Erwin Clauws

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Editions and Artist Books

EDITION Six Vanscapes – series One
landscape, cityscape, rural and semi-rural pictures photographed from a moving van on a highway

The most important point of view in this series “Vanscapes” is the photographic capturing of images that Western contemporary man knows very well but never reaches to look at in a reflective way: the flashing sight of very differentiated landscape-images while driving on a highway. It's a landscape that changes continuous from beautiful nature and harmonic peace to urbanization of city peripherals, new and old industry zones, road pollution and specific highway signalling.

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Editie Six Vanscapes – series One — landscape, cityscape, rural and semi-rural pictures photographed from a moving van on a highway
Six digital photoprints on paper: Vanscape, series One, nr. 1 (a.c. 358-a) — Vanscape, series One, nr. 2 (a.c. 358-b) — Vanscape, series One, nr. 3 (a.c. 358-c) — Vanscape, series One, nr. 4 (a.c. 358-d) — Vanscape, series One, nr. 5 (a.c. 358-e) — Vanscape, series One, nr. 6 (a.c. 358-f).
• six original artist prints collected in a black cardboard box — each print 59,4 x 42 cm — Epson Ultrachrome K3 Ink on Proline Glossy Photopaper 300 gr — artist’s catalog n° 359 • edition of 30 boxes — signed and numbered by the artist • © 2013 — concept, drawings, graphic design, prints — Erwin Clauws
(All rights reserved, no part of this edition may be reproduced in any form or by any means — mechanical, electronic or digital, including reproduction for use in www-based information — without written permission from the artist.)



EDITION Almost Nothing – In memory of Jonathan Harvey

This edition is an ode to the composer Jonathan Harvey who passed away in late 2012.
The text below that I've written is integrated on the colophon page:

Jonathan Harvey belongs undeniable to the most influential composers of his generation. In the 1960's he searched connection with the international radical avant-garde composers. Representative composers like Milton Babbit and Karlheinz Stockhausen had a significant influence on his work. Harvey showed a strong connection to electronical accomplished music and to the mathematical approach of sounds and structures. From within this interest he studied and worked in the 1980's for some time at the IRCAM – the in Paris located Institute founded by Pierre Boulez to research the interaction between music and technology with interdisciplinary and international teams.

In his musical and thinking Jonathan Harvey aimed a musical confluence of this mathematical approach and his interest for mystic, mainly Christian and Buddhist, philosophies. Harvey was thoroughly convinced of the fact that these two influences came from the same Abstract source, one of them recognizable in the Cosmic Order and the other in Cosmic Evolution. Both they communicate with each other through Cosmic Movement. Over and over again Harvey's compositions were the musical transmutation of these three Principles with their infinite number of intellectual, emotional and physical nuances. His work is thereby very often high expressive and communicative.

This edition does not try to illustrate literally the musical language of Jonathan Harvey. The totality of the six digital drawings tries to capture the basic inspiration source for his compositions — namely the principle of the everlasting repeated and always changing meeting of Cosmic Order and Cosmic Evolution — combined with Harvey's personal interests, the mathematical approach of music and his belief in mystic philosophies. The title 'Almost Nothing' and the plastic language affiliate with the ethereal and the ephemeral of this mystic and esoteric Cosmic Meeting that is taking place beyond the human senses forming the basic power for the visual and not visual universe.”

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Editie Almost Nothing
Six digital drawings on paper: Almost Nothing nr. 1 (a.c. 359-a) — Almost Nothing nr. 2 (a.c. 359-b) — Almost Nothing nr. 3 (a.c. 359-c) — Almost Nothing nr. 4 (a.c. 359-d) — Almost Nothing nr. 5 (a.c. 359-e) — Almost Nothing nr. 6 (a.c. 359-f).
• six original artist prints collected in a black cardboard box — each print 59,4 x 42 cm — Epson Ultrachrome K3 Ink on Proline Glossy Photopaper 300 gr — artist’s catalog n° 359 • edition of 30 boxes — signed and numbered by the artist • © 2013 — concept, drawings, text, graphic design, prints — Erwin Clauws
(All rights reserved, no part of this edition may be reproduced in any form or by any means — mechanical, electronic or digital, including reproduction for use in www-based information — without written permission from the artist.)



