how deep is the sea?

Artwork: Photograph by Graziano Panfili, how deep is the sea? San Felice Circeo, Lazio, Italy.

The sky and the sea; two of my favourite elements in this one image by Italian photographer Graziano Panfili, titled How deep is the sea? What draws me in is the mirroring of colours—the intense hue of green-blue— between sky and sea, creating a strange sense of inversion, where sky and sea are almost interchangeable. The photograph was taken in San Felice Circeo, a small village by the sea in Lazio, Italy. Actually, there are four elements I love in this photograph: the sea, sky, clouds and a horizon; horizon lines fascinate me!

writing is like breathing

Image: Pablo Neruda (source: www.fundacionneruda.org)

I came across these words today by one of my favourite poets, Pablo Neruda, and it resonated greatly:

“For me writing is like breathing. I could not live without breathing and I could not live without writing.”

Kevin and his spooktacles...

Artwork: by David Zinn, Kevin and his spooktacles, Ann Arbor, Michigan, 2023

From the marvellous world of David Zinn (@davidzinn), meet Kevin: “To be fair, Kevin bumps in the night because his prescription is 150 years out of date.”

Boo!

Give peace

Artwork: Oak Oak, Give Peace, Givors, France, 2022

A poetic stencil piece by Oak Oak (@oakoak_street_art) titled, Give peace. The artwork was created in 2022 with some school children in Givors who collaborated with the artist to find the grid, the majority agreeing that a peace dove should be painted flying from it.

The Green Line

In 2004 Belgian artist Francis Alÿs, who resides in Mexico, performed an action, a walk, through Jerusalem demarcating with a leaking can of green paint the “green line” representing one side of the partitioning of Jerusalem. Fifty-eight litres of paint were used to trace twenty-four kilometres. This statutory division of Jerusalem after the 1947/48 conflict between Israeli and Arab forces was along two front lines. This “green line” was marked on a map in November 1948 by commander of the Jerusalem Israeli forces, Moshe Dayan, after the ceasefire agreement was signed between himself and the representative of the Arab Legion, Abdullah al-Tel. The line made by Abdullah al-Tel was in red and between the two lines was a topographically contested area of sixty to eighty metres.  

Through the action Alÿs said he wanted to explore the axiom: “Sometimes doing something poetic can become political and sometimes doing something political can become poetic.” He further elaborates saying: “What I try to do really is to spread stories, to generate situations that can provoke through their experience a sudden unexpected distancing from the immediate situation and can shake up your assumptions about the way things are, that can destabilize and open up, for just an instant—in a flash—a different vision of the situation, as if from the inside.”

As part of the film documentation, Alÿs asked both Palestinians and Israelis to comment on the film, which can be found here: http://francisalys.com/the-green-line/.

In the context of the current situation in Israel/Palestine, such a gesture might seem arbitrary and meaningless given the lives harmed and lost, and the overall devastation on both sides. Yet as the action illustrates the conflict is rooted in a history of contested territory, conflict and divisiveness that makes any objective understanding that much harder, or as Alÿs suggested, a different vision or perspective so difficult to achieve in such incendiary times.

 

(Film documentation, The Green Line, Jerusalem, 2004, 17.41 mins. In collaboration with Philippe Bellaiche, Rachel Leah Jones, and Julien Devaux.)

Fuka

Japanese artist Kosei Komatsu is known for his ethereal mobile installations featuring light, shadows, air and nature (http://kosei-komatsu.com). The interaction of elements create beautiful environments for viewers to experience. Yet in researching his work I came across an early installation of Komatsu from 2004, Fuka, featured in a graduate exhibition at Musashino Art University. The room of red feathers, already signalling his interest in nature and lightness, sends up plumes of feathers as the viewer enters, unaware that unseen and nearby Komatsu is manually activating the feathers to explode into the air. It’s humorous and surreal, and the low-tech set-up is later featured in the simplicity of his mobile sculptural work. What I also loved is the reaction of the viewers—unexpected, wonder and just fun!

