Heleen Waterbolk

Ontstaan van de abimes. Het filmvlak waarop een figuratie van beeldfrequenties .Daarop een vlak dat 2x zo klein is. Daarop ligt een 'spoor' van die eerste figuratie. . Daarop weer een vlak dat 2x zo klein is.. ------------- Gelijkenis met klank. De octaven. Elke octaaf heeft een 2x zo kleine of grote geluidsfrequentie.

Why a different kind of symbol? She is the logical consequence of the extension of the radius of the circle through which the very first image was generated. Old file from plusminus 2008. On Stream web site 2024. Tuning fork.

The smallest cutout from from figure group 3 became the deepest impression in the abime. 2007. That's how I got the image of a symbol. On web 2024.

The mentals before going 'interval'. Before I start assigning them their frequency,

Laying down the process. Picture superiority. My images are not language on the contrary. But they have language..

In the back : the concept. In front its execution. Crystallisation of the image making..

A balance obtained.

Reply to pendant 1. Four figures. Old Russian metal icons. have an eye with which they hang on the wall or around the neck. That eyelet was already cast along with the figure. Was part of the design. That idea was the origin of these works.

The Shining 1 In front: the execution. In the back shines the concept. In both groups A and B, there is enveloping and revealing, wrapping and unwrapping. The literal and the figurative intersect.

Walk the walk. Return to the source. Renew, refresh.

Pendant 1 Hangs on a hook. Four figures. Emotion as engine. The engine starts with fits and starts. Think of movie scene from The Magnificent Ambersons. You can hang the artwork on any part.

As far as... Plateau 50 x 50 cm Front end, back end.

In so far as... Sound rhyme and imagerhyme 2022-2023 Plateau 50 x 50 cm 4 squares of 25cm.

Figures Groundpiece. Steel figures collected 2018-2022.

Gravity The binding force

Grows in backyards. Movie title. The retina is at the back of the eye.

Interplay of opposites. Dynamic duo,

Third group on table. A three quarter circle. Figures BA0200. Table divided in 25 cm grid.

The mental ones Table 75 x 75 cm AB0301

First group. On table of 100x100 cm meter. Divided into grid of 25 square centimeter. #AA0300.

The emotionals. Shapes of feeling, passion. Tafel 75x75 cm. Divided into grid of 25 cm. Short pin. The composition seeks balance. Once found, pinned to table.

Steel figures since 2018. A table is a collection of related data. If you look closely, you can see that the second figure raises itself a bit. Center of all encounters for a given time.

The feeling forms taking the stairs. Or programming the slant line: one pixel to the right, one pixel up. One pixel to the right, one pixel up. But also one right, one reverse, turn over. One right, one reverse, turn over..

I understood that this was my ideal size. Diameter circle (and its follow uo elements) 1024 mm. Why? If I wanted to go bigger, the pin would get the size of a pile.

The architecture of the world. Free-standing A long pin did the trick. #AB0101 These are my ideal sizes.

Stack of cubes. 2018 Go to the Electronic Studio. "Scenes". Stills from the animation.

Five rectangular cubes. The color red wants to be first.,

The pins allow them to be put in the earth . The joints are invisible. Connected using wood dowels. For the parallelogram, 2 wood connections were made because that figure is not allowed to rotate.

The lure of the the (nude) image. 2018/2019

The third group. The physical. One of the four transmittors, Messengers. # BA3201 Now to be free-standing! If possible. Diameter Circle 2048 mm. Etc Utrecht.

Exposition with the Concrete Grouo. Zoetermeer. For the xy coordinates on the wall see my own website. Waterbolk.com Home page bottom right. 'Rods"

Between 2013 and 2015. I tried to have the figures stand alone. The material mdf was too soft, Everything came loose. Later, I found waterproof plywood.

Two impressios mixed. The console on which you place an icon. A console entering data into the computer.

First page of a booklet to be made.

Connect a printer to a computer. Connecting one case to another. Establish an interface. Plug in. Utrecht 2012 / 2013.

Mind. Continuity, discontinuity. Composition # AB3101

2x 6 Elements. The residual figure divided into four. Hünfeld 2011. Utrecht. 2013 . Berlin 2017. Constructed from a center anywhere on a wall.. Performed permutations on the rods.

Mix of two sensations.

I had the figures plug into the square. to make an common boundary or interface.

Access to the set of figures. Composition # AA1101 Diameter circle 1024 mm. Etc.

After the Counter Paintings there remained a need to work monumentally. A long print, I tried to apply the pattern directly to the wall with a long stencil That failed.. Above the print an abime on canvas. The Line Segment surrounded by three outlines.

Record of a moment in time.. In it a glance.

A moment in time. In it a glance. Depth scanning. See scores.

Stacking image frequencies resulted in compositions.Each figurethat each figure is on a different wavelength. Togetther they are a composition. Booklet made 2008. Booklets exhibited 2013.

The residual figures ,the rods, shown in Germany.in combination with the figures.

