Police Investigator K-9, pencil, coloured pencil on pink tone paper, A4 (210 x 297 mm / 8.3 x 11.7 inches)
This drawing is based on a film still from the 1988 Steven Seagal vehicle “Above the Law”. He is striking a somewhat striking posture with a manly thumb hooked under the belt of his blue jeans, and a very interesting way of holding the handset of a public telephone while leaning against its sturdy metal body, tagged in a very haphazard fashion with various names, among them, standing out due to size and color, the name “Aline”. Also featured, a star of Betlehem.
Although largely done in pencil a few highlights are added in the colours blue and red. Steven Seagal’s head is replaced with that of a German Shepherd – the idea of making the head of a male protagonist a beast’s head is of course epitomized in various illustrations to the story, The Beauty and the Beast. The idea is to underscore the fact that manliness, especially its sexual aspects, expresses itself best in animal attributes, the whole world of masculine sexuality being anti-social, anti-civilization, etc., and the reality of the sexual act being a bloody business with death as an end result (see also, the wolf man).
General impression of blotchiness of the reproduction comes from discoloration, curliness or waviness of paper, stemming from excess humidity, water damage, hand grease. The paper used is of extreme thinness, like letter paper.
This image would need no further comment, if the idea of the comment was merely to describe or amplify that what is shown in the image. What is shown lies on a plane where laughter, sighs, and giggles reign. A poem or song would be better suited to accompany this drawing of the salon or bidet variety.
The artist feels however inclined to add that the scenery depicted has very little to do with the Comte Ory storyline of Verdi’s opera buffa, but is indeed showing members of a dance troupe passing the night in a castle unwillingly offered to them as a shelter for the night by an oddly motivated aristocratic owner, who is torn between his own ingrained hospitality and the knowledge that harm will befall his guests because the castle is also claimed as a hunting ground for young female victims by his vampiric brother, who, being undead, naturally has no legal claim tho the castle, inherited by his surviving brother. The drawing owes its peculiar charm from the fact that it is based quite closely on a still from the Italian Gothic film “L’amante del vampiro” by the otherwise not very well known Renato Polselli. Casting for the film involved Gino Turini who put in part of the money for the film and Hélène Rémy as the film was originally going to be a co-production deal with France. Writer Ernesto Gastaldi once noted that the casting of Tina Gloriani was due to her being the director’s lover at the time.
This superfluous information hopefully will not serve to diminish the effect of the one pertinent artist’s addition in the form of the hirsute mandrill face of the male protagonist. Male mandrills are of course the most erotically branded animals; they carry their propensity for sex in their brightly marked faces and their firey red behinds, while the intensity of the colours is directly linked to the level of testosterone in their bodies. Note how the two women depicted in this scene allegorically represent the two possible reactions of the opposite sex (unmarked) to such a stark display of sexual interest in the man; either amused curiosity or interest, or concern. Today and to modern audiences, this motif and its reading might seem jejune or ill-advised on the basis of enlightened disdain for traditional gender-based roles in terms of sexual initiative or competition. But this is very anthropocentric thinking. This is more about the (assumed, suggested, claimed) animal nature of things sexual, so closely related also to satanism, ritual, cruelty, neg(oti)ation of civilization and rules of civilized behaviour.
Antitransgressive prevent strategy has three specific objectives: (1) respond to the ideological challenge of deviancy and systemic transgression and the threat we face from those who promote it, (2) prevent people from being drawn into boundary challenging behaviour and ensure they are given appropriate advice and support, (3) work with sectors and institutions where there are risks of radicalisation (hot spots, suburban abandoned areas, et al.)
The Three Strategies of Huang Shigong (Pencil, crayon, pastel, acrylics on paper, 65 x 50 cm)
Look at a brutalist office edifice with sustainable, architecturally integrated cooling and climatization scheme, dedicated to the established best practice of social work and the prevention of social disintegration by all forms of deviancy, including chronic fatigue syndrome.
