Wabi Sabi comes from Japan. It is an aesthetic concept regarding the perception of beauty and constitutes a framework
for evaluating Japanese art.
Wabi Sabi is not translatable. It is an elemental concept. Beauty is not the highest value, but rather the imperfect.
The concept can be applied on architecture.
With these pictures the artist is raising questions like:
When is architecture perceived as being valuable? Does architecture need to be big?
Does architecture need to be old? Does architecture need to have space infant of it?
All pictures have a photography as a base. The inherent qualities of the architecture are the starting point for the extension
of the picture. By thousands of layers of spray paint the artist
is creating a new meaning of the building or the city space.
NO HERE BUT NOW
The „relative space“ is a system in motion, which is characterized by its fluid states. Within this dynamic conglomeration infrastructure, architecture and landscape lose their autonomy.
It changes constantly, his frame of reference is changing continuously. The „relative space“ is composed of fragments: it combines different situations, places together, the perspectives are different, different dimensions are combined, depending on where the focus is set: the bird‘s-eye view, out of the plane, blurred, like out of the High Speed Train or the flower that just fascinated. The „relative space“ is characterized by shifting vectors He is a-hierarchically. This space is the space of oscillating relations, the co-existing structures, unfinished, a continual process of transformation.
JUST THROW THE
When we move about in the world, we perceive situations and things, and subjects and constellations in these situations.
We continually compare them with the constructs and schemata that are stored as parts of our inner imaginal world, and then categorize them. We have developed concepts in order to communicate about “the world”, and to engage in exchange about it within a societal consensus. The condition for dialogue is that the thing or issue being discussed is already known in some way, since one cannot explain what a “fish” is to someone who has never seen a fish or a picture of one. The result is that what seems known is always categorized more quickly, since the process of perception always takes place faster the more often we have perceived things that are already known to us. A house is then a house - the image of a house. Time and work are needed to overcome superficiality and apparent reality. The issue here is to break through superficial smoothness and persuasiveness, solipsism and taking things for granted.