POOL -loss of colour-
design
"POOL -loss of colour-" Flyer
This artwork is a large carpet in the size of 7.5m×15m. It unites the Tsunami in Sendai and the disaster in Fukushima in one image, the image on the carpet.
From the waves that continuously attacked after the earthquake, the cultivation facing the seaside has been wiped out almost completely. All color has gone. The salty seawater made everything gray and dark, colorless. The people, the inhabitants of the affected areas, used to give color to their land. They gave color to their immediate environment by building houses, using cars, clothing, the trees and flowers, the fields, gardens…
By transforming the two disasters to a human scale, this carpet makes it possible for people to feel that this disaster should not be faded away as something that happened somewhere far from them. It is a translation of the threat of a greater tragedy that is emerging. Not only here in Japan, but worldwide.
This artwork is a large carpet in the size of 7.5m×15m. It unites the Tsunami in Sendai and the disaster in Fukushima in one image, the image on the carpet.
From the waves that continuously attacked after the earthquake, the cultivation facing the seaside has been wiped out almost completely. All color has gone. The salty seawater made everything gray and dark, colorless. The people, the inhabitants of the affected areas, used to give color to their land. They gave color to their immediate environment by building houses, using cars, clothing, the trees and flowers, the fields, gardens…
By transforming the two disasters to a human scale, this carpet makes it possible for people to feel that this disaster should not be faded away as something that happened somewhere far from them. It is a translation of the threat of a greater tragedy that is emerging. Not only here in Japan, but worldwide.
Artist Profile text: Jeroen Bisscheroux
In my artwork and as an artist I focus on concepts for public and urban space, projects with a social character are playing a major role. These concepts generate a great deal of energy and engagement from the widely diverse groups whom I'm working with.
This way I gain a sharper picture of what is happening in the society around me, how public processes evolve, how decisions are reached and what the results of these decisions are. I'm interested in all of this in order to more clearly determine my own role as artist and apply myself in relevant social contexts.
The practical limitations of art in public space are part of the creative process. The field of tension between the power of the imagination and existing rules and regulations is an interesting factor. Within the margins of what is physically or technically possible, it is the imagination that must ultimately transcend the limitations. This way, I'm trying to offer the users, participants and audiences a different, more personal reality.
My work is increasingly balanced between architecture, fine art and design.