See how the sculptures of three modes of transportation – (steam powered, bodily propulsion by legs, petrol based motorized solution) are forming an allegory of adaptability and the value of “getting out of the comfort zone”, to achieve better social results which will all eventually end in failure due to entropy which besets the universe and is totally against all human endeavours to create stable (“sustainable”) solutions. See also that the tricycle of the Dion et Bouton type is meant to be an immovable sculpture, bolted to the pavement, just as the Greek Riace bronze warrior is only a mass-market die-cast full scale model of one of two actual sculptures, found in 1972 in the sea near Riace, Calabria, of an actual and organic bearded warrior, and the Engine on the roof is also just a light-weight, plastic replica in slightly reduced scale. This is all architectural art of the Kunst am Bau variety, later added to the stark and elegant brick edifice which in its purer form served purer functions, supposedly.
Please note that this drawing is not only in actual execution, but also in reproduction of only middling quality. This reflects a remark by an actual social worker “social work is always and in all forms dedicated to failure”. In fact, even though in rough form, the drawing includes and merges all sorts of painterly and graphic techniques. If the artist was a Norman Rockwell this should mean that the work was supposed to shine in photographic reproduction, but this was achieved in this case, due to inferior photographic equipment and lack of photographic expertise on the photographer’s side.
Way to Work, 9.1 x 12.6 inches, pencil on yellow carton, 2022
This drawing is the recreation of a drawing from 30 years ago. That drawing was nearly identical in composition, but the figure was fully dressed. While the original was not found, presumably lost or sold, a photocopy still existed, begging in its inferior quality for the undertaking of making a new drawing, a handmade copy of the remembered original, coming as close as possible or even surpassing its original craftspersonship (perfectionism/youthful folly). Actually, even though slightly larger than the original A4, the technical execution is inferior, no doubt due to use of single mechanical pencil with HB mine and tip size 0.3 mm instead of multiple finely and variably sharpened wooden pencils of different grades.
The original clothing of the depicted person was first executed, then, by means of an eraser, removed again, and the nude body reconstructed, to achieve something of an Helmut-Newton effect, with a tint of irony perhaps, as the depicted person is not really the preferred Newton body-type. There was the idea that this could be a sort of nudist yoga teacher, but the muscular tonus is not there, nor the general width of the core which normally results from yoga practice.
The source of the depicted setting is not clearly remembered. In all probability it was inspired or rendered from a photograph of an architectural decoration project by Victor Vasarely somewhere in France, either a shopping centre or university campus.
The following is a non-realized passage concerning dress codes and where nudism would or could be placed on a scale between “casual” and “formal”.
Please observe the extant photocopy of the 1994 original:
Film School Student in Akira Kurosawa Jumper, 9.1 x 12.6 inches, pencil and Chinese white on red carton, 2022
This drawing is a medium faithful copy of an original which the artist produced in their early prime, probably around the year 1994. It is an effort to reproduce ancient charms in place of new inspirations. This reproduction was made from an old low-quality photocopy of the presumably lost original. It features a Caucasian male in front of a large library or university canteen window overlooking a Japanese garden, wearing a designer pullover (fashion statement) inspired by one worn by Akira Kurosawa on the occasion of one of his latest interviews, probably in the early 1990’s. It is drawn with mechanical pencil on the back of a French Exacompta folder in an exquisitely elegant warm red tone. Some highlights where added to the shrine and tree in the upper left corner. Grease marks will fade over time, while fold creases are original property of the medium and will remain.
The 2nd Marianne Dreams House/The House on the Borderland (Acrylics, [coloured] pencil, on two A4 sheets of “Durex” technical drafting paper)
This house is the second variation on a dream location described in the book “Marianne Dreams”, by Catherine Storr. It is a house containing a boy, inflicted by polio, who lost the will to live (or to move which according to Wolf Larsen is roughly the same), a house with barred windows at first and no interior furnishings, surrounded by encroaching rocks with evil eyes. Marianne enters the house, which she had created by drawing it with some sort of very powerful pencil, in her dreams, while herself in her waking state being bedridden with some illness but a sense of agility far surpassing the progress of her recuperation, and engages with the boy, whose name is Mark (he could have been aptly called “Mark One” had this story been set in a science fiction as opposed to a sort of fantasy setting).* She challenges him, much to his discomfort, to get out of his self-protective identification with the limitations and the confinement of his illness, and finally succeeds, after having empowered him by dreaming/drawing up an exercise bike for him to train his legs, to have them both rescued by helicopters.**
*If set in a “parodic” sort of internet and social media world of the 2010’s, the character could also be aptly rechristened “Chris”.
