The Process Of Becoming.

In The Process of Becoming I experiment with natural processes, recreating forces that shape our natural world. I want to question our Antroposcene through my performative sculptures.
Where does nature end and the humanity begin? In the process of becoming I compare natural processes with ideas of emotional growth and experiences.


Making the process apparent can demystify the work,  answers to the question of “How?” it moves the question to the side, making room for more relevant questions.

Alchemy is the very old study and philosophy of how to change basic substances (such as metals) into other substances. It also studied how substances (and how they are changed into other substances) were related to magic and astrology. People who studied alchemy were called alchemists. Some things alchemists tried to do were change lead or mercury into gold, make the philosopher's stone, and make the "elixir of life," which they thought could cure (make better) any disease and make someone young again.
Alchemists believed that substances, mind, philosophies, religion, magic and astrology were related to each other. They tried to find connections between them. They tried to understand one by understanding the other. Some alchemists used metals (like gold or silver) to represent spiritual or occult ideas. People in many different countries studied alchemy.

Keep the material as close to its natural form.
Don’t be flamboyant.
Don’t glorify.
Don´t lie. Take artistic licence.
Make the seemingly impossible work.
The process is important, the process is the work.
Be transparent.
Be honest.

Repetition. Repeated use of a shape, colour, or other art element or design in a work can help unify different parts into a whole. The repetition might be limited to only an instance or two: not enough to create a pattern or rhythm, but enough to cause a visual echo and reinforce or accent certain aspects of the work.
Rhythm. When motifs or elements are repeated, alternated, or otherwise arranged, the intervals between them or how they overlap can create rhythm and a sense of movement. In visual rhythm, design motifs become beats. Rhythm can be broadly categorized as random, regular, alternating, flowing and progressive.
Flowing Rhythm is created by undulating elements and intervals, bending and curving motifs and spaces. Natural flowing rhythm can be seen in streams and waterways, beaches and waves, sand dunes and glaciers , rolling hills and windblown grasses.

Movement demands attention,
placidity asks for it.

Performative Sculptures.
In making performative works that include a figure, the figure instantaneously becomes the focal point. This is not my desire nor intension, removing the figure allows more focus to fall on the concept and materialization.
Sometimes human execution or use in the work is important or impossible to forgo, either for concept or practicality.
Labelling the work as a Performative sculpture, allows you as the artist to draw attention to the object, calling it by the hallowed title of sculpture the object becomes glorified therefor worthy of attention.
If creating a performative sculpture without a human assigned to interact with the object, labelling it as performative demands attention. It highlights the fact that the work is in process, it is becoming, ongoing, unfinished, it is being formed before your eyes, it is something to pay attention to and come back to.

• Anadiplosis: Repetition of the last word in a line or clause.
• Anaphora: Repetition of words at the start of clauses or verses.
• Antistasis: Repetition of words or phrases in opposite sense.
• Diacope: Repetition of words broken by some other words.
• Epanalepsis: Repetition of the same words at the beginning and the end of a sentence.
• Epimone: Repetition of a phrase (usually a question) to stress a point.
• Epiphora: Repetition of the same word at the end of each clause.
• Gradatio: A construction in poetry wherein the last word of one clause becomes the first of the next, and so on.
• Negative-Positive Restatement: Repetition of an idea first in negative terms, and then in positive terms.
• Polyptoton: Repetition of words of the same root, with different endings.
• Symploce: A combination of anaphora and epiphora, in which repetition is both at the end and at the beginning.

A constellation is a group of stars that are considered to form imaginary outlines or meaningful patterns on the celestial sphere, typically representing animals, mythological people or gods, mythological creatures, or manufactured devices. The 88 modern constellations are defined regions of the sky together covering the entire celestial sphere. Origins for the earliest constellations likely goes back to prehistory, whose now unknown creators collectively used them to relate important stories of either their beliefs, experiences, creation or mythology. As such, different cultures and countries often adopted their own set of constellations outlines, some that persisted into the early 20th Century. Adoption of numerous constellations have significantly changed throughout the centuries. Many have varied in size or shape, while some became popular then dropped into obscurity. Others were traditionally used only by various cultures or single nations.

Nature is a person.
The moon is a man.
The sun a woman.
The wind a man.
The calm ocean a woman.
The stormy sea a man.

We understand the world through ourselves.
Only through knowing ourselves can we know the other.

Etymology (noun):
the study of the origin of words and the way in which their meanings have changed throughout history.
"the decline of etymology as a linguistic discipline"
the origin of a word and the historical development of its meaning.

Epistemology (noun):
the theory of knowledge, especially with regard to its
methods, validity, and scope, and the distinction
between justified belief and opinion.


made to be broken.

