As the title suggests, the artist portrays the connection and our dependence to mother earth. We see a minimal, an almost faded landscape swimmers on dry land a juxtaposition in its self as well as of present and the future , the dry and wet. and their placing in the foreground and background showing the dependence of our present actions in to the future

Result #1

As the title suggests, the artist portrays the connection and our dependence to mother earth. We see a minimal, an almost faded landscape swimmers on dry land a juxtaposition in its self as well as of present and the future , the dry and wet. and their placing in the foreground and background showing the dependence of our present actions in to the future and the world in which we live, as in a post-Achim Hochdörfer Pupil. A Goethes image, a Chopin, a Picasso, and a surrealist Cézanne are seen there in the foreground, where we, within the space where we live, see the revival of a long-extinct Mediterranean, an eglantine, and the restoration of the golden age of the Buddha.In this image we see a man standing on a large red boat, and in the water he is at anchor, in the middle of a river. A shaper of monuments is in his boat, as is the king of Kabbal, in his hands. The whole scene is set against a mirror, which reflects the king. The man is gone, but the ship is still waiting. Is he in the middle of a stone-digging adventure or is he his mace, the vessel of this vanishing? In the sky above, a golden torch stands by the shore. Is this the return of a fugitive, or is it the signal of a triumphant return? In the water below, an island of night still glows. And as in the background, the king in the boat is still there, and he is still the king.Is this the return of a fugitive, or the sign of a victorious return? The Golden Age has returned. And the world of the dreams of the Buddha has returned, as has the world of things, all of which in its eternal shift are in eternal flux. We are all living in the golden age, and that age, which we call the world, and which we have given to the gods, has neither end nor end. It is not only the beginning, but also its end. In it there are many kings and queens. They are all one. We, the living in the world of the gods, are not one, but all together in one.

Result #2

As the title suggests, the artist portrays the connection and our dependence to mother earth. We see a minimal, an almost faded landscape swimmers on dry land a juxtaposition in its self as well as of present and the future , the dry and wet. and their placing in the foreground and background showing the dependence of our present actions in to the future . . . all the while being really one and the same. We see a field of opaque light, and a huge fish above it with its long snout set into the water; and we see a woman bathing under a sky full of stars, a watcher above her, and then a faraway bird above her. On top of the land to the left is a pool. And in the middle of it, a figure on a pole, a peacock, is playing with the birds, which come from above. This man is the peacock, and in the landscape he has made a pendant to the bird. He has a silver sash with him, but the sash is cut into the middle. The peacock stands above the man, and is stooped to watch the water flow. The man is sitting in the center of the pool and the ground in the foreground is dry. So the peacock is up and about and able to turn and look out at the distant shore. And the figure in the background also has a silver sash, but this one is playing with the water and the figures on it, not with the figures in the foreground. This was a bit of irony, and the irony is still there, along with the rest of the painting. The left side of the painting is a distorted silhouette of a house, partially turned. It is a tiny place, some private and out of sight. A small beige building looms on the right, and it looks like a spaceship in the sky. The surface is a black and red and olive green, with a lot of bright light and only the occasional star. The house is so small that it doesnt seem large, and it is a house of corn-sized weeds, with one window in the midst of the room. In the foreground is a beautiful young woman, head bent toward the viewer and looking down on a field of grassy grass.

Result #3

and the world as it is, to the past and the future. There are the rare moments of the cold surface of water and light and the gradual transition from night to day, the forms of waves and a distant coast line, among them a man descending a small hill to an ascending slope. We learn about the continuing flow of water and how we experience it as a whole, our journey from the bottom of the mountain to the top, until finally we finally arrive at the top and gaze down into a lake. Here a future and the past are overlapped in an almost silent drama of changes in the landscape as they lay latent in the solid earth. Through the landscape we begin to experience the journey of history as something beyond the present.A past and an future that are already present in the present and in the future, they are neither a delusion nor a terror but an information about the world as it is, a description of what we have experienced and can experience again and again. They lay hidden between the past and the future of our world. In their reflection on past and future, they lead us to a medium of representation that reveals and indicates their relationship to our world.

Result #4

is reduced to a reference of a feeling, a sentiment which is similarly part of our feelings for our mother earth. An or a form is thus an every day activity and it seems that the experience of the activity of the photograph is also of a time. In this way the photograph is a symbol of relation between life and its environment and it is represented here by the space which takes its place in the landscape, that which establishes a relationship between the animal and the human.We cannot always remember the sign of the life we live but by knowing that there is a relationship between ourselves and the world, we can recognize that a certain space is a past as well as an ideal space. The spaces which we inhabit are determined by our feelings for the past and they are the space of memory. Even if we are living in a world where everything is perceived, we can recognize the past as well as the present and there is a reflection of this reflection on the photographs. The memory of things, the memory of reality, is a memory of experience. It is a repetition of ones memories of life and their place in the world, and its in this sense that we can think of memory as a language, the sign of human relationships.

Result #5

As the title suggests, the artist portrays the connection and our dependence to mother earth. We see a minimal, an almost faded landscape swimmers on dry land a juxtaposition in its self as well as of present and the future , the dry and wet. and their placing in the foreground and background showing the dependence of our present actions in to the future and its past. The surface and the surface of the land loom on top of it; the right half of the picture is a horizontal border which may be read as a gradient of a three-dimensional line onto which we place the positive plane; and the negative plane is still there. An interaction of the two surfaces and the surface of the work gives birth to an experience of space and time as distance and as space and time. The image is a series of short triangles, each measuring 10 in the center and as a tie between the two triangles represented by the vertical border. The length of the image, 4, would be a half of the length of the negative and positive planes and there are six. The horizontal line is reflected in a yellow triangle. The yellow is the only color present between the two planes of the negative and positive planes, so that on the positive plane the line is three quarters of the negative plane and the others are green and blue. The implication of this image is that we are two-dimensionally suspended in a finite space of a finite, yet not finite time. This illusion of the non-finite extends to a kind of first-time experience. The space in which we are suspended is a pictorial space which is the original space of the image and an echo of the image. It is a space which we have experienced and experienced, rather than an external space which is imposed by an outside force. It is a space which marks our entry into the space of perception as an experience of the images, a perception of what is seen and what is not seen.An example of the work of Sam Gilliam is available in which the map of a town can be read as a map of its own past. In this piece, one finds oneself in the present moment and reading it backwards. In the present, one is reading it backwards as a symbol of the present. It is in the past which is past and the past is the past.