**For a slightly darker toned rendition of same image, please visit this address
At the Toy Car Convention / Un re in ascolto, 2019, pencil and pastel pencil on tone paper, 22,9 x 31,8 cm / 9 x 12.9 inches
Certain display options do not work due to conversion to a block type page set-up model. A new template ought to be chosen. This drawing belongs to a group of smaller and well accomplished drawings made in 2019, which deal with the topic or the author’s personal endeavour of a return to the human figure (after several years or a decade of abstaining from the depiction of human figures). Note that the human figure is a very dangerous item to depict. While from an Islamist perspective, you defy God’s will, in Western society you make certain dangerous statements with each attribute you choose to endow that figure with for the sake of desired or presumed realism. Class, as demonstrated in dress, skin color, sex, all such things have become contentious due to identity politics. It is easy to hurt someone by callously laying open the fact that the author’s inner society might not contain certain sub-species, gender types etc. or might be in some other way testament to the power of categorization. This drawing features a dog-person (the inspector), an overweight person, an unclad youthful person. All, including the dog type seem to belong to the male category, all are united in reveration of a presumably newly released vintage car model (a 1:8 die-cast scale model of a 1910 Benz Limousine) – a fetish linked to a certain sub-type of masculine sexuality. Other interpretations or readings of this image are at the discretion of the observer. It ought to be noted that the dog type is a paraphrase of an original sketch by the author Wolfdietrich Schnurre, depicting an arrogant dog of breeding, featured in the 1962 novel “Die Aufzeichnungen des Pudels Ali”. In this scene, he might not partake in the reveration process, but acts as the inspector, the arrogant non-human agent, observing two employees of the model toy car company, who might be involved in a crime of sorts.
The Abductionist’s House, pencil, pastel on tone paper, 29,7 x 21 cm
Pink, magenta, purple, are the colors most likely to excite consumer interest. Colors of this family have the right temperature, are inviting, and compelling. While this fact was discovered by the comics industry in the 1950’s, it took very long to become common knowledge among mass manipulators. Certain snap judgments stood in the way. As to content, most notable elements besides this house (designed by a real yet long dead architect, not by the author) are the two dogs in the foreground, representing the two owners of this house (a hunter couple), and the unique pyramidic tree sculpture to the left. This is going to be patented and mass produced and sold cheaply to those who prefer a touch of class and artificiality in and on their gardens and lawns. Also, these can be illuminated from withing to become glowing tree shapes in the night. People will say: “Nice touch, we like!”. The house owners seem to be active and in attendance inside their lodge, see the smoke coming from the chimney, a prop element hinting at occupation.
The Constitutionalist, 40 x 29,9 cm, pencil, colored pencil on paper
The Constitutionalist, so-called to uphold the value of a carefully set down list of fundamental values and principles according to which a state is to be run or governed, is seen parking in front of a railway station called “Rheinburg”, symbolically so, as the river Rhine is the traditional geographical border between western civilization and the teutonic netherworld, unconstitutional “Hel”. Serving as a permanent control to the permanent control value of the constitution, a floating device in the shape of a futuristic world-lantern, casting its unreal and otherworldly light on the phallic orange body of The Constitutionalist. Ideas of heliocentrism, constitutionalism, anti-dyslexia, state controlled eductation and indoctrination, etc. are all the outgrowth of a patriarchal tradition, the eternal fight against gynaecocracy.
Dyslexia, a silent deviant, an underminer of understanding Makes values crumble The book worlds tumble More proud than humble, as it is powerful
And knows its power well. But not from books. It’s eminently practical, pragmatic, But also deceiving.
Know your enemy well, the cunning one Who does not work with strategy, Whose moves are based on instincts.
Honing in on the weakness of well-read intellectuals Spineless thinkers who sold out to the written word
The Plutonian, pencil, coloured pencil, leaf silver, 39 x 29,7 cm
A compact, strong shunting engine well suited to deal with the adversities of everyday life and hard work. The Plutonian world is the opposite of the cool world. You need to be clad in special alloys and have a powerful yet simple method of propulsion in order to survive the first few meters on your way through life. It seems best not to dwell on further associative stream-of-consciousness writing, but to complement this drawing with a poem:
I did it while suffering
I did it while suffering
Medical complications
I did it while
Facing life
From the perspective of death
Surviving death
Every day
Some elementary truths
I picked up
Along the way
Littered on the wayside
Picked truths like flowers
Some hidden truths
Suppressed truths
I did it while suffering
While suffering
I did things
I lifted things
I saw through things
Elementary things
From the perspective of death
I did it.
