Belgium: We start in Essen, close the haven-city of Antwerp and the Dutch border, where we co-create the partial sculptures in a workshop with local people. During these workshops we make some portraits of these early co-creators. The first placements will be done with our results from this workshop, too. Holland: Crossing the border from Belgium, we continue our placements each 48 kilometer heading towards Rotterdam, Utrecht, Amsterdam and Groningen. Since we do not have this culturally and historically rich area on our main routes in W#1 – W#4, our interest of understanding the values of this region is big. In Belgium and Holland we are facing an anthropological approach towards the local people/co-creators. Belgian Anthropologist Mitte Scheldemann will guide, monitor and evaluate the process with us. With her help we define the standards for our scientific approach on our anthology of human values that will follow us around the globe. Germany: Crossing the border to Germany, still following the old routes of the Hansa, it presents itself and its inhabitants in a different glance with every placement we do. Via Hamburg we arrive at the Baltic Sea: Lübeck, Rostock, Greifswald and arriving at the Island of Usedom. Slavic sounding city names remind us of the rich cultural and political exchange in this region ever since. At this place we cross the border to Poland: Placing our sculptural mosaic of WEARTH encaustic wax bricks each 48km along the Baltic Sea coast, we reach the cultural heritage Gdansk. From here it is only a stone’s throw to the Russian exclave Kaliningrad, where we also place some stones with the locals. In Germany, Poland and Russia we are targeting at an artistic outcome of the literary portraits by working together with German, Polish and Russian speaking authors, who give written testimony of the values accounted for in their respective languages. This pilot gives us a better feeling and insight of the bigger picture- of OUR GLOBAL SCULPTURE WEARTH. Each placement opens our view for a different perspective, for individual ways of approaching life, for the vast variety of values on our planet. Both routes, Belgium – Holland – Germany and Germany – Poland –Kaliningrad will be followed by our camera team. All the outcome- the scientific essays, the literary portraits, the documentary movie and the photographs will be published to gain as much attention as possible. The attention is the base for all the support we need to make the global sculpture come true. Thanks for all co-creating with us; this trip is WEARTH it!
Contact us for an individual workshop at your place, firm or to co-create with us by other means.
The placement of the WEARTH wax tile 1C1A – CHARLEMAGNE took place between a wheat field and the river Oker. The stone itself deals with the themes of the 3rd, 6th and 9th dimension. The joint or network of stones is dedicated to the 9th dimension, takes place in the 3rd dimension and permanently experiences the 6th dimension in different ways of passing away.
Objects are embedded here like in an amber, a three-dimensional collage, so to speak. The objects here are a lid, a cloth ribbon with company embroidery and a cut-up picture of a unicorn that I painted when I was a teenager. What is crucial, however, is the three-dimensional chord they form. Of course, the individual parts also have their meaning: the lid is there primarily because of its circular shape; it thus carries the symbolism of the circle. The company name „rocco“ is an imaginary name, but it is also reminiscent of „la roccia“ – the rock or „la rocca“ – the castle, the citadel. The remnant of a destroyed picture points to the meaning of the number 6.
Up or down are relative terms in space. This page is clearly divided into two: The upper layer is translucent, but not transparent. The layer is amber coloured with a yellowish pigment. The bottom layer is of the same colour family but layered like sediment. A special area on the Amber Coast that has to do with my ancestors is the namesake of the picture on this page: The Samland.
The Samland is a peninsula in the eastern Baltic Sea. As the western part of northern East Prussia, the Samland has belonged to Russia since 1945.
Name
The folk name Sambi possibly means the one who is his or a member of a clan. It is also conceivable that it is derived from the Old Prussian word semmē = earth. Semba was the proper name of the local population; Semben was their name in the Old Norse language of the Danes. The Danish camp book calls the Samland Zambia in 1268. The Finno-Ugric Sámi people living in Lapland have nothing to do with „Samland“.
A sandbank is a deposit (sedimentation) of sand or gravel at the bottom of seas and rivers, formed by the tide and current. A „free beach wall“ is formed when an offshore sandbank rises above sea level. The narrow passage between adjacent sandbanks is called a kille. When sandbanks grow, they become islands. One example is the Kachelot Plate in the East Frisian Wadden Sea between Borkum and Juist. Sandbanks that dry out daily are also called plates or sandplates.
A good example of a free beach bank in Germany is the sandbank at the North Sea resort of Sankt Peter-Ording. Sandbanks can migrate due to the influence of currents and therefore pose a danger to shipping. One example of a „migrating“ sandbank is Blauort off the coast of Büsum, another is Noorderhaaks off Den Helder in the Netherlands. Sandbanks pose an even greater danger if they consist of particularly fine sand – known as milled sand in mariners‘ parlance – which traps ships that have run aground and usually causes them to break through. Such a sandbank is, for example, the Great Bird Sand north of the main fairway of the Outer Elbe, where several hundred wrecks already lie.
Other well-known examples of dangerous sandbanks are, for example, in the Strait of Dover, there near the English coast the Goodwin Sands and about in the middle of the eastern entrance of the Strait of Dover the Sandettie Bank. Such sandbanks are often, and to this day, secured with fire ships.
For a description of the destructive effects of sandbanks on historic and modern ships, see the article Goodwin Sands, where it is estimated that about 2000 ships have been lost.
The Beatles Channel launched on SiriusXM on May 18 at 9:09 am ET.
The numerals that comprise the channel number, 18, total 9 when added together (1 + 8 = 9). Ditto for the channel launch date, May 18.
Coincidence? Hardly.
Here are 9 examples that show how the number nine looms large in The Beatles’ legend:
“It’s just a number that follows me around, but, numerologically, apparently I’m a number six or a three or something, but it’s all part of nine.” – John Lennon, 1980
“I didn’t realize it: it was just so funny the voice saying, ‘number nine’; it was like a joke, bringing number nine into it all the time, that’s all it was.” – John Lennon, 1970 Rolling Stone interview
Portions of this article were excerpted from The Beatles Bible.com and All We Are Saying by David Sheff.
As soon as you can.
Sculptor: Jens Koethner Kaul
Where: jkk productions, Berlin
When: 2019
COLOUR
It is difficult to describe the nature of colour with the means of numbers and words, because it just won’t be complete. Nonetheless, enlarging the current concepts, we may accept the existence of three different levels of colour properties. None of these levels exists alone.
1st level:
The optical, Newton, rainbow, prismatic level that is the base also for the screen that shows you these words. There are many publications on this aspect, from Newton to Itten. They just fail, when you start to mixing paint by yourself.
2nd level:
The physical, molecular, three-dimensional aspect holds the possibility to explain gold (or any other metallic colour) and black, which, of course, you wouldn’t find in a rainbow. Goethe, unlike Newton, already knew that black is somehow important. And shouldn’t the largest amount of colour in this universe count for something?
3rd level:
The metaphysical aspect of colour is able to express every thought or emotion of your mind and soul. Whereas the fact is objective, the effect on you is relative to your personal position of your mind and soul.
These positions or levels can be named, but in order to verify or falsify the truth of these statements, one would have to experience it. Anyhow, on future posts, on this site I will tell you more about my decades long studies on colour and paint(ing). So, stay tuned!