Contemporary art has the responsibility to question.
To propose the question of “why?”
Which has the possibility of the viewer questioning “how?”
Which has the possibility of leading to an answer.

Witchcraft or witchery broadly means the practice of and belief in magical skills and abilities exercised by solitary practitioners and groups. Witchcraft is a broad term that varies culturally and societally, and thus can be difficult to define with precision,[1] therefore cross-cultural assumptions about the meaning or significance of the term should be applied with caution. Witchcraft often occupies a religious divinatory or medicinal role, and is often present within societies and groups whose cultural framework includes a magical world view.

The word ritual itself suggests formality. It even sounds religious. Ritual implies the act it signifies as being special and important, worthy of ceremony. We have ritual ceremonies for all of the special and important events in our communal lives as humans: We have rituals surrounding the swearing-in of witnesses, judges, and heads of state; rituals surrounding childbirth and death, commencements and weddings, birthdays and gala benefits. Rituals signify that the event we are participating in is something worthy of notice and that by our participation in the event we are in some sense “becoming” something other than what we are or were before. Rituals signify movement from one state of being to another.
The practice of creating art can and should be elevated to an act worthy of ritual, even if that means the ritual is carried out by the artist in solitude. The mere fact that an artist has a ritual implies and signifies an awareness of the importance of the creative act and the need to be very clearly present to the mystery inherent in that act, as well as to the mysterious transformation of self within the act.

Howl II
What sphinx of cement and aluminum bashed open their skulls and ate up their brains and imagination?
Moloch! Solitude! Filth! Ugliness! Ashcans and unobtainable dollars! Children screaming under the stairways! Boys sobbing in armies! Old men weeping in the parks!
Moloch! Moloch! Nightmare of Moloch! Moloch the loveless! Mental Moloch! Moloch the heavy judger of men!
Moloch the incomprehensible prison! Moloch the crossbone soulless jailhouse and Congress of sorrows! Moloch whose buildings are judgment! Moloch the vast stone of war! Moloch the stunned governments!
Moloch whose mind is pure machinery! Moloch whose blood is running money! Moloch whose fingers are ten armies! Moloch whose breast is a cannibal dynamo! Moloch whose ear is a smoking tomb!
Moloch whose eyes are a thousand blind windows! Moloch whose skyscrapers stand in the long streets like endless Jehovahs! Moloch whose factories dream and croak in the fog! Moloch whose smoke-stacks and antennae crown the cities!
Moloch whose love is endless oil and stone! Moloch whose soul is electricity and banks! Moloch whose poverty is the specter of genius! Moloch whose fate is a cloud of sexless hydrogen! Moloch whose name is the Mind!
Moloch in whom I sit lonely! Moloch in whom I dream Angels! Crazy in Moloch! Cocksucker in Moloch! Lacklove and manless in Moloch!
Moloch who entered my soul early! Moloch in whom I am a consciousness without a body! Moloch who frightened me out of my natural ecstasy! Moloch whom I abandon! Wake up in Moloch! Light streaming out of the sky!
Moloch! Moloch! Robot apartments! invisible suburbs! skeleton treasuries! blind capitals! demonic industries! spectral nations! invincible madhouses! granite cocks! monstrous bombs!
They broke their backs lifting Moloch to Heaven! Pavements, trees, radios, tons! lifting the city to Heaven which exists and is everywhere about us!
Visions! omens! hallucinations! miracles! ecstasies! gone down the American river!
Dreams! adorations! illuminations! religions! the whole boatload of sensitive bullshit!
Breakthroughs! over the river! flips and crucifixions! gone down the flood! Highs! Epiphanies! Despairs! Ten years’ animal screams and suicides! Minds! New loves! Mad generation! down on the rocks of Time!
Real holy laughter in the river! They saw it all! the wild eyes! the holy yells! They bade farewell! They jumped off the roof! to solitude! waving! carrying flowers! Down to the river! into the street!
By Alan Ginsberg

From sea shells and spiral galaxies to the structure of human lungs, the patterns of chaos are all around us. Fractals are patterns formed from chaotic equations and contain self-similar patterns of complexity increasing with magnification.

There is a special relationship between the Golden Ratio and Fibonacci Numbers (0, 1, 1, 2, 3, 5, 8, 13, 21, ... etc, each number is the sum of the two numbers before it). So, just like we naturally get seven arms when we use 0.142857 (1/7), we tend to get Fibonacci Numbers when we use the Golden Ratio.

We want to connect.

I belive this is a term that has been needed in the art dialect for a long time, artists such as Janine Antoni and Bernaud Smilde for example create work that fall within this definition. Their work is often grouped under the title of Instillation but that term does not manage to encompass the sphere of the work. Janine Antony herself calls her works Performative Objects, shying away from calling herself an artist or labelling her creations as artworks.