EDITION — Six studies for Abstract Characters

This edition “Six studies for Abstract Characters” contains six digital prints with studies for works in the series monumental drawings Abstract Characters. In spite of the term “studies” these drawings are completed artist works. The six shown “characters” are (the titles of the series Abstract Characters are always in 4 languages: Dutch, English, French and German), in the order of the images:
de Argelozethe Credulous – le Naïf – der Gutgläubige / de Ongeduldigethe Impatient – l’Impatient – der Ungeduldige / de Hardvochtigethe Heartless – l’Impitoyable – der Hartherzige / de Betrokkenethe Involved – le Lié – der Verwickelte / de Beschermerthe Protector – le Protecteur – der Beschützer / de Hoopvollethe Optimistic – le Plein d’Espoir – der Hoffnungsvolle

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Editie Six Studies for Abstract Characters
Six digital drawings on paper: de Argeloze – the Credulous – le Naïf – der Gutgläubige (a.c. 357-a) — de Ongeduldige – the Impatient – l’Impatient – der Ungeduldige (a.c. 357-b) — de Hardvochtige – the Heartless – l’Impitoyable – der Hartherzige (a.c. 357-c) — de Betrokkene – the Involved – le Lié – der Verwickelte (a.c. 357-d) — de Beschermer – the Protector – le Protecteur – der Beschützer (a.c. 357-e) — de Hoopvolle – the Optimistic – le Plein d’Espoir – der Hoffnungsvolle (a.c. 357-f).
• six original artist prints collected in a black cardboard box — each print 59,4 x 42 cm — Epson Ultrachrome K3 Ink on Proline Glossy Photopaper 300 gr — artist’s catalog n° 357 • edition of 30 boxes — signed and numbered by the artist • © 2011 — concept, drawings, graphic design, prints — Erwin Clauws
(All rights reserved, no part of this edition may be reproduced in any form or by any means — mechanical, electronic or digital, including reproduction for use in www-based information — without written permission from the artist.)



EDITION — Six NOH spaces

The edition “Six NOH Spaces” contains six digital prints with line drawings of an imaginary open-closed space. The classical Japanese Noh theater space lies on the base of the drawings. This space is determined in the corners by four vertical pillars. These form orientation points for the masked Noh players during their acts.
The goal of each drawing is to visualize different psychological spaces opened and delimited by the game of constructed lines. Each drawing evokes a different atmosphere of a simultaneous reality and unreality. This is a comparable atmosphere with the atmosphere of an interacting real life with a spiritual life (mostly by means of a ghost world from ancestors or known warriors) in the Noh plays. During a Noh play, each acting scene, sentence, music have the task to shift the spectators to different psychologic mental spaces. This theatrical play of “real-unreal” in the Noh plays acts has a metaphysical nature, because it let reflect the spectator on his own fate and destiny in a cosmic view.
I tried to capture this metaphysical atmosphere in the edition's drawings by the use of light, almost ephemeral lines and the open-closed atmosphere of the unreal spaces formed by the lines.
The edition also contains a printed explanation about the soul of the NOH theatre. It is an extract out of the book “the classic Noh theatre of Japanby Ezra Pound and Ernest Fenollosa. I could use this text as a preface with kind permission by the editor. Maybe it may also help the spectator to get interested in this classical Japanese form of theatre.
This edition was originally a part of the works I made during the research
The Conscious Quintessence of the Abstract”.

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Edition Six NOH Spaces
Six digital drawings on paper: NOH Space n° 1 (a.c. 275a) – NOH Space n° 2 (a.c. 276a) – NOH Space n° 3 (a.c. 277a) – NOH Space n° 4 (a.c. 278a) – NOH Space n° 5 (a.c. 279a) – NOH Space n° 6 (a.c. 280a) • six original artist prints collected in a black cardboard box — each print 59,4 x 42 cm — Epson Ultrachrome K3 Ink on Proline Glossy Photopaper 300 gr — artist’s catalogue n° 281 • edition of 30 boxes — signed and numbered by the artist • © 2011 — concept, drawings, graphic design, prints — Erwin Clauws
(All rights reserved, no part of this edition may be reproduced in any form or by any means — mechanical, electronic or digital, including reproduction for use in www-based information — without written permission from the artist.)



