Photograph on paper
Signed on the front.
The third composition from the 'Seed Ikebana' series of the 'document|monument' project of scans. Titled after a musickal track, like the entire later āKrautrockā-series (my enduring thanks to the boys from āCoilā)
This is one of the first scans to make use of the ambient light during the scan, which when contemplating made me realise that a scanner without lid turns the entire chamber itās in (āKammerā in German), into a camera, albeit in a very distorted way, with near zero depth of field .
I love patina, and itās Japanese equivalent āwabi-sabiā: Visible āflawsā as beautiful signifiers of transience and souvenirs of endured history. āYugenā, the profound grace and subtlety of natureās language, and the human sensesā affinity with it, is the driver for these images, and I can forgive myself for my childlike exuberance and not-so-subtle, but rather deliberate arranging of these jewels, like someone not wanting to throw the i-Ching, or dice, as it were, but wilfully arranging them, to force an understandingā¦ or, like the scanner is my Zen garden.
So I was rather happy about some flaws appearing in the platen glass over time, and found them to complete the arrangement: Giving it an almost artificial ālab-induced ageingā with simultaneous warmth and depth. Mystery and contradiction just like the alien, but deeply familiar language of nature, radiating beauty and groundedness in an order beyond our comprehension.