It was a small house, and the whole point was its simplicity, as he'd known it would be, the very act of construction tempered by a longing to have next to nothing. Not much money, according to Iffy, a house for one artist built by another, both fired up with ideas about space, form economy, something mystical as well as technical in Orban's soul.
The Sparsholt Affair. Alan Hollinghurst
The exhibition of Luc De Meyer's work 'Tussen kruipend mos' (between creeping moss)which opened on Sunday afternoon at the Pinsart Gallery in the Genthof featured a series of drawings and collections of disparate fragmentary objects set into three dimensional spaces resembled small scale rooms or set designs. The subtle muted colours and carefully nuanced relationships between forms and spaces in these small 'wonder-kammern' created interesting and mysterious resonances within each assemblage of curios objects and the Pinsart gallery space itself, which appeared like a larger 'cabinet of curiosities' old and new. The stream of time and tide that dislodges objects from their original context and dislocates them in time and space into new and often startling configurations was evoked in sensitive and whimsical visual compositions.
It made me think of the ever changing compositions in the terrace in the house - a kind of outside/inside room or box viewed from the windows of the kitchen or living room -which seems to balance between order and chaos throughout the ever changing seasons and processes of breaking down and building up which are such integral parts of the dynamic and organic aging and renovation processes of a house
Working in the terrace on the giant jigsaw puzzle of recycled old bricks with their pink-ochres and bleached creamy whites is hard work but very satisfying. The weather is still good and the blue sky and golden brown beach and chestnut leaves complement the space. I find almost the same colours, forms and processes here as in the work in the gallery. Art and Life have no discernible line of separation.