The oeuvre of the space - artist bie baldwin el bio ( °1950 ) contains four consecutive
periods, namely: EVOLUTION NUMBER ONE - THE UNBENDING - (1965 / 1975), EVOLUTION
NUMBER TWO - ‘THE MERGING’ - (1975/1985), EVOLUTION NUMBER THREE - THE UNIFYING -
(1985/2000) and EVOLUTION NUMBER FOUR - THE TRANSCENDING - (2000/ . . . ).
The life of the artist was (and is) dominated by the unbending, the merging, the
unifying and the transcending of the spiritual (time and) space as well as the material
one. The - omni ~ dimensional - plane of his - bio » « centric - space painting transcends,
(and this in the literal sense as well as in the figurative one) the two-dimensional
plane of the traditional painting. It’s a work of art as opinionative as its underlying
philosophy. (see: THE - bio » « centric - VISION).
As the ultimate materialization of the - bio » « centric - vision, the artist realized
his UNIVERSAL SPACE LINK. A world embracing work of art of which the 13 crystal parts
(THE 13 CRYSTAL SPACE LINKS) resulted from the fusion of the sand of the historico-cultural
sites of GIZEH (AFRICA) and TEOTHUACAN (AMERICA), the holy sites of FUJIYAMA (ASIA)
and ULURU (AUSTRALIA) and the AKROPOLIS of ATHENS (EUROPE), with the fire of the
sun. These 13 ‘CRYSTAL SPACE LINKS’ were brought to the top of Mnt EVEREST (ASIA),
Mnt ELBRUS (E. EUROPE), Mnt BLANC (W. EUROPE), Mnt McKINLEY (S. AMERICA), CARSTENSZ
PYRAMID (AUSTRALIA), KILIMANJARO (AFRICA) and Mnt VINSON (ANTARCTICA), to the middle
of the ATLANTIC, the INDIAN and the PACIFIC OCEAN ánd the NORTH and the SOUTH POLE
by 13 multicultural expeditions. They form a time- and space-transcending symbol
for the fusion of the sand of the planets and the fire of the stars and the materialization
of our universal hope that, one day, our planet ‘earth’ may return to its original
‘CRYSTAL - CLEAR’ condition.
bie baldwin elbio
space artist
And so the puzzle pieced together. The ‘Universal Space Link’, the materialization
of my - omni ~ dimensional - dream (see: ‘The Universal Space Link’ - ‘The Fusion’)
became a reality. Thirteen expeditions succeeded in bringing the thirteen ‘Crystal
Space Links’ to the most remote yet extremely vulnerable sites of our planet. (The
summit of the eight highest mountains, the center of the three oceans and the North
and the South Pole). A world embracing work of art and the materialization of my
- bio » « centric - vision, the philosophy behind my artistic œuvre in general and
my - omni ~ dimensional - paintings (the paintings which transcend the two-dimensional
canvas in order to merge into the time- and spacelessness of the - omni ~ dimensional
- plane) in particular. The plane where ‘beginning’ and ‘end’ is nothing but an
illusion. Nothing but a three-dimensional projection on the screen of our - omni
~ dimensional - reality. A projection of the imaginary yet unbreakable ‘binity’ of
image and mirror-image, day and night, man and woman, good and bad, black and white,
yin and yang and, last but not least, being’ and ‘not being’. The ‘Crystal Space
Link’ and its - bio » « centric - philosophy had bloomed into a painting in which
beginning and end merged without leaving a trace. Where color and shape were nothing
but the materialization of their own ‘imaginarity’. Where everything was reduced
to the essence of our universe, the eternal infinity of the all-comprehensive nothingness.
A painting that left me no choice but leaving my ‘EV0LUTION NUMBER THREE’ behind
and set out for a new and exciting adventure, my ‘EVOLUTION NUMBER FOUR’. I would,
just like John Glenn, the man who’s space flight laid the foundation of my - bio
» « centric - dream, defy the jaws of gravity and deliver myself to the weightlessness
of space. I would, out of my physical presence in the weightlessness of this space,
confront myself with the masterpieces of the artists which preceded me throughout
the centuries, the painters who made me just what I was, in order to confront myself
with the duality of this existence. The creations I had in mind had to be the materialization
of the unbreakable ‘binity’ of ‘being’ and ‘not being’, of ‘seeing’ and ‘not seeing’.
The incarnation of our physical impossibility to break loose from the eternal infinity,
from the time- and spacelessness of the all comprehensive nothingness. This impossibility
has to confront the beholder with the craving ánd the challenge to reduce that what
he saw, sees ánd expects to see to one single moment. To the time- and spacelessness
of the eternal, infinite and all comprehensive ‘here’ and ‘now’.
~
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER FOUR - ‘THE TRANSCENDING’
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER FOUR - ‘THE TRANSCENDING’
