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On this quiet and serene place, the player is neither harshly confronted nor avoided. To put it simple. The player is -there-, in this moment, no specific questions are asked, no questions have to be answered. It is no counter concept to ‘screaming’, ‘straining’ political art. It is no escapist alternative. | On this quiet and serene place, the player is neither harshly confronted nor avoided. To put it simple. The player is -there-, in this moment, no specific questions are asked, no questions have to be answered. It is no counter concept to ‘screaming’, ‘straining’ political art. It is no escapist alternative. | ||
I value atmospheres | I value atmospheres; places which are there, but don’t need any further explanation to exist. Atmospheres which are saturated with many very light emotions of different natures, creating an ambiguous and vague experience but not being overly questioning. | ||
The viewer is free to look around, remember something, reflect or contemplate a little or to zone out. | The viewer is free to look around, remember something, reflect or contemplate a little or to zone out. | ||
While the structure is enormous it doesn’t look massive or overwhelming. The arches are arranged in an intertwining non-perfect-symmetrical order. There are no walls, only columns. The only purpose of this construction is itself, no use as a container. The idealised, minimised and aestheticised look of a (neo-)classical ruin may trigger curiosity, questions or memories or a sense of serenity. | While the structure is enormous it doesn’t look massive or overwhelming. The arches are arranged in an intertwining non-perfect-symmetrical order. There are no walls, only columns. The only purpose of this construction is itself, no use as a container. The idealised, minimised and aestheticised look of a (neo-)classical ruin may trigger curiosity, questions or memories or a sense of serenity. | ||
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