Maing een square with part of the rest figure.

Mondrian House Amersfoort. The figures are placed according to the positions of their scores.2004

An image and sound production with Justin Bennet. Animation stills to be seen in website.

Performance 4 Theatre Zeebelt. From series 1. First Set. The emotionals. They unfold themselves. Forms of feeling, passion..

Scanning depths. Omstreeks 1992 'Scenes' or stills cut from the animation scores.

Time addition Movements 2 through 5 are sandwiched between the lowest and highest frequencies..

Frequencies only. The lowest frequency is the fundamental. Applies to image and sound.

Thanks to the computer I was able to discover the series residual figure. Composition # BB3101. And tts remainder or surplus ''Chain' strain. A weakening that turns out to be a strengthening. Moviecamera model.

Performance 3 Animation Composition with 'remainders'.

The figures disappear into the computer They unlock a virtual space .

Performance 2 A grey device. Apple CI. Animated projection of the surplus Device Apple CI. Color: grey.

Drawing made for Ger Kouwenberg. who taught me computer.drawing. Computer Apple SE/30.

First figure, first group. Projected on a side wall of the theater.

That mysterious primal - device. It projects behind the heads of the movie audience. You are in contact with the characters of the movie in a free space.

Flat representation of the traffic light device. The workings of the coloured lights in a big city. The roaming lights and thre standing lights.

The blow that gets things going..

The first drawing is by Soll Lewitt. Copied with blue marker in 1983 / 1984 Migration of a drawing to another continent. Catalogue Moma Washington DC 1978 Eugene Delacroix was in that period my influence. By this drawing I discovered 'Time' .

'Symptom ' is the original titel. Last painting Wide brush 1983

That is why the Sign looks differently!

Working through the photography model. The captured photo image goes first into a fixer bath and then into a developer bath. The Sign goes into a fixer and developer bath for a second time!

Cracking the code

Self Loss

Brightening Cracking the code 1982/1983

Transformations . At the sugar cube, wait for it to melt.

transforming

transforming

transforming

transformation

Light and form On their way.

After my stay in the Netherlands moved to the US where I among other things was inspired by Claes Oldenburg's Mickey Mouse figures. Fusion of film figure and film camera 1978 /1981 Fusion between film and public. Crossing borders.

Away from the light stimulus / toward the light stimulus. Swarms. Masses.

Away from the light stimulus towards it. Deception of nature, also plays in the city..The insect taking on another color.

Light and form. On the way.

Light and form. On the way. Expansion of molecular shapes. 1981/1982

The trembling of the air above the warmed asphalt. It seems as if the image you catch is dancing. Illusion is a creation of nature itself.

Silvery grains on the film surface. (In my case, it is the action on the indivisible chemical element Ferro. I do confuse that element with the "molecule" but that is a misnomer.)

Color, action and direction appeared. // I learned that nature 'imagines' itself. A car is not the same as a molecule but their appearances can sometimes be translated into each other.

I use in my notes from that time the word 'taxis' meaning order or arrangement How an organism moves in response to a stimulus. In my case light. A directed movement towards or away from a light stimulus.

In a chemical process, there is a sudden appearance.

I had just returned from the United States, where you drive on wide highways. On the horizon you could see cars coming at you in bunches, dancing in the vibrating warm air. Sometimes sparks splashed from reflecting light. The scene was not inferior to the scene I assumed in the Cambo space. ------ Asphalt is light sensitive. If light is added it involves a chemical process .

In about 1977 I had the opportunity to work with a technical camera. I was at the Free Academy in The Hague at the time. The Cambo differed from an ordinary camera Its body was spacious. But what was important was that in this device at its back you had to slide in a cassette imbedding a 5x7 cm flat film. You looked at the frosted glass. Everything in order? Camera in focus? Shutter closed. Cassette in at the top. Then slide up and the light could fall on the sensitive plate. Take a picture, press the shutter, then slide down. Tangible was how through the lens a trip was made to that rectangular piece of 5x7 cm film. You felt concretely what happened on that tactile layer. That the light would actively act on the silver molecules (metal atoms) and that the light-sensitive layer would react.... 1977. Translation of that experience in small paintings 1981. See above. I operated the camera on the left side, the shutter was on the right side. To press the shutter you reached over the camera. Hey, ho, I performed this operation 6 times, at the end it was routine.

2 x 2 cruciform patterns. Last of the oblong null paintings. Two models. Light, lens sensitive plate. Light, lens, brain. And their doubling.

Making the road physical.

A pattern of six nulls of grey and six nulls of black. At that time I was familiar with the Braille script.

Marking with electric yellow and red lights Columns of 8 zero's.

Null painting Circularity of gameboard. A game without winners.

Null painting Zero painting. Quick brushstroke.

Creating values.

The slate and the stylus are auxliliairies. Blind persons see with their sense of touch. Thailand Bangkok. 1969-1974. // . Scroll up The first group of works until "jumping lights" is and was my foundation. The indispensable grounding. Zie Electronic Studio..