Page 127 - The 70s - ABC of the material

I try to put more emphasis on your line of thought, Elements that seem totally different, turn out to
more on thinking from than on the material.
Angle of View
equivalence of opposites
It almost seems like by agreement that in many
works of art of nowadays everything has to
consist of form and counterform, by which
subsequently a tension is evoked. Things not only
exist in comparison with other things, with which
they show similarities and dissimilarities, they also
are themselves. By manipulating the properties
of material and technique, paying attention to
form, type or quality, the equivalence of opposites
becomes visible.
The choice of material and technique is often
determined by a sensitiveness for changeability in
space/time.
In the working process evocative references to
something else than the concrete properties
of the material itself are reduced as much as
possible.
Examples: “the harder it snows, the more there
falls”. Winnie the Pooh.
The same entity, for instance a line of the same
dimension, is going to look totally different by a
difference in composition. A line is put with ink
on paper, and is changed of direction one or two
times. With this it for ever is fixed unlike a three- Indeed you get more insight but that insight
dimensional line on the same paper of the same
dimension and that is also changed of direction 1
or 2 times and that is subject to certain forces in
nature such as gravity.
Five Minutes Drawing. Technique: frottage
The act of “rubbing” with a pencil on paper for
five minutes produces a visual end result that
is not identical to the movement made. The
horizontal rubbing of the pencil brings out at the
same time a vertical movement on the paper.
Topological Symmetry – The principle of the
transformation of geometric figures.
The nature of the material used determines the
degree of transformation.
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be each others reflection in which length, type,
location is equal.
* chronological ranking, additional facts, sizes etc
Coosje van Bruggen, 1978
page 82-83
Letter to Coosje
Dear Coosje,
I never realised that art is to such an extent
subject to fashion.
Maybe I am to idealistic but I have always
assumed that art is something that goes
beyond the outside and I do not suggest
anything magical or mystical with that.
How do you show your work to a larger public
without a trivial side effect occurring at the
same time.
Do you have to let it come over you passively?
But I do not have a passive nature.
Formerly I thought that when you get older you
would get a better insight into the structure of
life and become less vulnerable and sensitive.
causes the opposite and you get more
vulnerable and sensitive because you come to
see razor sharp how everything is put together
and how people are.
At first this is intuitive and you can forget it now
and then but as soon as you become aware of
this you can never forget it anymore.
Cause and effect are so inextricably linked.
That is something I brought very close together
in my work .
I do not want to live in illusions, with
expectations in an action – reaction pattern
because that does not work liberating but
hindering.
I am not concerned whether to be an artist or a
housewife a mother or a teacher.