sculptuur, passion, art & net

né-nu-f'art

explication

I hope to be booked in history as the artist with his own, as my press release describes, original distinctive style, a master of media in this difficult world – who was the first to promote the changeable possibility in artwork - perhaps against plagiarism. The variable that drives like a water lily in a artwork - endless. Even though the square as a water lily floating over my work.
Belonging to the sandwich generation and in a time of false art-work, I can count out a coordinating term for all my work : “Né-nu-f’art”.
“né-nu-f'art”
Art is the virtuosity to manipulate the coincidence?
-Né-nu-f' art ( f': fumagine, figurative, fine, frans frengen; without pretention )
So; the nénuphar laying on the water area - floating, being attached on nature, the unity of color, depending on ground, ventilate themselves, light swallowing, being water and fire - touch the spirit.
Proved by Monet how different times and lightning influenced her. But also in the coincidence; he was a genius. The same water-lily always differently reflects. And anyhow remains that same water-lily. For some artists I had gladly become a criticaster. Not only for Hans Arp or should it be Jean…. (I don’t like the clinch between some countries).
In fact nothing is new ( Nil novo sub…) but it’s my passion. Even already in my childhood. Inferred of nénuphar (water-lily). But in that beautiful word we found our humanity, everyone né – nude, pushed in some direction by the light ( phare: in all his meanings indeed). In fact when we add the other terms: art reveille, art dart, brouille_art ( fumagine), functional art and hasart; everything has been said.

If you need more explication, you could even read further below.

Here some more explication perhaps. But any explication has been exaggerated or bombastic. Art is not only abstract or figurative. Having regarded to Picasso this does not even exist.
Art is the virtuosity to manipulate the coincidence. “Art-morfose (metamorphose)” as a result of reaching the spirit. In fact I’m searching commitment, downloading the cognitive. So we get more functionalisms in art. But more than ever the artist must be brilliant. Indeed we must dare to hang a coat on a white canvas. That occasional art can make exceptional - indeed in the hands of a genius. Installations these times, a step forward. (Keep off your fingers.)

How longer thinking, we became sure that so-called abstract painters (who do not really exist) use more the calculable; mathematic; to overcome the coincidence. But never anybody has succeeded in that coincidence to exile. However, criticasters have even obtained the raccoon on their neck by recognizing monkeys and elephants work as art. Perhaps this was not such a bad idée. This can bring us to "other times". But art is that work, which sticks out above others. Real art with values. (Luc T).
And if I am honest; and with me many to my presumption; I can’t draw like nature accidently does. Even members of cobra were not possible in spite of their attempts to forget. Everyone carries with what he learned. People are created of its heredity and the environment factors… This “dualism” makes our individual acting. But more and more grows the notion that heredity looses the battle. For this reason and ever in my
“né-nu-f’ art” I shall forgot the importance of coincidence. I don’t want to pretend to be the first. This is the importance to primitive art; the feeling, the artifacts; Greek beauty and dignity. This way my first “workies” had been interlarded of what I learned. Very young the notion that I only made images. That time I only knew the greatest works of Cézanne. I did always something to prove my powerlessness (and this word tells a lot.). I searched in former works but never I made a copy. Later I used monotonous colors. I used the horizon as a symbol of earth. Never ceasing to search that né-nu-f’art impact, revolutionize, functionalism. My love for cobra, Dadaism ("COBRADA") and the ambulatory with children makes already much clearly. Also that coincidence, and my frustration; as a little boy of five. I involuntarily founded fire. Fumagine-scorched walls. I want go to the purity of child, the beauty of nature, the portrayal of people - with always the same eyes ( in sculpture) ( recognizing the Greeks). I feel the dispute between unstable and stable. I can work with the collision of natural and chemical material. You feel the integration of coincidence. I use a square for the mathematical input. The explication that sculptures can be even important from several angles. But thanks to that square its possible intervention, the commitment of the witness. I realize also kicking in one of the existing rules of art. But the result is the possibility to reinforce another function in my work. I also used DNA to safe; if it's possibly these times; this né-nu-f’art.

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