So you, who see things
From the perspective of life
All pink, rose tinted
Don’t you dare
To criticize
Or nit-pick
What I did
Because I did it
While suffering.
The Carl Grossberg, 48 x 36,5 cm, mixed media on yellow tone paper
A detailed, if slightly crammed drawing with the theme of what our world would and could have looked like if energy independence, chemical independence, transportation independence and true man-nature metabolism had been the goal of industrialization. The drawing could also be an illustration to a treatise on “The Rift” (in the universal metabolism of nature), as described by Karl Marx. Not that the artist is deeply informed on the subject. In fact, any assumption of true literacy in any genre is categorically refuted (in accordance with the law of humbleness and common sense). Embedded in the rocky landscape background are several stylized coal liquefaction plants or chemical factories, tubes and pipelines, and one motif from a painting by Carl Grossberg (Fabriklandschaft im Schnee, 1923). Of course there is no snow here, as in fact the yellow color of the cardboard on which the scene was drawn evokes impressions of a slightly murky, warm climate (perhaps of the inner earth) with sunlight filtering through a crack in the rocky ceiling, further muted by an emission-saturated atmosphere. The drawing consists of several layers of pencil, colored pencil, washes of acrylics and different reflective and metallic pigments on a base of human spittle (which are in fact all but invisible. Note that the “inner earth / Hollow Earth” theme has all sorts of connotations, historical science fiction ones as well as the psychoanalytical/gynacocratic/chthonic idea of earth as a womb. It seems in any case appropriate to annex a quote by Bernard Herrmann, wherein he describes his ideas about scoring the Filme “Journey to the Center of the Earth” (1959), since that film features landscapes not unlike the one depicted above: “I decided to evoke the mood and feeling of inner Earth by using only instruments played in low registers. Eliminating all strings, I utilized an orchestra of woodwinds and brass, with a large percussion section and many harps. But the truly unique feature of this score is the inclusion of five organs, one large Cathedral and four electronic. These organs were used in many adroit ways to suggest ascent and descent, as well as the mystery of Atlantis.” Drawing and words (except for italicized words by Bernard Herrmann) by Torsten Slama>
The Kraftick Liquefaction Plant, 36 x 50 cm, pencil, colored pencil on tone paper
“When Germany still strived for complete autonomy and independence of Western (and Eastern…ed.) influences, coal hydration technology was one of her attempts to realise complete energy independence. Had the hydration plants not been completely eradicated by the end of World War II, their gasoline output would have served Germany’s entire private car fleet well into the 1960’s. ” National Empowerment through Petrolum (NETP)
Apart from all its pertinence to energy empowerment stratagems, this drawing should be judged on its artistic merits and technical peculiarities. Mixed media technique on tone paper makes for interesting depth effects. The pervading pink motor oil atmosphere is sometimes fought back, at times heightened. Some of the liquefaction towers are aslant. The geological rock formation on which the plant rests seems unstable. Even the thick concrete platform on which all rests cannot prevent warping. Yet maybe the warping is only in the eyes and the hands of the draftsperson. Or perceived aslantness could be an optical illusion due to the diagonal dynamics of the rock-layered landscape in the background, which works against the perpendicularness of the liquefaction towers.
In a special effort to facilitate appreciation of technique, two details are included:
This reproduction perhaps does not do full justice to the original drawing, which has a rather unusual tonality, based on the blending of so many different brands, types, and colors of the colored pencil variety, all superimposed on an already well-finished pencil drawing with rather profound dynamics in the darkness-lightness range. Thus, the result is very much like a colorized black and white drawing, giving maybe the impression of a very early experiment in colour reproduction. The thematic dedication is referring to a Catholic theologian movement which enjoyed its phase of greatest vivacity from ca. 1660 to 1700 AD. Even though the movement played itself out predominantly in France, it was based on the teachings of a Danish theologian, emphasizing, in typical Nordic fashion, original sin and human depravity. The ?-voiced Commentator “ex”plains: this engine is a very impervious juggernaut, clad in different metallic alloys, being, say, indiscernible to radar, impenetrable by all sorts of electromagnetic radiation, shielded towards the degrading effects of human depravity and all varieties of human frailty. Any kind of believe in a superior being is something like a mental armour, shielding one from the hopelessness of mortality – the machine is a materialization of the urgent desire to overcome death. People often choose suicide to overcome death. They resent their mortal bodies. They would like to have their unique minds stored in metal cylinders — so, in a very roundabout fashion (or in a very allegorical fashion, or maybe in a very freely associative fashion), this drawing could also be called “The Whisperer in Darkness”.