EDITION — Six studies Amor de lonh

The edition Six studies Amor de Lonh was inspired by the contemporary opera ‘l’Amour de loin’ of the Finnish composer Kaija Saariaho. While listening I started to make a visual expression of the ‘unattainable love’. The curious variations on a theme on the individual pages of the edition seems me a valuable metaphor for the simultaneous unreachability and presence. Each page contains a double composition and each composition evokes a dialogue between his printed surface and a tiny line (added by hand and pencil). Together each page expresses the idea and the symbolism of mental unity of two lovers, but unreachable in material life. It's a story of hope and longing, over and over repeated …
If, as a result of this edition, the spectator gets interested in the opera and/or the message of the unreachable love has a metaphor for the unreachable union with a God or if he wants to lose himself in related subjects as
l’enamourement ( the poet who falls in love on somebody he has never seen: la jamais-vu and in the elements of reunion of the souls and the elements of the destiny of fate), or in Amar des amatz (the poet who loves but is not loved, only in the dream or in the future there is hope on a meeting with the beloved in which her only love will exists out of angry words), or la mort-par-amour (the notorious theme of death by love, a classic theme in all forms of art), ... if this interest is awakened it is a welcome addition to the visual expression I have made.
This edition was originally a part of the works I made during the research
The Conscious Quintessence of the Abstract”.

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Edition Six studies Amor de lonh
Six combinations of digital print and hand drawn pencil on paper: Amor de lonh n° 1 (a.c. 283a) – Amor de lonh n° 2 (a.c. 283b) – Amor de lonh n° 3 (a.c. 283c) – Amor de lonh n° 4 (a.c. 283d) – Amor de lonh n° 5 (a.c. 283e) – Amor de lonh n° 6 (a.c. 283f) • six original artist prints with hand drawn pencil additions, collected in a black cardboard box — each print 59,4 x 42 cm — Epson Ultrachrome K3 Ink on Epson Enhanced Matte Posterboard 800 gr — artist’s catalogue n° 283 • edition of 30 boxes — signed and numbered by the artist • © 2011 — concept, drawings, graphic design, prints — Erwin Clauws
(All rights reserved, no part of this edition may be reproduced in any form or by any means — mechanical, electronic or digital, including reproduction for use in www-based information — without written permission from the artist.)



EDITION/PHOTOGRAPHIC BOX — Part of a landscape nr. 13 – 144 black and white shots

144 photographic images in a special woorden box.
Nature is a process that never starts and never ends. The 144 vague photographic shots show the process of evolution through time without a sharp (knowable) objective.
This edition was originally a part of the works I made during the researc
h “The Conscious Quintessence of the Abstract”.

To see the box and a part of the images: click here for a video
or click the YouTube link: http://www.youtube.com/watch?v=81CBPTBhn5Q

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Part of a landscape nr.13 — 144 black and white shots
[2010 – 144 photographic pictures in a wooden box – box: 47,5 x 38,5 x 12 cm / photographs: 33 x 24 cm – a.c. 199]
Photographs are printed by the artist on digital Fine Art paper, Fibaprint© White Semi-Matte 300 gsm with durable Epson Ultrachrome K3 Ink, box in lightwood is handmade by the artist.
First specimen, following specimen on demand. (with follow up number, max. 9 ex)



ARTIST BOOKHow far … is distance?

The book is completely drawn by hand and it's a “one-of-a-kind leporello”. The viewer is taken on a visual-philosophical journey of a simple line who tries to find answers on the question ‘how far … is distance’. As the line pass in two different ways through the pages answers could come to the contemplating spectator …
This edition was originally a part of the works I made during the research “The Conscious Quintessence of the Abstract”.
The title "
How far…is distance?" is abstract-philosophical and is based on a part of the poem "The two loves" by the English poet Edith Sitwell and used by Sir Peter Pears at a Wigmore Hall concert in 1983 to mark the 70th anniversary of Benjamin Britten's birth: "We might tell the blind the hue of the flower or the philosopher what distance is in the essence of its being, but not the distance between the hearts of men."

To see all the pages in the book: click here for a video
or on YouTube http://www.youtube.com/watch?v=StMo2CVAo0k

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How far … is distance?
[2007-2010 – “loop” leporello artist book / black pencil on Whenzou paper / – heavy weight paper map: 32 x 49,5 cm / book: one “loop” = 22 sides 29 x 46 cm; total length: 638 cm – a.c. 106] •
Edition of 9 copies and one artist proof • Map and pages are for each copy handmade by the artist. •
Each specimen only on demand, slight variations in the drawings and the map are certain, number of copy included



PROJECT Inès-Inez

Project Inès-Inez contains two Artist's Books and one Edition of 28 image-text cards on the theme: the inner and outer world of a physical and mental disabled child.
The whole is a poetic but hard story about how we “normal people” mostly think to materialistic and superficial about disabled persons. These three works like to show a vision on unknown emotional and mental worlds of disabled people.
As a universal symbol for the group of disabled people I've chosen for an unknown young girl sitting and laughing in an armchair. A picture found by accident on the www. I've named this girl “Inès-Inez”.

