Emet Vilijems | Emmett Williams
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Emmett Williams
Iz serije LichtSkulpturen, 1984/2003.
From the series LichtSkulpturen, 1984/2003


Born in 1925 in Greenville, USA.
Lives and works in Berlin.

www.galerie-baecker.de

From the series LichtSkulpturen, 1984/2003

LightSculptures

I think Seneca the Younger knew what he was talking about when he said that the artist finds a greater pleasure in painting than in having completed the painting. Not only do I agree with him, but I have had the good fortune to be able to recycle this pleasure again and again in several recent series of prints, paintings, drawings and collages.

For my book Deutsche Gedichte (Rainer Verlag, Berlin 1986) I made 70 LichtSkulpturen (LightSculptures) to accompany the poems. To create these images I took sheets of paper and attacked them with an X-acto-knife – slash slash slash this way and that – in random fashion. Then I placed the slashed papers in a copy machine – top open – and pushed the starter button. The light in the machine “drew” through the slashes. Voila: 70 black-and-white shadowy line drawings the likes of which I had never seen before. These untitled drawings blended nicely, often magically, with the spirit of the poems on the opposite page.

Not long afterwards I put the slashed papers to work again. This time I placed them on top of art papers and/or canvases and sprayed acrylic paints through the slashes north east south and west. The slashed papers took quite a beating, but underneath lay dozens of beautiful and subtly coloured images of fanciful persons, places and things that inhabit Never-Never-Land.

The messy mucked-up papers lay forgotten in a box until years later, in 2003, when I was cleaning up my atelier, throwing out accumulations of clutter that had piled up over the years. Well, I started dumping the beat-up papers into a trash can when – suddenly and by chance – I noted their backsides for the first time. What a happy surprise to find a hundred or so multicoloured surfaces with wondrously wandering lines and colour shadings, almost crying out to get turned into finished pictures. It was a joyful experience to bring them to life with signal dots (which I’ve often used in my work since the 1950s), together with the ABCs and other ubiquitous what-nots, to fashion eyes, ears, mouths, noses and – and yes, genitalia, of course.

Thus, through a series of coincidences, through serendipity and imaginations, I created – or should I say recreated? – some of the best work I’ve ever done.

Emmett Williams

Rođen 1925. godine u Grinvilu, SAD.
Živi i radi u Berlinu.

www.galerie-baecker.de

Iz serije LichtSkulpturen, 1984/2003.

Svetlosne skulpture

Mislim da je Seneka Mlađi znao o čemu govori kada je rekao da je za umetnika veće zadovoljstvo da slika, nego da završi sliku. Ne samo da se slažem sa njim, već sam imao tu sreću da ovo zadovoljstvo više puta doživim tokom rada na nekoliko skorašnjih serija printova, slika, crteža i kolaža.

Za svoju knjigu Deutsche Gedichte (Rainer Verlag, Berlin 1986) načinio sam 70 LichtSkulpturen (svetlosnih skulptura), kao ilustraciju uz pesme. Da bih stvorio te slike, uzeo sam listove hartije i rasparao ih nožem – fike-fike, nasumičnim pokretima, na sve strane. Zatim sam stavio rasečene listove hartije u mašinu za fotokopiranje – poklopac je bio podignut – i pritisnuo dugme. Svetlost iz mašine ''provukla'' se kroz rezove. I gle: dobio sam 70 crno-belih osenčenih crteža kakve nikada pre toga nisam video. Ovi crteži bez naslova su se veoma lepo, gotovo čarobno, uklopili u „duh“ pesama na suprotnim stranama knjige.

Nedugo zatim, ponovo sam iskoristio te rasečene listove. Ovoga puta stavio sam ih na umetničke slike na hartiji i/ili platnu, a zatim špricao akrilne boje kroz proreze na sve strane. Rasečena hartija je dosta toga pretrpela, ali su ispod nje bile desetine divnih i suptilno obojenih slika izmišljenih osoba, mesta i stvari koje prebivaju u Nedođiji.

Hrpa ove uprljane hartije ležala je zaboravljena u jednoj kutiji sve dok, mnogo godina kasnije, 2003. godine, nisam krenuo da sređujem atelje i da bacam svakojake starudije koje su se tu nagomilale tokom godina. I tako, počeo sam da bacam izgužvane listove hartije u kantu za đubre kada sam – iznenada i sasvim slučajno – po prvi put video kako izgleda njihova poleđina. Kakvo prijatno iznenađenje, otkriti stotinak višebojnih površina sa čudesno vijugavim linijama i bojenim senkama koje gotovo vape da se pretvore u dovršene slike. Bilo je pravo uživanje vratiti ih u život pomoću signalnih tačaka (koje sam često koristio u svom radu od pedesetih godina prošlog veka pa naovamo), zajedno sa slovima i koječime, da bih oblikovao oči, uši, usta, noseve – i, da, naravno, genitalije.

Tako sam, nizom koincidencija, slučajno i pomoću mašte, stvorio – ili možda treba da kažem iznova stvorio? – neka od svojih najboljih dela.

Emet Vilijems