Antoon Versteegde - Ephemera

EPHEMERA Transient structures of bamboo
Antoon Versteegde

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EPHEMERA transient structures of bamboo

And the whole earth was of one language, and of one speech. Until the people made bricks to build a city, with hanging gardens and a tower with a flag which reached unto heaven...

Our life is dependent on air. And yet we are really only aware of air when it makes its presence known, visible and palpable in the form of wind.

The wind blows and carries light materials with it in its flow. Tissues, anchored down bend in its path. Heavy objects appear to undergo its caress quite unmoved. Fragile materials acknowledge their survival to their ability to flutter and wear in the wind. So time flies in eternity.

There are various systems for indicating from which direction the wind blows, but the most beautiful one remains that of the flag.

It happens only all too often that a work of art appears out of the blue and catches people by surprise. Even when the inhabitants rather like the object they still tend to regard it as an intrusion in their own surroundings. They realize that it is never going to go away: a vandal-proof, easily maintainable sculpture radiates that at every turn. A temporary installation however, turns out to be itself rather like a celebration, like an event that blends briefly with the festivities.

Such a fleeting project should run like a rumor through the streets. Go like this; "Have you seen it yet?" It should all of a sudden be there. As if it had appeared out of thin air.

The delicate structure is attached to the ground. The wind flows through the construction causing a fluttering of the soft and pliable materials as though they were about to take flight. But because they are held down, floating away remains a dream. Their bid for freedom causes the ruin of their dwelling. This too appears brief and short-lived.

You never know their intention beforehand, what they are going to do with it.

Just as the wind plays with fire, so too does it play with flags. Adhering to the same choreography, they dance their dance of death. And yet: it is the wind that emerges every time as the sole conqueror. It fans the fire and converts energy into movement.

The wind is the invisible opponent of my constructions. Flags provide a visual shape; witnessing its strength, binding it tightly to the installation.

The ground, the solid earth under our feet is the foundation of our territory, the starting point for exploring our surroundings.

Art only supplies a positive contribution to its surroundings when those involved really are involved in the realization of the work of art. The place and the surroundings where the work will take its shape are more than just a foundation for the ultimate work. They provide the only significant link in a meaningful form of communication.

With each project I seek a confrontation with the surroundings. I want to develop the value of the experience at the project's location. My instrument is artistic intervention.

The crust of the earth is the territory on which we live because - in contrast to water - it is solid and not impassable. We build houses and cultivate crops. And furthermore we are just there because we are living. And as long as we live on, we are able to create objects to give a form of expression to our existence and doing so communicate with each other.

Only the ribs of the spaces are indicated, or occasionally a single surface The most important thing is the action, the moment in which the image of the fantasy becomes reality.

Placed on land and anchored to the ground, a piece of art provides us with a durable gauge for indicating that time is passing. Transient projects make us aware of the place or position that we hold in the cycle of existence. And so art stimulates our powers of imagination.

Only the ribs of the spaces are indicated, or occasionally a single surface The most important thing is the action, the moment in which the image of the fantasy becomes reality.

The setting up of temporary constructions leads to an object that can amaze or inspire. Sometimes the public is expressly invited to color the work of art from own experiences. But just as frequent, active participation on the part of the public is expected in the building of the work of art. The celebratory character of the event strengthens the perception of the work.

The public is obliged to take on continually changing stances. Every single person's presence is unique and that bestows on each spectator his own significance within the project.

Water is the most important constituent in all living organisms. Man, in his being, is more liquid than solid.

Art generates art: the vicious circle of existence permits us no other choice.

Water is a liquid substance in which one is able to drown. The surface of the water forms a natural boundary. Yet man has an ancient pact with water. This boundary is in our imagination less rigidly present. Floating constructions are not accessible, but exactly because of this inaccessibility they stimulate the conception of a new dimension: the silhouettes of Utopia.

Climbing plants have a singular goal, an individual pattern. They overrun mobile installations and will eventually render them immobile.

The flash of an idea forms the core around which the project concepts can condense themselves. The different fantasies congeal as one during a process of selection and preparation. Only then does the work of art take on its true form. The only thing that counts then is the act, the moment in which fantasy becomes reality.

Imagination and reality flow into one, providing the beholder with an image of another world, one in which he can lose himself.

The starting point lies in the surroundings. Human size plays a crucial part, equally so that of the beholder's perception of the environment. Some images will fit into an artist's head but not into an artist's studio. A vision out of a dream, a spatial experience that is to be undergone by others at a later stage. By using depictive constructions thoughts can be indicated.

The upward force of the water terminates at the surface of the water.

The onlookers can take part in the construction of a work of art, actively contributing towards the realization of a vision from a dream. Their physical participation is an essential element in the whole process. The work does not consist only of ideas and materials but also embraces the physical energy contributed, required to effect the realization.

It is far more exciting to make fragile constructions and wait for the storm to break than it is to play safe. To resort to attempting to safeguard it, drives all the life out of it.

By building and burning the artworks on the spot, you will interest the public in the happening and actively involve them in the creative process.

The reflection forms an irrevocable symmetry.

Most of the interactive projects illustrate geometric shapes and structures, working with large groups of people who want to co-operate spontaneously. Each spectator adds emotions from his own experiences to the image of the artist and associates them with his own relation to the surrounding.

I concern myself with the artistic ritual, projects of mine are like celebrations: lots of people, lots of emotions and much work achieved at one particular moment and then it is all over.

Public artistic happenings create a memory of solidarity and creativity in every person involved, the skills developed last a life-time, for fun, moments of reflection and times of real need. All energy that is put into it, gives heartwarming heat and understanding between the different groups of participants.

Even when the transient installation has passed from sight, the afterimage of the project lives on in the thoughts and tales of those who were involved.

Bamboo expresses verdant geometric beauty as it grows in nature. Both artistic vision and appreciation for human interaction transforms wild bamboo into temporary structural art. Many of the structural sculptures have become social events with spontaneous public participation.

The public should be actively involved in the creative process and thus no longer be indifferent to their experience of the work.

Educational and solidarity projects with artists and amateurs, children, students and professionals has taught that we all benefit from the insights of others; outsiders, for example, often suggest surprising approaches to structural solutions.

Artists have to look for a direct confrontation with the public in order to break the prevailing contradictions between active art-creation and passive art consumption.

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EPHEMERA

The definition of ephemera comes to us through Latin from the Greek epi (about), and hemeris (day). Ephemera is pronounced “efem’mera”. The contemporary definition of ephemera is “something shortlived or transitory” especially all types of transient structures and installations, produced for a specific purpose and intended for special events. They are made from lightweight materials such as bamboo, bunting, rope and rubber bands and appear only just to disappear. What remains is the afterimage: ephemera leave a strong impression behind in the spectator’s memory.

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