In the world/On the world

Introduction

The absence is observed
Not in shut eyes
The fingers, always hesitant to touch

He was never blamed,
For what he didn't do,
He didn't do.

Monday 05-09

Walk through Maritime District with Isabelle; what is our definition of the
maritime district?
Never walk into a good cup of coffee on a Monday morning.
We did.

There are cats around here that do not fear people. There is no traffic. There is not much chaos. A nice garden with sunflowers. Many boats and more. I would say that the public space in this area is relatively 'under-occupied' - that might be due to the moments I’ve walked there, but there is no chaos, not like what I am used to (In the South of Rotterdam).
People have enough space for themselves here? Or they go into the city center to catch sun and have coffee with their neighbours.
This is touristic, but estranged. This feels dead to me.
The building sounds are incredibly present and are part of a somewhat alienating
paradox - the local silence, stillness and constant buzzing and grinding of the
construction works.

To be in the world or on the world
(both) (whole)

To be in the world or on the world
(both) (whole)

This paper entails the documentation and consideration of my process with creating ‘ To be in or on the world ‘ - two sculptures that will be placed in public space at the Maritime district with the intend to explore;

‘What do I want the viewer/participant to experience [with the sculptures] and to what extent do I adjust(alternate) my approach in the process with a work to facilitate this experience?’

I have no capacity to enunciate the core-concept of this work; 'Presence in context,’ because of the complex and spiritual idea's; causalities and correlatives that surround the idea of presence and absence in a human being. I do believe that an inquiry to be present quite willingly reveals itself once we manage to observe ourselves falling off of either side of the spectrum.
The main incentive, for me to consider being as a spectrum or presence-absence-balance, was a lacking experience of reality and being called out for being intangible. I have spend much time trying to comprehend the urgency, drift and realness that followed these remarks and as for today feel a bit overwhelmed.
The reason for wanting explore how I put my intention into practice, which regards my methods of actualising/materialising/contextualising; is that I have felt most friction and uncertainty at this point - with the question whether my work invites the viewer to experience what I experienced OR whether I want to share something I experienced in a way that shows of a world perspective - that is one that is more fluid and asks for emotional engagement. I would like to facilitate an interaction in that world.
In regards to this project I hope to invite the viewer to consider the fluidity of one’s presence rather than provoke a negative judgement about one’s current state of mind. My literature research regards the presence of Self. The ‘inviting to consider Self’ could be considered the subject of this research. I walked into Jung in a romantic light - he writes; “We cannot change anything unless we accept it. 1.” I think this statement accurately founds my desire to learn to invite rather than provoke.
Moving onwards I will continue with a descriptive documentation of the project, method and considerations and provide a disquisition of some findings in literature that addresses the concept of presence as a mode of being.

How does my question relate to the work in the district?

The sculptures that I am making for this project or rather our process is part of a bigger one (my life) and although I find myself with a tendency to separate personal practice and schoolpractice - as I have mostly received feedback that looks at the conceptual conclusion that my work appears to be presenting (not at all unimportant, but static) and am very aware of the reasons and actuality of my incapacities that lead me to mis-represent or feel ‘un-tangible’. I felt unheard or rather not seen as a person, artist and deeply hurt. My cooping is control so when it comes to my psyche; I love to share, but merely whatever I have figured out for myself already. I am (within my practice) currently exploring how the body functions as an incentive when it is in hypo/hyper - arousal and or being and how these bodies lead me in the process of affecting material, context and visual qualities. What is coincidence, rather I believe synchronicity and what is inviting me to alternate. In approaching this public work I am focussing on a sub-quest in this search, namely what do I want the viewer/participant to experience and to what extend do I change my approach to facilitate this experience.

Strategy of making the sculptures

The sculptures will have a base structure that represents the core feelings that I have at both sites

That is (1) Carrying, grounded and earthy

And (2) Over-rising, unstable and airy

I will make these structures from pallets (wood)

The work I am going to make is one that emphasises the contrast between the old core on the Jufferkade and the Construction Landscape of the Zalmhaven on the Leuvehaven; the old and the new. But rather two different approaches in space usage and intention. I have found myself fascinated with how elaborate the contrast is; the warm reddish stones that appear to be equal to the water, humble and peaceful in relation to the white and greyish high buildings that are static between the clouds; their own entity. I relate this to how we perceive ourselves ourselves; the houses at the Jufferkade where built in 1977, intended to facilitate comfortable living, leaving space for the boats to harbour and orientation towards the sun. (https://rotterdamwoont.nl/images/uploads/9669fbdce1d1448e5c276c1a9a5dc4e2.pdf)The houses that were built about fifty years ago was developed by ABBT, a group of architects, amongst whom Aldo van Eyek. ABBT Was responsible for the editorial of the Forum from 1959 onward - an architectural magazine. In the focus of the magazine and their criticism on modernism, besides elaborately describing the importance and predilection of a method that they were developing. In their engagement with the Academie van Bouwkunde in Amsterdam they emphasised the importance of configurative design, participation, small scale, crossing disciplines and the integrated approach of a neighborhood when designing an architectural environment are discussed. Their method was much like structuralism; the building they designed have a geometrical structure of smaller units that are related to the human body’s size. The houses at the Jufferkade have a strong feeling of owners in this regard. I think that this is what I experienced as private public space. Since then our intention has changed (our being space has transformed) and seeks for even more functionality, efficiency and wealth. The buildings that are rising now are focussed on ‘luxury and comfort’ according to the site of the zalmhaven toren that is effectively over-rising the houses at the Jufferkade (https://www.dezalmhaven.com). The Zalmhaven - claiming most visual presence when looking from the Jufferkade to Leuvehaven is currently under construction and intended to be finished next year. The Zalmhaven I. was designed by Dam en Partners, a less politically engaged architcture collective, compared to ABBT, their focus lays with finding ways to bring comfort and aesthetics together. The Zalmhaven II, III and the mansions are developed by KAAN Architecten. \They are a multidisciplinary office building upon foundations within the departments of architecture, urbanism, graphic design, engineering and spacial design. Both sides were created with a focus on comfort, but the definition of this comfort and the target audience has changed strongly. Building with a different intention creates a space that facilitates a different presence and it fascinates me how the being space in both context is visually represented and present. I wanted to make a work about presence and absence, considered as modes of being. I cannot make any generalised statements about the presence of people. I am not a scientist like that. I can only actualise my experience in observing two different landscapes and thereby express my concern - I don’t think that it is good to facilitate and assume the desire to be extremely comfortable, not confronted with reality that is found with the less wealthy, old houses and a lack of privacy. In an attempt to invite people to see this contrast I will have a conversation with the people that are confronted with the contrast on a daily basis; my question regards the emotional interpretation of both.