After the pose was set, I gazed at a wall of faux marble, leaning forward, in such a way that all the weight of my upper body was supported by my hand, which was resting at the edge of a prop.
I cannot remember the duration of this pose; it was surely long enough to lose sense of time.
When I came back to myself, I noticed the changed colors of my hand, and what I observed could not be distinguished from the marbled spectacle I had immersed myself in.
(marbleising)
I cannot remember the duration of this pose; it was surely long enough to lose sense of time.
When I came back to myself, I noticed the changed colors of my hand, and what I observed could not be distinguished from the marbled spectacle I had immersed myself in.
(marbleising)
⁂
The first time I encountered a book of hours, I knew very little of art, and nothing of religion. I just looked at the book for what it was, and I indeed saw hours: the many hours someone had spent adorning it. Hence my first, faulty but deep-grounded association with the term: a book of hour condenses time into a surface.
⁂
Department of the Historical monuments of the Municipality of Leiden, 'Pieterskerkgracht 9, Leids Schilder- en Tekengenootsdchap Ars Aemula Naturae', black and white photograph, 1968
‘The Very Rich Hours 3’, fineliner, charcoal and multitool carving on paper on paper, 17 x 965 cm,(after the faux-marble wall of Ars Aemula Naturae), 2024
The Very Rich Hours 2, fineliner, inkjet transfer and multitool carving on paper, 17 x 1000 cm, (after the faux-marble wall of Ars Aemula Naturae), 2024
The Very Rich Hours 1, fineliner on paper, 17 x 1000 cm, (after the faux-marble wall of Ars Aemula Naturae), 2023-2024