George Korsmit’s paintings are inimitable accumulations of form and colour that allow neither the eye nor the brain a moment’s rest. The works possess an idiosyncratic logic: they are the result of predetermined steps and procedures, using a system that gives the decisive role to chance. The artist determines the dimensions of the panels of colour by throwing dice, while the colours are chosen by means of a blind dip into a box containing about 1,600 different colour chips.
All the works in the “Looking Around for Side Streets” exhibition at Ellen de Bruijne PROJECTS are new. Alongside his paintings on a canvas and a wall painting, Korsmit is for the first time presenting work in which he unleashes his aleatoric system into a three-dimensional world. It seems as if the resulting objects have escaped from the paintings: they have no discernible function and their manifestation is as clunky as it is complex; painted on one side only, they create the impression that they are yearning after their two-dimensional origins.
Korsmit’s work invites the viewer to analyze, but the analysis leads nowhere. The paintings and objects are unpredictable, capricious and on occasion mesmerizing, like life itself.
George Korsmit follows on from Evi Vingerling in a series of three exhibitions of paintings, each artist leaving an example of his or her work on display during the next presentation. The third artist in the series is Mark Kent, who is presenting new paintings as well as 15 dresses, all unique, which are accompanied by a signed and numbered artist's book, published by mo-arteditions.Dolores:Rune Peitersen - Saccadic Sightings: Ophelia
If I looked through another person’s eyes, would I see the same as that person?
If I could construct a device to record the view in front of me, a miniature camera I could wear without noticing, and if I could simultaneously track the movement of my eyes, then I would be able to calculate the direction of my gaze and project it onto my recorded scene-view. If I then meticulously constructed a video filter, according to the latest scientific research on how my eyes receive visual stimuli, and applied this to the scene-recording, then I would be able to see what my eyes had seen before my brain had interpreted the input.
This way, I would see the world as it really is, pure and unobscured by neurological filters. And if I asked someone else to wear the device, I would be looking through their eyes. I would be seeing the world as they saw it, for a brief while we’d share the same visual reality, the same vision.
That is, if there would be anything to see at all…
This presentation is the first installment of the ongoing art project Saccadic Sightings, by Rune Peitersen.
Saccadic Sightings is generously sponsored by The Arts&Genomics Centre, Leiden, www.artsgenomics.org, and Stephen Oliver Associates, London, www.s-oliver-associates.com.
The MobileEye used for the recordings was provided by Stephen Oliver Associates, London.
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