The engine depicted here thus might be the metallic encasing for a human soul, moving through an archetypal, pagan, or, perhaps, Stygian highland (the Gaelic haven to the Teutonic type, disappointed with their own version of a heathenist anti-western world), along some loch, or firth, or estuary, a landscape which might have formed the background to the most impressive feats of early Catholic Christianization, or Westernization.
This drawing is based on a painting by the late New Zealand railway painter W.W. Stewart. The New Zealand railway station and the engine was transplanted into a landscape of possibly Triassic character and the people decorating the scenery were eliminated. More specific information about the engine and the railway line could be obtained by a knowledgeable New Zealand railway buff. This artist, in full possession of his artistic prerogative to be weak-suited in terms of research, failed to do so. The copycat artist, having confidence issues, wants to strengthen the impact or poignancy of his drawing by adding the following impromptu piece of poetry (please observe the judicially placed punctuation; a mark of poetry):
Go, Engine of Confidence, Go your way. Unencumbered by self-doubt Say it loud! You have no capacity for self-doubt.
You are long in the tooth, wide in the hip You go on every trip With confidence.
Engineered to do your best Not concerned with all the rest Your path might be crooked Perspective unsound Your wheels go round and round Until you stop.
(What follows is perhaps somewhat rambling while striving to be an encompassing description of what is already there, yet undescribed, and maybe even better left alone and unmolested by words and hearsay-facts. Uncovered, named, listed, documented sources often form a thicket under which lies buried the depth of original conception, and the factual ambiguity of the term “original”. A term which to discuss is not the purpose of the following word-thicket.)
This drawing was made to serve as a decorative side-piece for a show in a special sort of gallery, showcasing original editions of books by Bruno Schulz. The drawing’s author (the “artist”), limited in his choices by the restrictions describing his own realm of inclinations, would not have chosen this author to draw inspiration from, yet found in himself a strong urge to do “something different” (something different, of course, from what he would naturally do). So it was an appealing idea to do something according to somebody else’s wishes. So it had to be a sort of illustration. It was not to be a paraphrase of Bruno Schulz’s own, often somewhat fetish-centric drawings. It is an illustration of a detail in the short story, “The Book”, an ad for a hair tonic mentioned therein. Some pictorial inspiration was drawn from one of this drawing’s author’s favourite oil paintings, “Mourning Picture”, by Edwin Romanzo Elmer. Since the drawing’s author does not get around too much, he has never seen that painting in the original. He first came across it in a book about “Naive Kunst”. For some reason, this painting was classified as that, among numerous Yugoslavian examples, some French, and a notable German entry, Friedrich Gerlach. It was only a black and white reproduction, not particularly crisp, but the cracks in the thickly-painted clouds were still intriguingly visible.
A nom de plume was chosen for this drawing which refers to Edgar Allan Poe. So the original accent is nicely rounded off by the American influence in the form of two late 19th century American sources augmenting or instrumentalizing one Polish-Jewish, 1937 modernist, original inspiration. What this means is that it tells you something about the drawing’s author’s mindset. The artist-illustrator would also maintain that there is a certain touch of Will Elder noticeable in certain details. Which then would make for a third, second half of the 20th century, modern-popular, as opposed to modernist, American influence. The above-mentioned pen name was “Hans Pfaall” (see signature in lower left corner), lending an additional phallic touch to the drawing, already well endowed with phallic forms (eight, or nine, depending on the viewer’s susceptibility to phallic forms). A touch of quaintness is the choice of pink tone-paper, in reminiscence to a certain cheap stock of recycled writing paper, not widely available anymore. The drawing originally also featured a cat (taken from the above-mentioned mourning-painting) with very long hair, which was then erased and replaced by a multitude of overgrown house flies (Musca domestica, of the suborder Cyclorrhapha). To complete the list of references, and, in the process, to add one German influence (an addition of questionable historical and moral sensitivity perhaps), the self portrait of the painter of the Mourning Picture, sitting in a lawn chair and reading a newspaper, originally moustached, wearing a bowler hat, had his head replaced with that of a dog-creature which is a rather faithful copy of a drawing by the German author Wolfdietrich Schnurre, who illustrated his own books. This dog face, bearing the caption “Arrogant, aber von Adel”, was featured in his 1965 novel “Die Aufzeichnungen des Pudels Ali”.
