At Studio Per Petri we are much preoccupied with the darkness of the Brussels rework these days. We’re just staring into it. I could think of walking into it. Well-dressed. I could even think of calling André Breton. We’re also preoccupied with the watch, originally a clock from the Belgian living room, which now hovers surreally in the sky. Like a moon. While all the trams ('Le Tram') run empty and every seven minutes briefly stridently towards the depots under the crowns as heavy as cupboards under the ceiling. I’m preoccupied with the vast condensate of details. I’m preoccupied with that French is spoken. But first of all, we are completely stunned by the darkness. If I try to add a color it turns out dark brown. That's the brightest thing I can think of. I can't get back to the ordinary colors at all. I can't come back from Brussels' night dark at all. If I haven't drawn a black cat somewhere, I'm sure it will show up, along a tall wrought iron balustrade, on the stairs under a black mausoleum of a ballet school with only one, in turn, huge, glassless window. And it hasn't even gotten weird yet. But it does now. A smoking woman with cane. King Leopold clapping his tiny blind horse. It is blissful.
I don't know if you see it.
This is the opposite of enlightened, light, bright, open, transparent, democratic,
bicycle bridged Nordic.
Maybe we need that opposite?
Experimental work (section) | Originated from commisioned (double)Portrait | Title: "Le Chaos de Bruxelles - Le Chaos de la Famille", 2016 | Size: 157 x 117 cm (framed) | Client: Private, Uccle, Bruxelles
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