Schoolgirl with a pearl

Artwork: Mural by Seth, L’écolière à la perle / Schoolgirl with the pearl, Montréal, 2023

Artist Seth’s (@seth_globepainter) recent mural in Montréal, features one of his book-pile constructions, this time with a girl looking into the distance with a pearl earring. A nod to Vermeer’s painting (A Girl with a Pearl Earring, c.1665)? Not sure! Or the symbol of the pearl when relating it to stories and books, meaning a source of wisdom and knowledge. Perhaps. Seth had this to say about the mural and its location and significance:

“I was invited to paint the wall of the Belz school for Hasidic girls. 
Hasidism is a mystical branch of Judaism. To be a Hasid is to devote one’s life to God, and to follow a number of rules, such as speaking Yiddish, wearing specific clothing and for married women, concealing their hair.
Every day, the schoolgirls passed by the wall, watching us from the corner of their eyes. Eventually, they began to pay us a few shy compliments.
At the end, the school’s headmistress came to give us words and poems written by the students. She thanked us, emphasizing the importance of art in bringing people together. From here on out, this wall will serve as a bridge between the Hasidic community and the other local residents.
Books are fundamental to education, just as they have long been for the Jewish people, referred to as People of the Book.”

Puparia

Shingo Tamagawa’s three-minute animation Puparia, is a stunning artwork that took three years to create. The journey to make the film is woven into the piece itself. Tamagawa began making Puparia after a period of reflection on why he was involved in the animation industry, working at Sunshine studio. Tired of the process of justifying one’s work as a consumable item, and worried he’d stop enjoying the very act of drawing, he took time off to rethink his career, but also, to reconnect with what he loved about animation. The result was a choice to independently create a film exploring the shifts in his perception of the societal changes that signalled values and a world fading away; his own emotional journey of a year spent wandering around and doing very little while trying to figure out how to move forward with his life, and reconnecting with the joy of creating itself. Using colour hand drawings that were scanned and then digitally composed, Tamagawa wanted to engage the viewer in this abstract journey by making the characters and surroundings clear, direct and relatable, while simultaneously creating a dream-like, metaphysical artwork.

 “Puparia” is the plural of puparium, which is the final larval stage of a fly’s metamorphosis where the exoskeleton is hardened. The film’s meditative and mesmerising quality has a sense of unfolding; of meeting the unknown; of evolving or perhaps shifting into a new way of being. Tamagawa spoke about his motivation to create Puparia: “I make animation to create new things and generate new emotions that I haven’t felt before. I believe everybody has that joy inside of them. I think the whole industry could be happier if we could pivot in that direction, just a little more.”  

In the notes to the video, Tamagawa adds this: “Something is about to change drastically We can only be witnesses to it.”

Muanapoto

I love the energy of this track by Tshegue, Muanapoto, from the 2017 EP Survivor and produced by Paris-based label Ekler'o'shock. Listening to this on repeat! Check it out!

A window to Paradise

Artwork: Alice Pasquini, A window to Paradise, Paradise neighbourhood, Brindisi, Italy, 2023

A book, an open window to a view, a cat and music…that’s a kind of Paradise. Artist Alice Pasquini’s mural A Window to Paradise was created for the Paradise Street Art project in Brindisi, Italy. Alice quoted the wonderful Italian author Italo Calvino in reference to her mural: “Since there is a world from here and the world behind the window, maybe I am nothing but the window through which the world looks at the world.” (@alicepasquini)

Be Free

Image: David Edwards aka Be Free

One of the joys of wandering around Melbourne is finding the street art of Be Free. The work of David Edwards aka Be Free features this girl wearing A-frame dresses, striped tights and Doc Marten boots, and she’s often splashing paint on walls, hanging upside down, playing, dreaming, watering flowers. His work always makes me smile. Predominantly black and white with these vibrant splashes of colour. The whimsical, edgy and a little punk quality of the girl. Not long ago I found out David had cancer and he posted on IG that he didn’t know how much longer he had left (@befreeart). It was the first time he’d posted his face, as if he no longer needed to hide, facing the unknown. Like me, so many people have been touched by his art, and there was an outpouring of support, appreciation, love, concern and hope. I also learned that his art has been inspired by his two beautiful daughters, the loves of his life. David passed away a few days ago.

David was known to give this piece of sage advice on living: ‘Be kind to all and rock & roll through life’.

Let the lion fall...

Artwork: Mural by SATR, Let the lion fall, love will catch it, British Columbia, Canada, 2023

Amazing and dynamic mural by Shanghai-based artist SATR titled Let the lion fall, love will catch it. The mural features in the Chilliwack Mural Festival in British Columbia, Canada.

