L O O P
- all loops run approximately 10 times faster than the master video -
Neither a still picture nor a movie the loop is a hybrid and well embodies the term “motion picture”. A loop’s cycle lasts approximately 45 minutes in very slowly changing images which dissolve, overlap and fade and in the process force the mind to guess and create it’s own reality.
A loop implies infinity - it has neither start nor end. Paradoxically this visual ostinato, this continuous repetition of the same process, makes time's flow particularly perceptible and transports out of time itself.
“Goldbergs” is a series of 32 loops inspired by and loosely based on the Goldberg Variations of Johann Sebastion Bach, one aria (which forms beginning and end) and 30 variations, not all of them shown here.
Goldbergs: Aria ( 2008 )
Ich bin nur einer deiner Ganzgeringen,
der in das Leben aus der Zelle sieht
und der, den Menschen ferner als den Dingen,
nicht wagt zu wägen, was geschieht.
(Rainer Maria Rilke: from 'Ich bin nur einer deiner Ganzgeringen': "Das Stundenbuch")
Ich bin nur einer deiner Ganzgeringen,
der in das Leben aus der Zelle sieht
und der, den Menschen ferner als den Dingen,
nicht wagt zu wägen, was geschieht.
(Rainer Maria Rilke: from 'Ich bin nur einer deiner Ganzgeringen': "Das Stundenbuch")
Goldbergs: Z ( 2008 )
Chut! - si nous faisons du bruit
le temps va recommencer
(Paul Claudel: from 'Cent phrases pour éventails')
Chut! - si nous faisons du bruit
le temps va recommencer
(Paul Claudel: from 'Cent phrases pour éventails')
“Lichtbücher” (books of light): a meditation on perception during reading.
Lichtbuch 1 ( 2009 )
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence
Nor darkness to purify the soul.
(T. S. Eliot: from ''Four Quartets", No. 1: 'Burnt Norton')
In a dim light: neither daylight
Investing form with lucid stillness
Turning shadow into transient beauty
With slow rotation suggesting permanence
Nor darkness to purify the soul.
(T. S. Eliot: from ''Four Quartets", No. 1: 'Burnt Norton')
Lichtbuch 2 ( 2009 )
The house was quiet and the world was calm.
The reader became the book...
(Wallace Stevens: from ''The House Was Quiet
And The World Was Calm')
The house was quiet and the world was calm.
The reader became the book...
(Wallace Stevens: from ''The House Was Quiet
And The World Was Calm')
Lichtbuch 3 ( 2009 )
The future is a faded song, a ...rose...
pressed between yellow leaves of a book
that has never been opened...
(T. S. Eliot: from ''Four Quartets", No. 3:
'The Dry Salvages')
The future is a faded song, a ...rose...
pressed between yellow leaves of a book
that has never been opened...
(T. S. Eliot: from ''Four Quartets", No. 3:
'The Dry Salvages')
SnowMusic 1 ( 2010 )
...For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.
(Wallace Stevens: from ''The Snow Man")
...For the listener, who listens in the snow,
And, nothing himself, beholds
Nothing that is not there and the nothing that is.
(Wallace Stevens: from ''The Snow Man")
SnowMusic 3 ( 2010 )
One must have a mind of winter...
...and not to think
Of any misery in the sound of the wind...
(Wallace Stevens: from''The Snow Man")
One must have a mind of winter...
...and not to think
Of any misery in the sound of the wind...
(Wallace Stevens: from''The Snow Man")
Goldbergs: Cell Dance ( 2008 )
At the still point of the turning world.
Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is,
Except for the point, the still point, There would
be no dance, and there is only the dance...
(T. S. Eliot: from ''Four Quartets", No. 1: 'Burnt Norton')
At the still point of the turning world.
Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is,
Except for the point, the still point, There would
be no dance, and there is only the dance...
(T. S. Eliot: from ''Four Quartets", No. 1: 'Burnt Norton')
Goldbergs: Visitation ( 2008 )
Engel (sagt man) wüssten oft nicht,
ob sie unter Lebenden gehn oder Toten.
(Ralner Maria Rilke: from "Duineser Elegien": 'Erste Elegie')
Engel (sagt man) wüssten oft nicht,
ob sie unter Lebenden gehn oder Toten.
(Ralner Maria Rilke: from "Duineser Elegien": 'Erste Elegie')
Goldbergs: Ribs ( 2008 )
...God, stooping opened my left side,
and took from thence a rib,
with cordial spirits warm,
and life-blood streaming fresh;
The rib he formed and fashioned with his hands;
Under his forming hands a creature grew.