Anthropomorphism is the attribution of human traits, emotions, or intentions to non-human entities. It is considered to be an innate tendency of human psychology.
Personification is the related attribution of human form and characteristics to abstract concepts such as nations, emotions and natural forces like seasons and the weather.
Both have ancient roots as storytelling and artistic devices, and most cultures have traditional fables with anthropomorphized animals as characters. People have also routinely attributed human emotions and behavioural traits to wild as well as domestic animals

The term anthropomorphism was coined by the Greek philosopher Xenophanes when describing the similarity between religious believers and their gods — that is, Greek gods were depicted having light skin and blue eyes while African gods had dark skin and brown eyes.
Neuroscience research has shown that similar brain regions are involved when we think about the behavior of both humans and of nonhuman entities, suggesting that anthropomorphism may be using similar processes as those used for thinking about other people.
Anthropomorphism carries many important implications. For example, thinking of a nonhuman entity in human ways renders it worthy of moral care and consideration. In addition, anthropomorphized entities become responsible for their own actions — that is, they become deserving of punishment and reward.
Although we like to anthropomorphize, we do not assign human qualities to each and every single object we encounter. What accounts for this selectivity? One factor is similarity. An entity is more likely to be anthropomorphized if it appears to have many traits similar to those of humans (for example, through humanlike movements or physical features such as a face).
Various motivations may also influence anthropomorphism. For example, lacking social connections with other people might motivate lonely individuals to seek out connections from nonhuman items. Anthropomorphism helps us to simplify and make more sense of complicated entities.
The authors observe that, according to the World Meteorological Organization, “the naming of hurricanes and storms — a practice that originated with the names of saints, sailors’ girlfriends, and disliked political figures — simplifies and facilitates effective communication to enhance public preparedness, media reporting, and the efficient exchange of information.”
Anthropomorphism in reverse is known as dehumanization — when humans are represented as nonhuman objects or animals. There are numerous historical examples of dehumanization including the Nazis’ persecution of Jews during the Holocaust and torture at the Abu Ghraib prison in Iraq.

These examples also suggest that those engaging in dehumanization are usually part of a cohesive group acting against outsiders — that is, individuals who feel socially connected may have an increased tendency toward dehumanization.
The authors note, “Social connection may have benefits for a person’s own health and well-being but may have unfortunate consequences for intergroup relations by enabling dehumanization.”
The authors conclude that few of us “have difficulty identifying other humans in a biological sense, but it is much more complicated to identify them in a psychological sense.”

In The Process of Becoming I experiment with natural processes, recreating forces that shape our natural world. I want to question our Antroposcene through my performative sculptures.
Where does nature end and the humanity begin? In the process of becoming I compare natural processes with ideas of emotional growth and experiences.

Becoming. Evolving. Metamorphosing. Maturing. Becoming. Becoming. Crystallising. Carbonizing. Crying. Hurting. Bruising. Fracturing. Healing. Growing. Improving. Becoming.

Nature / Human. Human / Nature. Nature > Human. Human > Nature. Human < Nature. Nature < Human. Nature = Human. Human = Nature. Human vs. Nature. Nature vs. Human. Human ~ Nature. Nature ~ Human. Human - Nature. Nature - Human. Human & Nature. Nature & Human. Nature Human. Human Nature.

Anthropocentric adjective
regarding humankind as the central or most important element of existence, especially as opposed to God or animals.

Growing up in a country where nature is them most powerfull entity, there is a vibration, an uneasyness. Nature holds the power of life and death and we are powerless. Nature is an entity to be respected, reviered, and feared. In the Netherlnds the attitude is compeletely diffrent, a country that should be underwater. Nature has been tamed. The dragon has been conquired. The society has developed an anthropocentrice attitude towards nature. Simmilar to my little brothers when we were kids, he believed himself to be invincible, which often resulted with trips to the emergency room.
The Anthropocene is a proposed epoch dating from the commencement of significant human impact on the Earth's geology and ecosystems, including, but not limited to, anthropogenic climate change. As of August 2016, neither the International Commission on Stratigraphy nor the International Union of Geological Sciences has yet officially approved the term as a recognized subdivision of geological time,
Various different start dates for the Anthropocene have been proposed, ranging from the beginning of the Agricultural Revolution 12-15,000 years ago, to as recent as the Trinity test in 1945. As of February 2018, the ratification process continues and thus a date remains to be decided definitively, but the latter date has been more favored than others.
The most recent period of the Anthropocene has been referred to by several authors as the Great Acceleration during which the socioeconomic and earth system trends are increasing dramatically, especially after the Second World War.