SATR wrote this about the mural: “This latest creation is a tale of love that I've penned down. A lion tumbles into a sea of flowers, vines entwining it while delicate blossoms radiate a gentle halo. People often speak of falling in love – that rush of adrenaline that makes us feel weightless in descent, a mix of euphoria and the thrill of the unknown. This marks my first time in Canada, and I've felt that love here is diverse. Each individual is free to embrace love's embrace, much like the expansive love represented in my artwork – vines that stretch limitlessly, knowing no boundaries. These vines wrap around us, igniting a myriad of thoughts, offering unwavering support for us to love freely.”

Helix giraffa

Artwork: Drawing by Codex Urbanus, Figure 627: Helix giraffa, Paris, 2023

Paris-based street artist Codex Urbanus (@codexurbanus) creates these fantastical creatures an “urban bestiary” that are drawn at night on “the cement pages of the City of Lights”. Here is one to be found at boulevard General d’Armée Jean Simon in Paris called Figure 627: Helix giraffa. Makes me smile 😊

Michelle's blu tak blob

Artwork: Chris Bond, Michelle's hand rolled blu tack blob from her work desk (replica), 2007, Melbourne (Destroyed)

Sometimes it’s the most personal artworks that resonate deeply with the audience. In the case of Australian artist Chris Bond’s artwork Michelle’s hand rolled blu tack blob from her work desk (replica) (2007) it’s a small gesture, an imprint in a sense of someone who had a habit of rolling Blu Tack into cylindrical shapes—the imprint of a hand, the warmth of skin, a repetitive perhaps anxious manipulation of a tactile material, that then gets left on a desk or discarded for no longer being useful.

Bond’s work is one of re-creation and transformation. It’s a work redolent of loss and grief and love. Such a simple material, shaped by Bond’s hands to mimic what his wife used to do, perhaps even mindlessly, habitually, before she passed away. And in the making, Bond connects not just physically but in memory, with someone no longer here, but always present because of his love and through his grief, which time and the movement of life would alter.

Here’s the poem/art story I wrote based on Bond’s artwork:


he held on

to her

touch

only to let go

every

day


© Angela Jooste

small stories: Between us, only light

Artwork: Polaroid Little Puffy Cloud, by Grant Hamilton

I looked to my left without knowing why. Only to see, stuck on the wall papered with paste-ups posters, ads for gigs, a Polaroid of cotton-wad clouds, a hint of sky, and handwritten with an ink-black Sharpie in the white space beneath—

between us, only light

Daily, I walked past this wall on my way to the bookshop where I worked. Perhaps it was the blue against washed out flaking paper that caught my eye. Standing before it, I reached out without thinking, my fingers slipping beneath to pry the Polaroid free. It was light, could fly from my hand. Inexplicably, I pressed it to my chest, as if hiding it from the world. Wanting it to only exist for me. Not feeling guilty for taking it, I hurried on my way, oddly excited.

Propped on the desk at the bookshop, customers milling, the image of the sky drew my eye: Why create this? And what was it saying? The words pierced, a shaft of the light spoken and captured, so simple yet moving. And walking later back the same way, glancing at the wall, there was now an empty space where the image had been. I should feel guilty, but I didn’t, as if finding treasure and claiming it for keeps was my right.

That night as I was about to turn the bedside lamp off, the photograph glowed, the gloss of paper catching the light and holding it briefly, as the room went dark.

The next day, unexpected, yet I was attentive, it was there—another Polaroid of charcoal clouds a bruised sky, the words written again—between us, only light.

Heart struck it was so dark, the image a wound.

Constantly the previous day I wondered, was this a message of loss or love? To someone here, or gone?  Such thoughts tunnelled like heartache. I snatched it, furtively liberating it from the wall.

Each following day a new Polaroid was pasted, the exact place on the wall the mood altering, the words ever the same.

between us, only light

I collected them all, carried them as a secret and a little shame. They weren’t for me, but they spoke to me. Until the day something changed, a word added, a name—

Yohji 

Later, I laid them out in a row, a story of clouds and the sky. Who was this Yohji? An artist? A traveller? A romantic? The obvious things came to mind, and then deeper: Were they lonely? Kind? Empathetic? Obviously thoughtful, even poetic. Did they hunger for connection? There was a yearning to these images, a longing I felt almost as my own.

And I was not surprised, had hoped, perhaps that when I looked at the space expectantly the next day, a person stood as if waiting. I wanted to run, hide, instinctively knowing this was Yohji. Was he here to confront me? A thief! But an accuser wouldn’t smile hesitantly, wouldn’t reach out his hand holding a Polaroid to give to me? 

