Can you tell us something about the work you made at ‘ZwaanKleefAan’, Robin?

Whether I would like to react on the work which Loes van Gils made in January… did I write about that the following contemplation on Facebook?

Is art a powerful play, in which past and future flow at the same time together in the present. A happy battle, a simultaneous encounter, partly serious and partly taken lightly. A portrait of these times?

Did I take the form play and the synchronicity further on to my playful piece?

Are your pieces called “PROLOGUE” and “SEVEN STRANGERS AND THE MOVER”?

I always ask myself whether titles are needed… Is it more than mere poetry?

Did you want to experiment whether the visitor is a viewer or a mover?

Is my work about perception and does it problematize synchronicity? Can the viewer or spectator perceive better when he or she is standing still? Shouldn’t you more often change your position and perspective? Is the world coming towards us in a parallel way while we only can handle it sequentially?

Do the seven figures reflect the behavior of the viewer? If the viewer moves, the figures keep on moving too, if the viewer stands still, they reflect this same behavior, isn’t it?

Does the video projection become of more importance at such moments? Are the video textures of the centuries-old chapel still hiding their past? Or are you seeing an outer side which wants to share something to the inner world of the installation?

How are you moving in such an environment? Which space is there within the installation for me, around or even in between these figures? What is allowed, what is not possible? What do I see in these strange turning figures? Why are they turning? How do I relate to them? Who is in fact the mover?

Do you hear the clicking sounds of the sensors? Do you notice the buzz of the small motors in the white boxes? And do you hear this returning metal sound of the falling infinity from the “PROLOGUE” over here?

All questions I keep asking myself.

Back to the title of the small movie which I saw on your Facebook page, is the entire work a “philosophical object”?

Oh well, it makes me wonder.