The process of imagination is rooted in the unconscious and the body.
Unlike most contemporary painters, I do not interpret or  mentally photoshop photographic pictures. Instead I try to bring out a form of non-photographic realism rooted in movement and the creation of space-time.

You could say this is pre-impressionism and pre-expressionism, in the sense that the depiction precedes impression and expression. It is rooted in prereflective movement (holoflux) and generative imagination, guided of course by the artist’s quirks, limitations and inclinations. The latter in this case is a holistic, process-based and organic worldview.

Learn more about inscendental art

Zie inscendente kunst

02023

flame study

02023

02022

“Basho’s frog” (“A small splash”)

02022

“Basho’s Frog” – unedited view

02022

Matsuo Bashō ( 01644 – 01694) was a Japanese poet, best known for some of his legendary haiku poems. This haiku about a frog that he wrote in 01686 is one of his most well-known:

古池や蛙飛びこむ水の音
 furu ike ya / kawazu tobikomu / mizu no oto
an ancient pond / a frog jumps in / the splash of water

Interesting John Cage anecdote:

“…..
If he applied the methods of music to writing, he also applied those of writing to music. In 1954, while in Europe, John Cage met the Japanese musicologist Hidekazu Yoshida, who introduced to him the notion of the three lines of “haiku” poetry, the first one referring to “nirvana,” the second to “samsara,” the third one to a specific happening. The influence of Matsuo Basho’s “haiku”(2) may have affected Cage’s philosophical attitude towards art in general and music in particular, rather than his verse. His need for an art celebrating life and the now-moment found a precedent in Basho’s poetry: 
    The old pond 
    A frog jumps in, 
    Plop!
…..”
from “John Cage’s Writings” (ERBERTO F. LO BUE )
Aside from this, this painting was explicitly conceived to be included in the book “Holoflux: Codex – Form/Movement/Vision inspired by David Bohm”.
The static, more photographic nature of the first panel stands in contrast to the rest of the work, which is more dynamic, more akin to the nature of holoflux.
Connoisseurs will also notice a not so subtle reference to David Hockney’s swimming pool masterpiece… :)

Matsuo Bashō ( 01644 – 01694) was een Japanse dichter, meest gekend voor enkele van zijn legendarische haiku gedichten. Volgende haiku over een kikker, geschreven in 01686 is een van de meest bekende:

古池や蛙飛びこむ水の音
 furu ike ya / kawazu tobikomu / mizu no oto
oude vijver / een kikker springt / geluid van water

Interesting John Cage anecdote:

“…..
If he applied the methods of music to writing, he also applied those of writing to music. In 1954, while in Europe, John Cage met the Japanese musicologist Hidekazu Yoshida, who introduced to him the notion of the three lines of “haiku” poetry, the first one referring to “nirvana,” the second to “samsara,” the third one to a specific happening. The influence of Matsuo Basho’s “haiku”(2) may have affected Cage’s philosophical attitude towards art in general and music in particular, rather than his verse. His need for an art celebrating life and the now-moment found a precedent in Basho’s poetry: 
    The old pond 
    A frog jumps in, 
    Plop!
…..”
from “John Cage’s Writings” (ERBERTO F. LO BUE )
Hiernaast is dit schilderij expliciet gemaakt voor het boek “Holoflux: Codex – Form/Movement/Vision inspired by David Bohm”.
De statische, eerder fotografische aard van het eerste paneel staat in groot contrast met de rest van het werk, dat meer dynamisch is, meer verwant met de natuur van holoflux.
Kenners zullen ook een niet zo subtiele verwijzing zien naar David Hockney’s meesterwerk met het zwembad… :)

“The inner and outer movement of clouds”

(oil on acrylic) 02022

“The sun, the geese & the golden reed” (inscendental landscape)

(oil) 02022