A Little Crazy @abitcrazed - Tumblr Blog

NELSON MANDELA X NGUAN

(original edit via)

“My objective is to create my own world and these images which we create mean nothing more than the images which they are. We have forgotten how to relate emotionally to art: we treat it like editors, searching in it for that which the artist has supposedly hidden. It is actually much simpler than that, otherwise art would have no meaning. You have to be a child—incidentally children understand my pictures very well, and I haven’t met a serious critic who could stand knee-high to those children. We think that art demands special knowledge; we demand some higher meaning from an author, but the work must act directly on our hearts or it has no meaning at all.”

— Andrei Tarkovsky, from “Against Interpretation: An interview with Andrei Tarkovsky,” Framework no. 14, 1981. (via cerebralnausea)

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Artist’s statement:

“According to Japanese religious ceremonies, ropes and ties symbolize the connections among people and the divine, as a mean to identify sacred space and time.

Inspired by Nobuyoshi Araki’s images and their mixture of raw violence and beauty, I study the relationship between man and nature by referring to the Japanese bondage tradition. The Japanese word for bondage, kinbaku, literally means “the beauty of tight binding”. It is a delicate balance between being held together and being on the verge of breaking.

I search spaces where nature’s elements combine to create interesting natural tensions and continue this dialogue trough my interpretations by extending, wrapping and pulling upon these indigenous forms. I create a new sense of volume from the existing components.

Using ropes as lines is my form of drawing. The lines create interactions, making connections between the elements—a reinterpretation of the landscape. These three-dimensional drawings are physically unstable—they exist only for the moment. By recording the process the photograph becomes part of the piece.

Robert Smithson installed 12-inch-square mirrors to the site in his project “Yucatan Mirror Displacements” 1969. The mirrors reflected and refracted the surrounding environment and gave a new angle to see the landscape. In a similar tradition of Smithson’s use of mirrors, my lines show how shapes of the elements and the connections between them come visible when something alien is added. I’m not only changing their essence, but also my own point of view. Every space is different and I’m interested how the volume of any given site can be stretched by the use of several simple lines.“