(John Milton: from "Paradise Lost": 'Book Eight')
...God, stooping opened my left side,
and took from thence a rib,
with cordial spirits warm,
and life-blood streaming fresh;
The rib he formed and fashioned with his hands;
Under his forming hands a creature grew.
(John Milton: from "Paradise Lost": 'Book Eight')
Goldbergs: Blackbird ( 2008 )
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
A man and a woman Are one. A man and
a woman and a blackbird Are one.
The river is moving. The blackbird must be flying.
(Wallace Stevens: from 'Thirteen Ways of Looking at a Blackbird')
The blackbird whirled in the autumn winds.
It was a small part of the pantomime.
A man and a woman Are one. A man and
a woman and a blackbird Are one.
The river is moving. The blackbird must be flying.
(Wallace Stevens: from 'Thirteen Ways of Looking at a Blackbird')
Goldbergs: Lamellae ( 2008 )
Blumenmuskel, der der Anemone
Wiesenmorgen nach und nach erschließt,
bis in ihren Schoß das polyphone Licht
der lauten Himmel sich ergießt...
(Rainer Maria Rilke:from ''Sonette an Orpheus": 'II. Teil, V')
Blumenmuskel, der der Anemone
Wiesenmorgen nach und nach erschließt,
bis in ihren Schoß das polyphone Licht
der lauten Himmel sich ergießt...
(Rainer Maria Rilke:from ''Sonette an Orpheus": 'II. Teil, V')
Goldbergs: Signs of the Cross ( 2008 )
..Mein Wandel auf der Welt ist einer Schifffahrt gleich...
(Johann Sebastian Bach: from "Kreuzstabkantate, BWV 56")
..Mein Wandel auf der Welt ist einer Schifffahrt gleich...
(Johann Sebastian Bach: from "Kreuzstabkantate, BWV 56")
Goldbergs: Knochenblume ( 2008 )
Am Grunde der Zeit,
bei den wandernden Schatten
in erdiger Krume,
liegt rosig und fremd (und auch bleich)
eine Knochenblume.
Und ich berühre zaghaft ihr Kleid.
(Robert Faeth: from 'Knochenblume')
Am Grunde der Zeit,
bei den wandernden Schatten
in erdiger Krume,
liegt rosig und fremd (und auch bleich)
eine Knochenblume.
Und ich berühre zaghaft ihr Kleid.
(Robert Faeth: from 'Knochenblume')
Goldbergs: Rainy Pane ( 2008 )
..and she may rub the pane too,
as though to see God better;
but what God does she see?...
(Virginia Woolf: from "An Unwritten Novel")
..and she may rub the pane too,
as though to see God better;
but what God does she see?...
(Virginia Woolf: from "An Unwritten Novel")
Goldbergs: Nocturnal Swell ( 2008 )
...Nun hilf ihm leise aus dem heißen Grabe
in jenen Himmel den ich in dir habe...
(Rainer Maria Rilke: from 'Phallische Hymnen, VI')
...Nun hilf ihm leise aus dem heißen Grabe
in jenen Himmel den ich in dir habe...
(Rainer Maria Rilke: from 'Phallische Hymnen, VI')
Goldbergs: Here and There ( 2008 )
The reflection of her here, and then there,
is another shadow, another evasion,
another denial.
If she is everywhere, she is nowhere, to him.
(Wallace Stevens: from 'Bouquet of Belle Scavoir')
The reflection of her here, and then there,
is another shadow, another evasion,
another denial.
If she is everywhere, she is nowhere, to him.
(Wallace Stevens: from 'Bouquet of Belle Scavoir')
“Lost Bones”: a meditation on the transformative force of death.
...The principle of Superposition claims that while we do not know what the state of any object is, it is actually in all possible states simultaneously, as long as we don't look to check...
Lost Bones 1 ( 2014 )
...a throbbing grey penumbral glow that lasted a long moment before fading, and of which something seemed to remain even when it was gone, the ghost of a ghost...
(John Banville: from ‘The Sea’)
...a throbbing grey penumbral glow that lasted a long moment before fading, and of which something seemed to remain even when it was gone, the ghost of a ghost...
(John Banville: from ‘The Sea’)
Lost Bones 2 ( 2014)
... "it is a ghost
that inhabits a cloud...
(Wallace Stevens: from ''The Lack Of Repose")
... "it is a ghost
that inhabits a cloud...
(Wallace Stevens: from ''The Lack Of Repose")
Lost Bones 3 ( 2014 )
... He is so thin, hardly there at all, just a scant arrangement of bones under the blanket.
(John Banville: from ‘The Infinities’)
... He is so thin, hardly there at all, just a scant arrangement of bones under the blanket.
(John Banville: from ‘The Infinities’)
Lost Bones 4 ( 2014 )
... his flesh that I had intimately known would soon be falling off the bones, and in time the bones themselves would fall to dust, and then the dust itself would disappear...
