Schilderij ‘n Brei | medium: installation art – part of installation | techniques: knitting | materials: discarded leftover acrylic yarn | production date: 2004 – 2005
"Oh how I am Sisyphus! Yes, you can call me 'the absurd hero', both for my passions as well as for the torments I have to suffer. Is it hatred towards death or an intense love for life that is making me a convict of this torture? When I descend, returning to these plains of ordeal, I'm in recess. Is that the fate that I'm facing? Is there no hope to succeed the mission that is meant for me? But an absence of hope does not equal despair.
He says: "Il faut imaginer Sisyphe heureux". He says I am happy. Is that right? Am I? And if so, why?
Isn't there any hope to succeed my mission? What is my mission? And what is 'to succeed'?Am I stronger than the rock I am rolling? What is strength? What does my mountain look like? And what's the view at the top? How empty or full are the plains at the foot of my hill?
Ludwig crosses my road, he waves and says: "Whereof one cannot speak, thereof one must be silent". Muteness, what is muteness? Where there is silence there is sound, no sound without silence. When one is mute one is still communicating.
Muteness during descend to the rich plains at the foot of the mountain. Knitted bodies making sounds, sounds that evolve throughout a silent descend. A heart that fills up with a lack of words. Little paintings of knit. The act of painting creates music. Colours that sail on my melody. There is no sound in vacuum. Sound waves, impossible to propagate, but my body carries dancing colours and observes a primal sense. Threads sliding along my fingers. Hands that heal little body parts. The body is no longer silent, it is rolling my rock forward".
Schilderij ‘n Brei | medium: installation art – part of installation | techniques: knitting | materials: discarded leftover acrylic yarn & found table | production date: 2004 – 2005
Back in 2004 my thinking and writing were still in Dutch instead of English, so here is the original poem:
Oh ja, ik ben Sisyphus! Noem mij maar 'de absurde held', zowel door de hartstochten die ik koester als door de kwelling die ik moet ondergaan. Is het haat tegen de dood, intense liefde voor het leven die er de oorzaak van zijn dat ik tot deze kwelling veroordeeld wordt?
Wanneer ik afdaal naar de vlakte en terugkeer naar mijn beproeving is er pauze. Sta ik boven mijn noodlot? Heb ik geen hoop in mijn opdracht te zullen slagen? Maar niet hopen is niet hetzelfde als wanhopen..
Hij zegt: "Il faut imaginer Sisyphe heureux". Hij zegt dat ik gelukkig ben. Is dat zo? Ben ik dat? En waarom?
Heb ik geen hoop in mijn opdracht te zullen slagen? Wat is mijn opdracht? Wat is slagen? Ben ik sterker dan mijn rots? Wat is sterk? Hoe ziet mijn berg eruit? Mijn top? En hoe leeg of vol is mijn vlakte?
Ludwig kruist mijn pad, hij zwaait en zegt: "Waarover niet kan worden gesproken, moet men wel zwijgen". Zwijgen? Wat is dat? Waar stilte is is geluid, zonder geluid geen stilte. Zeg ik niets dan spreek ik toch.
Stilte tijdens de afdaling naar volle vlaktes onderaan mijn berg. Mijn breiwerk maakt geluid, vindt zijn bestaan tijdens de stille afdaling. Geen behoefte iets te zeggen en juist daardoor vult mijn hart zich met geluid. Mijn kleine breischilderijen. Schilderen maakt muziek. Kleuren varen op mijn melodie. Er is geen geluid in het vacuüm. Geluidsgolven kunnen zich niet voortplanten, maar mijn lichaam draagt dansende kleuren en luistert naar mijn oerzintuig. De draden glijden langs mijn vingers. Mijn handen maken kleine lichaampjes heel. Het lichaam is niet langer stil, het rolt mijn steen vooruit.
Diana van der Harst is a multidisciplinary artist whose journey has resulted in the creation of an ever evolving Leftover Universe where Tender Time Sighs. While she has a focus on textile art, she also uses painting, drawing, ceramics, sculpture, photography and writing to seek and tell her story. Her creations originate from a meeting between inner and outer travels, from studying things up-close to things far away, from observing the small to observing the vast; a process of constantly shifting focus, a movement much like breathing. Tender Time Sighs; breathing life into a Leftover Universe, showing us traces of transformation and encounters with animate and inanimate beings. Drawing from her own experiences, inspired by life itself, characters have developed who share their meetings and findings along the way. Diana’s work is poetic, contemporary, intuitive, contemplative, intimate, emotional, whimsical, spiritual, narrative and embodies a magical realism.
Diana was born and raised in The Netherlands before she moved to Australia. It is in The Netherlands where Diana had her main art education and where she started exhibiting her works back in 2004. During a masterclass in textile design in The Netherlands in 2007 she was invited to exhibit her art in Tokyo, Japan. Since that exhibition she had 4 solo exhibitions and several work periods in Kyoto, Japan. Exhibiting for nearly 20 years now she showed her works in The Netherlands, Antwerp/Belgium, Melbourne, Perth, Tokyo and Kyoto/Japan. Diana is now focusing on her upcoming solo exhibition, during which she will be giving workshops as well as undertake an artist-in-residency. She is one of the participating artists in her community that opens up her home studio for the public to come and visit, an initiative that is held two weekends a year as part of an Art Trail. Several other projects are in development and she is open for commissions.
Email: leftoveruniverse@gmail.com | Website: http://www.leftoveruniverse.com | Instagram: dhyana_in_a_leftover_universe