Variation on a form

In what form does Mulier’s material come into existence? The material appearance determines its content. Anyway, that’s how it is supposed to be in visual arts. Visual language differs chiefly from spoken language in making material, form and content coincide. And these three form an inextricable entity, reinforcing each other continually.
A classic example is "The sisters of the illusion" by Victor Rousseau (1865-1942). Three naked ladies are meticulously cut out of a veined white marble block. The ideal of beauty of that time; a (preferably) blue-veined fair skin coincides naturally with this material. Both enhance the illusion. Art is illusion.

These lines follow on my meeting with Wouter at his place in the charming Pieter Coutereelstreet. I visited the artist’s workshop and his study. We had a cup of coffee and played with the tame rabbit.

I’m looking at the sculpture of Wouter Mulier and writing this text on the eve of my participation in the Brussels Marathon.
To dwell in the presence of art is the ideal method to forget the long competition. There is a special kind of kinship between the sensation of a marathon and the experience of Mulier’s sculpture. Both carry a different interpretation of time than that of the social hic et nunc. Both reinvent as it were time and space.

Vogelboom (1999, Birdtree) on Square De Groef in Leuven, Overvloed (2000, Abundance) in Hasselt and Variation on a form (2004) call in question the social space. Questioning things takes time.

Model Bird Tree
Model Bird tree: 1999,
polystyrene, copper wire (26/12/8 cm)
Bird Tree
Bird Tree: 1999,
powder coated steel (350/150/150 cm)