Stepping closer I saw a brilliant hue of blue, clouds mere wisps of air and the words still the same—

between us, only light

As I took it, hand shaking and heart escaping the cage of my chest, meeting his gaze for the first time, I knew instantly nothing could ever be the same again.

© Angela Jooste

Fireflies

Artwork: Yayoi Kusama, Fireflies on the Water, 2009

I read this beautiful haiku by Suzuki Masajo and I was reminded of the prose/poem art story I wrote for Yayoi Kusama’s installation, Fireflies on the Water (here)—the connection of fireflies, light and love.

Here’s Masajo’s haiku:

love fulfilled…

fireflies leisurely await

the sunrise

Radical Love

Artwork: Wall mural by 17matrix, Radical Love, Idaho-a-Velha, Portugal for Boom Festival, 2023

Incredible wall mural titled Radical Love by 17matrix (@17matrix) in Idaho-a-Velha, Portugal for Boom Festival. I’ve always loved 17matrix’s bird murals—the vibrancy, freedom and explosion of colours, which is on display here as well.

Lost Words

Artwork: Installation by Chiharu Shiota, Lost Words, St. Nikolai Kirche, Berlin, 2017

It seems fitting that I rediscovered this poem I wrote for Chiharu Shiota’s installation at Berlin’s oldest church, St. Nikolai Kirche, titled Lost Words—a poem lost and then found. I rewrote it, and I think initially I just didn’t have the words to write it. The installation is fascinating, created with thousands of pages of the Bible in different languages, tangled and seemingly blown away by some invisible wind. The artwork was created to commemorate the 500th year of the Protestant Reformation that was celebrated in Germany in 2017. Shiota drew on her own history of migration, of her native Japan and having migrated to Germany where she now resides, and a kind of reverse migration of Portuguese missionaries in the 16th century who came from the west to spread Christianity in Japan. Christianity was subsequently banned in Japan, so that Japanese Christians had to go into hiding to practice their religion. The themes of immigration through storytelling is at the heart of Shiota’s work, with the black thread representing a universal element of connection, such as the night sky.

Shiota said this about Lost Words: “Our heart, soul and feelings empower the act of moving. They serve as the energy of our decisions and beliefs. My installation of floating Bible pages conveys this concept. 

And here is the poem I wrote, inspired by the installation:


words, inspired

divine, arc through eons

shaped by different tongues

migrating as stories told

and prayers incanted

in whispers, at times

stifled as heresy

yet printed boldly

in faded ink

those words still live

inscribed in heart

and soul, the very essence

of being, belief

always to be heard

never to be erased

 

(Poem inspired by Chiharu Shiota’s installation, Lost Words, Berlin, 2017

© Angela Jooste)

Tanabana

Artwork: Saad Qureshi, Tree of Life, Prayer, woven paper, 2023

British artist Saad Qureshi is a storyteller and collector of stories. For his exhibition at the Yorkshire Sculpture Park Something About Paradise (2020—see my art story of this installation here), he travelled around the United Kingdom asking people what paradise meant to them, and the resulting installation was an otherworldly dreamscape of such intricacy and imagination that no one person could have envisaged such a collection of landscapes or experiences.

For his recent exhibition at Aicon Gallery in New York, Spaces & Places, Qureshi continues telling stories, this time in the two-dimensional format of woven paper Tanabanas (tapestries). It is a form he utilised in his 2022 exhibition, Tanabana, where his family’s tradition of working with textiles and needlework shaped the woven images taken from family carpets and books. Qureshi photographed the textiles that were significant to him growing up, and then printed the images onto paper, cut them into strips, sometimes combining different images, and then wove them into tapestries. The same practice is employed in the Spaces & Places exhibition.

Qureshi’s contemporary interpretation of an ancient artform creates a dialogue with past and present expressions of weaving that entwines with his personal history and family traditions. There’s also the wonderful association of weaving and writing. The Latin for weaving or ‘to weave’ is texere, hence weaving is referred to as ‘textiles’. The English word ‘text’ similarly has its etymology in the Latin texere, bringing the relationship of weaving and writing or printed words together. Qureshi’s fascination with storytelling finds a perfect, synergistic outlet in his series of woven paper Tanabanas.

When the moon rises...

Artwork: Installation by OAKOAK, Paris, 2023

Another poetic piece by OAKOAK (@oakoak_street_art) with the added quote from Victor Hugo (translated) “When the moon rises, do we think about the setting sun?”