Your own moving sensorial body in relation with this dynamic landscape can be considered as an element.
It often felt my body is inseparable from this place, and even inseparable from the other body’s. Does the other feels as happy as I do when we approach each other in the middle of nowhere. Is the sky as dazzling immense as I feel when it hovers above my head?
I remember all these times, we approach and leave this place, every time different and often performed as a synchronized collective act. We are moving elements in the landscape: approaching, meeting, leaving this place as a repetative pattern over time.
Francois noticed that all our endeavors were really a group thing; never only one person suffered no mostly the whole group suffered or the whole group enjoyed.
Warm up your senses as you want to be conscious of what you very personally experience on the Zandmotor. Often you’re very first notice(s) is essential or relevant. What comes to you, what do you observe, what calls you attenton and then how do you interact with it. Phenomena are whatever we observe or perceive. Your personal observations can be so obvious, so close to you, that you don’t recognize it as actual potential. What appears to you, and what does it mean to you. You’re building up a relation with that what appears to you.
The Zandmotor asks from us an unremitting search for a moment of balance.
Willing to be the one who is in control does not work in this place.
The Zandmotor is one big observatory which will be solved in 20 years.
Choreografie: What are the flows and movements and rythms of the Zandmotor, and then making counter-movements, I saw the sand performing straight lines, I saw the sand performing a grid. Stepping the tides up and down, up and down.
The rhythm of the Zandmotor, the stream of sand along the sealine crawls 3 steps up north and then 2 steps back, 3 steps upwards, and 2 steps back, 3 steps upwards, and two steps back.
How we experience a certain colour depends on what we have seen before. I saw old pink sand, I saw orange sand really (Flor saw it to) , I should have photographed it all. How can I catch it, store it, , share it. Is it a human thing to order. The Zandmotor will be vanished in 20 years.
Trying to catch the moment, from moment to moment.
When living only in the clocktime, one gets aliented.
Our natural state is that we want to be engaged
A work should work for itself, do you want feedback, simply ask the sky above you, that bird flying over or the 20.000 old years grain of sand you’re standing on, does it connect to them to?
I should have made more notes…
We need, food, water, air, ground to walk as a base, what if warmth is missing. When is the moment that the artistic actions makes its entry.
Zooming in a personal element in this vast landscape seams a working method, and avoids that you get lost.
Being out there, away from the city on this vast plane where the elements are exposed under your skin, I experience the Anthropocene physically, emotionally and rationally.I am standing on this immense pile of sand digged out from the ocean and dropped here so we can build with “nature”.
Natural and Anthropocene processes are irreversible interwoven with each other and they became a hybrid. The climate is one of our biggest artifacts or hyperobjects (Timoty Morton) These complex systems will never return to their state of origin. So concepts as “a natural balance” will never return. There is no way back, only a way further.