Paul Gerhardt Church Gelsenkirchen-Ückendorf with 1903 Cadillac Model A Runabout (A3; 42×29,7cm)
Behold here a fine example of evangelical church design in the vein of tasteful international modernism, a sight, not altogether typical, but not unusual either in a time when there was still a lively interest in all church things, yet the decline of church business was already clearly visible on the horizon of time as men know it (not geological time). Witness the gleam of the main building’s big glass front – a huge abstract dyptich of biblical proportions – which is clearly an early Euro-continental reference to the big coloured front face tradition of modern American churches. This church, built many decades ago, at some not exactly verifiable point in the 1960s, still stands, yet is robbed of its dominant feature; the space around it. Today, it is sadly hidden behind parked cars and fences, and swallowed up by attached public service facilities: an old people’s home, a kindergarten.
Note how the nave is separated from the church tower in this design. A separation of things usually compacted into one edifice might be due to conscious conceptual considerations, or simply a sign of the times. What this separation signifies is the American-Fordian thought and practice pattern of division of labour – the tower; the reaching out facility, both reaching out for the congregation, reaching out for god (also a structure akin to a giant billboard/beacon with built in audio component) – the congregation and worship hall a place of production, production of faith, the plant proper.
This house, a monument to the phallic guilt complex of modern patriarchal architecture, lives in a place of rich historical meaning for a certain variety of people. The hypothetical new owners, formers employees of the local financial institute which co-financed the costly renovation and restoration of this model building for the system family, exerting their ownership rights and overriding certain restrictive laws concerning historical hallmark structures, tried to add to the concept by painting the building a strange variety of pink, and placing a gaily painted totem pole of western American red cedar in the style of the indigenous peoples of the Pacific Northwest coast of North America on the premises. A nice wooden smell wafts through the area which is repellent to the common clothes moth, tineola bisselliella.
Karl Band, Cologne St. John Baptist, with 1901 Oldsmobile Runabout (A3; 42×29,7cm)
This is a beautiful example of the art of repair and rebuilding, as practised widely in the middle of the former century, in this undisclosed place, which met with generous structural destruction in the second half of the Second Great War, and thus had a chance to develop a unique style of modernity in rebuilding, a style which flourished for only a little more than one decade, only to be replaced by a still unique, but aesthetically rather unsatisfactory industrialized construction process, using holistically questionable materials like Ytong, autoclaved aerated concrete (AAC), calcium silicate units, and mineral insulation board.
In this short blessed phase before the chemical industrial complex got on its feet again and took over the construction market, brick was the preferred building material; often recycled from the rubble which was lying around in great quantities to be collected and reused or heaped wholesale into artificial hills. Concrete, if it was used, remained mostly unadorned and unhidden, its surface showing the marks of the cast in which it was poured, a practice which developed, outside of its niche as a method of artistic repair for churches and damaged art museums, into a fashion, an alternative International Style utilizing less glass and steel, more brick and concrete, mostly employed in the construction of publically funded municipal buildings, police stations, universities, or social housing projects. This style, though, did not really take hold here, in this undisclosed place, but abroad, were minds were more open, less numbed.
This church, first recorded in the year 1090, suffered extensive damage during the war, and then became what was locally praised a jewel of modern reconstruction, a reconstruction which was realized by the architect/builder Karl Band, who could be considered the North Rhine Westphalian version of the Bavarian Hans Döllgast.
This church now serves as a combined worship and convention center for the CRUX youth movement, which aims to spiritually cleanse and refresh the world though collective missionary itineracy.
