Sequential paintings

Crossover experiments between painting and comic art, capturing multiple moments and/or perspectives in a comprehensive whole. Not intended as a gimmick but rather a way to depict different aspects of time.

Sequentiële schilderijen

Kruising tussen schilderkunst en stripkunst waarbij meerdere momenten en/of perspectieven in een samenhangend geheel worden vastgelegd

Toiles séquentielles

Croisement entre la peinture et la bande dessinée capturant plusieurs moments et/ou perspectives dans un tout complet.

02022

bashos frog complete 1 — “Basho’s frog” (“A small splash”)
oil on canvas 💢 4x 20x20 cm 💢 02022

bashos frog full — “Basho’s Frog” – unedited view
Oil on canvas 💢 4x 20x20cm 💢 02022

inspiration for "Basho’s frog"

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… :)

inspiratie voor "Basho’s kikker"

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… :)