Edition “Talks with Inès-Inez”

For this edition I've selected texts by various writers and poets. They were chosen from within two self-defined criteria:
— first there was in imagined idee that disabled children should have fun when they hear the sounds of the cited texts and
— second: some texts had to emphasize the brittleness of such disabled children.
All this from within an own empathic and fantasized feeling.

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Talks with Inès-Inez
left: total edition, right: detail
Set of 28 cards with specified texts, each card 10x15 cm, in an plastic picture holder – 27x192 cm – edition of 9 and one artist's proof — © Erwin Clauws— 2010 — artist catalog nr. 201
Changes in the used paper in every copie.



ARTIST'S BOOK — I remember you, Inès-Inez, in the garden … staring …

The artist's book “I remember you Inès-Inez, in the garden … staring …” starts from a fantasized but possible real situation whereby Inès-Inez sits in the garden, staring in front of her, not aware from the real world. The fantasy is that Inès-Inez sees a dragonfly on a leaf in a dark corner of the garden. That fact makes her dreaming and shifting away in her own inner world where the dragonfly changes into a strange head (made by nature's symmetries) which explodes in flash of light whereby Inès-Inez returns to the reality of a take wing dragonfly.

I remember you, Inès-Inez, in the garden … staring
[2010 – photographic print on Japanese paper / – 16 pages Awagami Masa 86 gsm / protection sheets: Crystalline Paper — cover: Metallised Paper —
binding: Japanese binding on left side with two silk threads [inner binding by twisted and knotted paper strips] — Printout: durable Epson Ultrachrome K3 Pigment Ink — 53,5 x 39,5 cm – a.c. 200]
Printing and binding is handmade by the artist.
First specimen. Others only on demand (signed with specific number and a maximum of 9 copies and one artist's proof). Slight variations in cover and binding in each copy.
© all rights by Erwin Clauws



ARTIST'S BOOK — I remember you, Inès-Inez, in the garden … looking …

The artist's book “I remember you Inès-Inez, in the garden … looking …” starts, just like the other book “Inès-Inez …staring”, from within an imagined situation whereby Inès-Inez sits in the garden and watches from the same spot the aeroplanes flying over the garden. Now this semi real and semi fantasized story is told by only images of aeroplanes high in the sky taken from the same spot. The passing by of time is shown by the changing color of the sky and the darker silhouette of the leaves and branches of a cherry tree.

I remember you, Inès-Inez, in the garden … looking
[2010 – photographic print on Japanese paper / – 22 pages Awagami Masa 86 gsm / protection sheets: Crystalline Paper — cover: Metallised Paper —
binding: Japanese binding on left side with two silk threads [inner binding by twisted and knotted paper strips] — Printout: durable Epson Ultrachrome K3 Pigment Ink — 53,5 x 39,5 cm – a.c. 200]
Printing and binding is handmade by the artist.
First specimen. Others only on demand (signed with specific number and a maximum of 9 copies and one artist's proof). Slight variations in cover and binding in each copy.
© all rights by Erwin Clauws



ARTIST'S BOOK — … mood — an anthem for departed souls …

This is a one-of-a-kind leporello. It is painted directly on a long stroke of ricepaper (one piece of 9,20 meter) with only black pigment mixed with arabic gum.
The texts are two fragmenst from “Songs of Life and Death, opus 69” — Elämän ja Kuoleman Lauluja — by the Finnish composer Aulis Sallinen on texts by Lassi Nummi (English translation by Philip Binham)

To se all the pages in the book, click here for a video
or on YouTube: http://www.youtube.com/watch?v=-IvB_2jjrj0

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mood … an anthem for departed souls …
2008 – unique leporello / pigment, Arabic gum on Whenzou paper / – ‘coverpaper’ map: 23 x 49,5 cm / book: 20 x 46 cm: 46 sides; total length: 920 cm – a.c. 96
The map and leporello are manually made by the artist.