Karl Band, Köln Dellbrück St. Norbert, Ansicht von Nord 1940, mit 1910 Benz Limousine (A3; 42×29,7cm)
Atmospheric rendering of the Church of Fuzzy Wisdom, situated in a forgotten spot in a forgotten part of a half-forgotten City. Fuzziness is demonstrated by the singular double tower design feature. Entrance, and thus partaking of Fuzzy Wisdom, is facilitated by a special portal unit which leads through the gap between the two towers, into the actual congregation hall. Vehicles of all sorts as well as less ceremonial visitors and delivery personell can also find ingress through a comfortably sized side door which leads through the left (the rational) tower of Fuzzy Wisdom. This practical entrance is facing the north, thus no disturbing, directional sunlight will disturb the minds of the visitors or the architectural unity and dignity of the building. A rather beautiful, off-white, vintage Benz limousine is parked in front ot the north facade, forming a well calculated aesthetic unity with the less mechanical minded edifice.
Floating in the sky over roof of the congregation hall; a spiritual inseminator in the act of spiritualizing an inflatable effigy of an early space-craft design (for a deeper insight in the symbolism of this floating sculpture, see Tellurialism).
You are Beautiful, too – an Exhibition for Children, Humans, and Finite Automatons, (A5, 2015)
This invitation card is in fact a souvenir card. Due to recent admonishments by paperless office activists, art mongers are now discouraged from sending out printed invitation cards. Instead, electronic invitiations are send out, and only those who venture out and actually visit the space presenting the physical artworks are allowed to take one card per person with them, so that they can deposit it on their coffeetable, fasten it with a magnet on the refrigerator door, or maybe even pin it to a pinboard, if they have one. The card then serves as a potentially permanent reminder of the event and where, when, and why it was obtained. It is designed to survive hundreds or thousands of years, if preserved properly in a sealed, clear, archival plastic sleeve which must be purchased separately. The idea is, of course, to ensure the artist and his work a very effective, totally voluntary kind of publicity, a kind of private publicity, so to speak. Incidentally, this card is based on the drawing “Karl Band, Holy Trinity Church, Cologne Poll, with 1906 Compound Touring car”, and was supposed to feature a hallmark of cautiously modern church design by the prolific church architect Karl Friedrich Heinrich Band (1900-1995), in conjunction with a Vintage car of a slightly earlier date. In fact, the historical truth is complex and was not sufficiently explored nor documented by the artist. The church, as it is now standing looks totally unlike the depicted church, which very much resembles the original church from 1928, which burned out in the year 1943. It was built from 1950-1953 after plans by Karl Band, who, according to the spirit of that time, tried to use as many remaining parts of the original as possible. The semi-original tower by Karl Band had to be torn down in the year 1968 (a very symbolic date), and was replaced with a yet more modern one by Hans Schilling. The church, as it stands to this day, is an example of typical brick based mid-century church design which has little or no similarities to the depicted one.
You are Beautiful, too
a poem for an exhibition
on the theme of a flock of sparrows joined by one escaped canary
and the author feeding birds
Six times seven-teen
Have you seen?
Rhymes make happy times
The sparrows look at me and beg
While I stand solemnly
on just one leg
With tiny beaks they eat and tweet
And stand on tiny sparrow’s feet
“You are not dressed in colours gay
But you prefer plain brown and grey!”
“You dance and frolic so around
I see the birds, but not the ground”
Then the crumbs are eaten all
And I stand lean, and stiff, and tall
The sparrows have eaten and flown away
And left me feathers, brown and grey
(Oh you creatures of the sky!
Will ever we see from eye to eye?)
Only a yellow canary
Is left behind, and looks at me
I wonder, when the sparrows look at you
What do they think? You’re beautiful, too?
St. Paul’s Church, Schwenningen, with early BMW Motorbike (42×29,7cm, pencil and coloured pencil on paper, 2015)
The image above depicts a worship centre of the heliocentric kind, devoted to adoring the heavens and everything above. An art work was commissioned to make a visual statement about the function of the building. The artist decided to create a holographic projection of unclear direction—a wavelike pattern is discernible, one assumes that there is some kind of dynamic involved, but it is not clear whether the waves are undulating in a downward direction, sent from some heavenly entity, or whether they are going up, towards said entity. Also, the waves are banded in a multicoloured fashion, but clearly not following the known order of wavelengths in the visible electromagnetic spectrum. The colours in which they present themselves (or, are presented) seem to follow an unfathomable (artistic?) taste pattern, which however might hypothetically be based on some scientific principle on the level of quantum mechanics. (Theologians across the world are very enamored with quantum theory, as quanta are known to behave erratically, contrary, obstinate, and wayward, when observed by a merely human observer. They do that on a basis of knowing things before they occur, communicating (?) with each other on a pre-emptive timeline, in short, displaying many characteristics of Godly perfection. Thus, in an ontogenetic system of proof, they are showing exactly that which God must possess, which shows that he, she, it, must exist.)
