56,01 €
65,89 €
-15% su kodu: ENG15
Pieter Slagboom: Scent of Hypnosis
Pieter Slagboom: Scent of Hypnosis
56,01
65,89 €
  • Išsiųsime per 10–14 d.d.
Pieter Slagboom's drawings are about life and death. About how these ostensible antagonists are inseparable; how, in his imagination, they are even fused. In his enormous canvases, we are held by the essence of our existence as though by a steel vise: we come from the void and in the end shall return to it. Thousands upon thousands of sweeping lines, twisting like Moebius strips, make for an almost physical experience of this truth. The dead and the newborn emerge from the primeval soup of Slag…
  • Extra -15 % nuolaida šiai knygai su kodu: ENG15

Pieter Slagboom: Scent of Hypnosis (el. knyga) (skaityta knyga) | knygos.lt

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Pieter Slagboom's drawings are about life and death. About how these ostensible antagonists are inseparable; how, in his imagination, they are even fused. In his enormous canvases, we are held by the essence of our existence as though by a steel vise: we come from the void and in the end shall return to it. Thousands upon thousands of sweeping lines, twisting like Moebius strips, make for an almost physical experience of this truth. The dead and the newborn emerge from the primeval soup of Slagboom's lines, as do genitals; we spot larger-than-life fantasies of disturbing sexual acts. The circle of life as a short circuit. The energy of some of the pictures in Slagboom's oeuvre is almost too much to bear-we shudder before the pigments materializing our latent knowledge: that death is suspended in life.

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56,01
65,89 €
Išsiųsime per 10–14 d.d.

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Pieter Slagboom's drawings are about life and death. About how these ostensible antagonists are inseparable; how, in his imagination, they are even fused. In his enormous canvases, we are held by the essence of our existence as though by a steel vise: we come from the void and in the end shall return to it. Thousands upon thousands of sweeping lines, twisting like Moebius strips, make for an almost physical experience of this truth. The dead and the newborn emerge from the primeval soup of Slagboom's lines, as do genitals; we spot larger-than-life fantasies of disturbing sexual acts. The circle of life as a short circuit. The energy of some of the pictures in Slagboom's oeuvre is almost too much to bear-we shudder before the pigments materializing our latent knowledge: that death is suspended in life.

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