Phad Thai for 2

LESSONS ON EMPTINESS__ON BUDDHAS TRACKS While being on a journey, a peaceful place is created where we take quarters. Here, in our temporary ‘home’, the flood of pictures stirred up by activities slows down. Painting foil takes it one step further. In the kitchen, in the living room, on the terrace – where ever it can be installed it invites you to detach from all experience and embrace emptiness. Emptiness (śūnyatā) in general is a desirable aim for Buddhists. For us, the painting foil is a plane on which the unknown can emerge from the emptiness. At first, the hand knits initial connections between sense of touch, motor skill, vague impulses and image space in free variation. The initially spontaneous explorations soon afterwards provide indications for potential themes. Instead of making art discharge its duties through established thoughts, we use art to narrow down and explore the not yet existing unimaginable and unthought. ART AND CONTEXT The art foils used by us are semi-transparent. The respective background shines through. It forces us to modulate the following colour scheme accordingly. In addition to that, the specifics of a surface are imprinted on the picture with every stroke made. Even the character and furnishings of a room have an influence. The intimacy of the bedroom leads to different visions than for example a terrace. There, geckos hunt various creatures. This is how the title Gecko_Flight_Ants_Feasting_Dance came about, which now traverses different levels of the image plane. We do not work at this or that place, we do it on it and with it. Mobile objects and grafitti are formed which can be detached from the place and can likewise take the place with them. ART JAM__KOH SAMUI 2018 Our art practice resembles the work of cooks. Individual moments – the aftermath of a visit to a temple, the rustling of the leaves, remembered routes, a scurrying gecko or a mosquito bite for example – are the raw materials and ingredients. Pens, brushes, colours, letter stencils, stamps and whatever seems suitable reveal the ingredients, transform them into gestures, forms, colours and spaces and put them in relation to each other. We do not stick to recipes, we create ‚free jazz for the eyes‘. Two different ways of reacting and improvising engage in dialogue on the same painting foil. A jam session with visual artistic media begins. Surprising turns animate the image narrative. This happens until the free improvisation solidifies in a potential concept and channels the image process into calculable paths. And so comes to light what had not been conjecturable before. The world becomes a different one.