As an afterthought, the artist added a floating three-dimensional optical illusion to remind human observers of the futility of observation, of the necessity to stop observing and start worshipping. The progressive parson to whom this church was assigned parks his vintage BMW motorbike in front of the church to remind his parish of the parallel nature of worldliness and spirituality, the necessity to practice parallel thinking.
* * *
“I remember […] reading an agreeable tale about a species of highly intelligent giraffes who travelled by spaceship from their solar system to ours, to ask if our sun was behaving cruelly to us, as theirs had recently taken to doing to them.”
(Doris Lessing)
“Je n’avais pas besoin de cette hypothèse-là.”
(Pierre-Simon Laplace)
This is a design for a monumental machinistic sculpture with slight hyperdimensional attributes. The machine comes delivered together with a floating satellite which is able to find its way in and out of a given dimension through tiny wormholes. The state of reentering one dimension is depicted here. The machine itself is designed for mainly benign and oracularly purposes. Its services are directed at comfort- or advice-seeking individuals who receive messages of a non-verbal character, relayed to the machine by its satellite which can probe and spectralize possible realities from multiple dimensions. In rare cases the Friendly Inspector can develop a certain kind of wrath and become punitive and disciplinarian in character, which gives this machine its intended messianic character. This machine is to be stationed in appropriately isolated spots, to serve as an acceptable surrogate for religious or mythical figures of the genital type, like Jesus Christ, who have lost all meaning or are accepted as mere history, with no function in the day-to-day struggle for self-realization of the individual.
The World of the (Non-) Euclidean Central ”I” [42×29,7cm, 2013]
The (Non-) Euclidean Central “I”. Something so abstract, elusive and yet so intimate. Inside: the perfect sphere, round and immeasurable, protected by the glass pyramid of calculation. The inner walls of the fleshly host incrusted with calcifications, crystallizations, soft matter transformed into hard, dead matter. Undertake one bungling step through the apartment of your self with the lights turned off.
[…] after a while there was a further clicking in the receiver, and I strained my ears to listen. Again I called down, “Warren, are you there?”, and in answer heard the thing which has brought this cloud over my mind. I do not try, gentlemen, to account for that thing—that voice—nor can I venture to describe it in detail, since the first words took away my consciousness and created a mental blank which reaches to the time of my awakening in the hospital. Shall I say that the voice was deep; hollow; gelatinous; remote; unearthly; inhuman; disembodied? What shall I say? It was the end of my experience, and is the end of my story. I heard it, and knew no more. Heard it as I sat petrified in that unknown cemetery in the hollow, amidst the crumbling stones and the falling tombs, the rank vegetation and the miasmal vapours. Heard it well up from the innermost depths of that damnable open sepulchre as I watched amorphous, necrophagous shadows dance beneath an accursed waning moon. And this is what it said: “YOU FOOL, WARREN IS DEAD!”
(Howard Phillips Lovecraft, The Statement of Randolph Carter, 1919
Women’s Medical Centre with 1886 Benz Patent-Motorwagen by Rheinische Gasmotorenfabrik Benz & Cie. (Pencil, coloured pencil, acrylics, shellack. A3, 2013)
Depicted is a medical centre exclusively for women, offering medical treatment for diseases of the female genital apparatus and applications of advanced pro-choice technology. The Benz three-wheeler parked in front of the clinic is a permanent installation reminding of a period where men were still relatively unchallenged in their claim over the field of artificial invention, as opposed to “natural” creation, the female secret, Bachofen’s swampland of unlimited fertility.
The title and conceptual framework of this drawing ought to be understood before the background of Johann Jakob Bachofen’s work on matriarchy and gynaecocracy, Das Mutterrecht. According to Bachofen, human civilisation went through three stages: a wild nomadic, tellurian stage, the “lunar” period of female supremacy, then the backlash of the Dionysian period, worshipping the phallus, favouring the anus over the vagina, favouring intoxicating masculine wine over female milk and honey, followed by the Apollonian period, modernity, the age of reason and necrophilia (now in a process of dissolution, entering the enigmatic, presumably female, Aquarian stage).
GPTU - 33 / IPP World Wide 