Michel Foucault Series

It is Michel Foucault (1926-1984) who made us aware of the processes in which humans, their behavior and expectations are all subject to normalization. To use a more coarse word: repression may be detected everywhere.  He is also called Saint Michel Foucault, but let me doubt that. I like to think he was utterly human.

There may not always be a way to avoid normalization or repression, yet there is the possibility to address it. I did so in this series, created 2011-2013, featuring the portrait of Michel Foucault as an act of gratitude to him. His oeuvre will not end, but it will be a fertilizer for ideas as well as works that will grow on his legacy. 

This is a sequel to the blog of August 10, 2011

Go. Don’t stop. Go!	Life implies differentiation
Fate happens, you act	Ending oppression is not yet liberation

4 Works on A4-paper, acrylic paint and spray-paint / stencil, Indian ink, pencil.The stencil is abstracted from the famous photograph made in Berlin in the late 1970s.

Bell Jar - Glazen Stolp

The glass models were to be used as museum exhibits. In order to emphasize this  circumnstance, I did this illustration in  pen and wash of Indian ink.  It depicts a female individual of the jellyfish species Carmarina hastata (B 139) under a bell jar.

Bell jar with glass model of Carmanina hastata  [female] (B 139) , 2012. Pen and wash of Indian ink (29x17 cm)

De glasmodellen zijn bedoeld als museale objecten. Om deze hoedanigheid te benadrukken, maakte ik deze illustratie in een tekening van gewassen Oost Indische inkt.  Het stelt een vrouwelijk individu van de kwal Carmarina hastata (B 139) onder een glazen stolp voor.

Precious coral / Bloedkoraal III

Corallium rubrum,  Indian ink 2012 (c. 29,5 x 21 cm) 

This image of the Precious coral is a black & white study of the interpretation of this animal as a glass model by Blaschka.

Dit beeld van het Bloedkoraal is een zwart-wit studie van de interpretatie van dit dier als glasmodel  van Blaschka

Moon Jelly Cave II

Second version of the impression of stages of development of the Moon Jellyfish, combined in a single image.  It is fiction, this does not occur in nature. Drawing in Indian ink,  pure and in dilutions

Höhle mit der Entwicklung der Ohrenqualle II, Indian Ink, pure & diluted , 2012 (ca 70 x 50 cm)

Dit is een tweede versie van de weergave van ontwikkelingsstadia van de Oorkwal, samengebracht in een afbeelding.  Het is fictie, dit komt in de natuur niet voor. Tekening in OI-inkt, puur en in verdunningen.

Moon Jelly Cave I

Stages of development of the Moon Jellyfish, combined in a single image.  It is fiction, this does not occur in nature. Drawing in Indian ink,  pure and in dilutions.

Höhle mit der Entwicklung der Ohrenqualle, Indian Ink, pure & diluted , 2012 (ca 70 x 50 cm)

De ontwikkelingsstadia van de Oorkwal, samengebracht in een afbeelding.  Het is fictie, dit komt in de natuur niet voor. Tekening in OI-inkt, puur en in verdunningen.

Strobilation

The moon jellyfish (Aurelia aurita) reproduces both sexually, and asexually  in a process indicated as strobilation. This process occurs during the colonial polyp stage and produces either polyps or juvenile medusae called ephyra. Strobilation tend to occur at specific periods, typically early spring.

Aurelia aurita - Strobilation. Diluted Indian ink,  2012 (30 x 20 cm) 

The reproduced drawing has no claim to scientific accuracy, but it  draws attention to the abundance with which the moon jelly releases is reproductive organisms.

Illustration Style

This entry shows divers, it is in illustration style.

Een bijdrage met duikers, de stijl is illustratief.

Study in Indian Ink and Poster Colour, 2011 (30 x 20 cm)

XIX: Black / Zwart

Physalia pelagica, Indian Ink, c 30 x 40 cm (2011)

Ik herinner me de door Gustave Doré geïllustreerde Bijbel, en de platen in de boeken door Jules Verne. Als kind joegen de plaatjes in Alice in Wonderland (getekend door John Tenniel) me zelfs angst aan. Mijn fascinatie voor de negentiende eeuw betreft zeker ook deze “zwarte” illustraties. Dit is de aanleiding voor het “zwarte” beeld van het Portugese Oorlogsschip.

I remember the bible with the Doré illustrations, and the plates in the books by Jules Verne. As a child, the pictures in Alice in Wonderland (drawn by John Tenniel), even frightened me. My fascination for the 19th century certainly also includes these “black” illustrations. This triggered the “black” image of the Portuguese man-of-war.