(John Banville: from ‘Shroud’)
... his flesh that I had intimately known would soon be falling off the bones, and in time the bones themselves would fall to dust, and then the dust itself would disappear...
(John Banville: from ‘Shroud’)
Goldbergs: Blaustaub ( 2008 )
...Vergaß ich denn, dass Stern bei Stern versteint
und sich verschließt gegen die Nachbargloben?
Dass sich die Welten nur noch wie verweint
im Raum erkennen? -
Vielleicht sind wir oben, in Himmel andrer Wesen eingewoben...
(Rainer Maria Rilke: from 'Von den Fontänen')
...Vergaß ich denn, dass Stern bei Stern versteint
und sich verschließt gegen die Nachbargloben?
Dass sich die Welten nur noch wie verweint
im Raum erkennen? -
Vielleicht sind wir oben, in Himmel andrer Wesen eingewoben...
(Rainer Maria Rilke: from 'Von den Fontänen')
Goldbergs: Blau ( 2008 )
(...und wird andächtig singendes Blau.
Das Blau verblüht zu Licht.
(Hans Arp: from 'Singendes Blau')
(...und wird andächtig singendes Blau.
Das Blau verblüht zu Licht.
(Hans Arp: from 'Singendes Blau')
Goldbergs: Kaleidoscope ( 2008 )
Singe die Gärten, mein Herz, die du nicht kennst; wie in Glas eingegossene Gärten, klar, unerreichbar....
(Rainer Maria Rilke: from 'Singe die Gärten')
Singe die Gärten, mein Herz, die du nicht kennst; wie in Glas eingegossene Gärten, klar, unerreichbar....
(Rainer Maria Rilke: from 'Singe die Gärten')
Goldbergs: Ark ( 2008 )
Du bist der Dinge tiefer Inbegriff,
der seines Wesens letztes Wort verschweigt
und sich den Andern immer anders zeigt:
dem Schiff als Küste und dem Land als Schiff...
(Rainer Maria Rilke: from 'Du bist die Zukunft': "Das Stundenbuch")
Du bist der Dinge tiefer Inbegriff,
der seines Wesens letztes Wort verschweigt
und sich den Andern immer anders zeigt:
dem Schiff als Küste und dem Land als Schiff...
(Rainer Maria Rilke: from 'Du bist die Zukunft': "Das Stundenbuch")
Goldbergs: Walking Shadow ( 2008 )Out! Out brief candle!
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more:
...
(William Shakespeare: from "Macbeth")
Life's but a walking shadow, a poor player
That struts and frets his hour upon the stage
And then is heard no more:
...
(William Shakespeare: from "Macbeth")
Goldbergs: Window ( 2008 )
N'es-tu pas notre géométrie, fenêtre,
très simple forme
qui sans effort
circonscris notre vie énorme?
(Rainer Maria Rilke: from 'La Fenêtre')
N'es-tu pas notre géométrie, fenêtre,
très simple forme
qui sans effort
circonscris notre vie énorme?
(Rainer Maria Rilke: from 'La Fenêtre')
Goldbergs: Engel ( 2008 )
Sie haben alle müde Münde
und helle Seelen ohne Saum.
Und eine Sehnsucht (wie nach Sünde)
geht ihnen manchmal durch den Traum.
(Rainer Maria Rilke: from 'Die Engel')
Sie haben alle müde Münde
und helle Seelen ohne Saum.
Und eine Sehnsucht (wie nach Sünde)
geht ihnen manchmal durch den Traum.
(Rainer Maria Rilke: from 'Die Engel')
Goldbergs: Orchid ( 2008 )
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the Palm of your Hand
And Eternity in an Hour.
(William Blake: from 'Auguries of Innocence')
To see a World in a Grain of Sand
And a Heaven in a Wild Flower,
Hold Infinity in the Palm of your Hand
And Eternity in an Hour.
(William Blake: from 'Auguries of Innocence')
Via Crucis - Stations of the Cross (2006-2008)
A series of 14 video loops, one for each of the 14 stations of the Passion of Christ
Exemplary Installations:
1
Jesus is condemned to death in the house of Pilate
2
Jesus carries His cross
3
Jesus falls for the first time
4
Jesus meets His mother Mary
5
Simone of Cyrene helps Jesus carry the cross
6
Veronica wipes the face of Jesus
7
Jesus falls for the second time
8
Jesus meets the weeping women of Jerusalem
9
Jesus falls for the third time
10
Jesus is stripped of His clothes
11
Jesus is nailed to the cross
12
Jesus dies on the cross
13
Jesus is taken down from the cross
14
Jesus is placed in the tomb