly distinguishable elements (e.g. black/red, lines/background, overview/alcove, detail/large gesture). Each time in an opposite manifestation. The work turns around, and so uses what you have already seen: to make you look again and again.

I find this relevant, not because someone might not see it well or fully the first time, or feel it. But because being able to see the other perspective creates space to come up with ideas, or to reconnect thoughts and experiences. This is a quality that in many circumstances is essential, with people amongst themselves and being able to do and share things together harmoniously.

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