“Mental and physical landscapes, memories, dreams and nightmares are key themes for both of us,” comments Monfeldt, whose film Greetings from the other side won first prize in the Short Story category at the One Minute Festival in Amsterdam in October 2001.
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Central is the self-cleansing standard of Dutch art appreciation, which from Tedja’s perspective breathes a virtually 19th century colonial mentality: "The handling, the way in which you handle your own colour and the many colours around you are a colour study.
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Central is the self-cleansing standard of Dutch art appreciation, which from Tedja’s perspective breathes a virtually 19th century colonial mentality: "The handling, the way in which you handle your own colour and the many colours around you are a colour study.
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Central is the self-cleansing standard of Dutch art appreciation, which from Tedja’s perspective breathes a virtually 19th century colonial mentality: "The handling, the way in which you handle your own colour and the many colours around you are a colour study.
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One could mentally repeat the action over and over.The way in which Susan Sontag associated the happenings of the sixties with the structure of dreams relates, unexpectedly, to Post's alienating visual world: "...this is the alogic of dreams rather than the logic of most art.
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Above all, if the spectator has taken the time to delve deep into the construct of his or her own memory, the work of Manon de Boer beckons the spectator to create his or her own mental rooms from the material constructed during the perception of the work, and to become concurrently aware of the process that brings such memories to life.
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In the Second Manifesto on Surrealism, Breton explains very clearly the surpassing of the classic conception of imagination in the way surrealism suggests: “Everything seems to make us believe that there exists a certain mental vantage-point at which life and death, the real and the imaginary, past and future, the communicable and the incommunicable, and high and low, cease to be perceived as contradictions.
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Diverging from Schnell’s oblique visual reference to String Theory, but approaching her conception of a knot motif, Welch will use black string emanating from a wall drawing of an “imagined mind warp”-not as in the literal image of a brain, but perhaps as a reference to using drawing as a mental focusing device, like a mandala-twisted in the air by invisible lines of mono-filament, as in the string game cat's cradle.
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