From my earliest youth it was abundantly clear that I would never be ruled by self
declared trend setters and art popes. Trend-setters and art-popes who decided what
was done and not done. It was, after all, perfectly clear that the great artists
of the past centuries mostly disagreed completely with the art-popes of their own
age. As far as I was concerned, only one thing mattered, my strictly personal way
of externalizing the tensions, the emotions and above all the conflicts resulting
from my unbridled imagination, surging from my innermost being, and this, in the
shape of paintings - a medium that nowadays (and this after, for decennia being considered
as outdated) is - again - recognized as full and valuable. I withal kept aloof from
mass production. Each and every painting should, as far as I was concerned, be a
faithful and perfect reflection of that what occurred on the screen of my imagination.
If not, it would immediately and relentlessly be destroyed. Only the paintings I
could perfectly identify with, could possibly escape from my, mostly, extremely severe
self-criticism. I was convinced that I owed it to art in general and to those who
spend their, sometimes hard-earned, money on it in particular. I was also convinced
that I, despite the fact that I attached the greatest importance to the recognizability
of an œuvre in its entirety, should also keep aloof from all sorts of commercial
repetition. From reproducing ad nauseam the umpteenth variation on a preprogrammed
and good selling system. I, as soon as habituation and easy painting surfaced, broke
up with what I was doing in order to realize, with - bio » « centric - enthusiasm
(see: ‘THE - bio » « centric - VISION’) my ultimate dream, the only thing that gave
sense to my existence: the experience, and this, out of my three-dimensional disposition,
of the essence of the - omni ~ dimensional - , the eternal infinity of the all -
embracing nothingness. This procedure resulted finally in four well - defined ‘Evolutions’.
Evolutions, however, on the same - omni ~ dimensional - and - bio » « centric - theme.
Four clear - cut periods which I, seeing their unbreakable ‘quadrity’ simply baptized
‘Evolution number one’, ‘Evolution number two’, ‘Evolution number three’ and ‘Evolution
number four’. ‘Evolutions’ which are, in a zen - like way, connected to, and originated
from, one another. I never was involved in a conscious and determined search for
whatever it may be. I simply picked up what I chanced to find on the winding and
unpredictable road of my imagination.
MY LIFE ON THE CROSSING OF TIME AND SPACE
When I was, as a six year old boy, for the first time confronted with Beethoven’s
fifth piano concerto I was really dazzled. That was the real thing! That was the
mirror image of my deepest feelings. I threw my pencils, yet my best friends, aside
and plunged myself Into music. I would and should play the piano (what I did), and
become a concert pianist (what I did not). I went to music conservatory, did the
ballet and wrote my own choreographies. In the middle of this musical storm, I got
- if possible - an even heavier shock. I found, somewhere in a dusty closet, a worn
out book with a series of (o understatement!) exceptional paintings. What the creator
of these paintings, a certain Pablo Picasso, did with his pencils baffled my imagination.
My urge to draw, an urge that, actually, never fell behind to my musical ambitions,
got such a boost that I went out exploring the magical world of painting. The world
of Rembrandt van Rijn, Peter Paul Rubens, Diego Velázquez, Francisco Goya, Vincent
Van Gogh, Juan Miró and so many others. Two of them, however, made an exceptional
impression on me, namely Johannes Vermeer, the painter who treated light and space
in such a brilliant way that his influence on my way of approaching these elements
was of lasting and paramount importance, and Leonardo Da Vinci, the man who stood
for everything I dreamt of. The artist who, obviously, suffered from the same disease
I did. A disease I could best describe as an extreme form of curiosity. An insatiable
thirst for knowledge. He, Just like me, was obsessed by questions no school, no university,
no conservatory could comply with. Questions which transcend the three - dimensional
world we live in. And so I ended up with Albert Einstein, the man who, with childlike
enthusiasm, succeeded in transgressing the boundaries of time and space. He exceeded
our three - dimensional way of thinking and led me right into ‘the - omni ~ dimensional
- universe’, the page on which I would write my - bio » « centric - vision, the canvas
for my ‘universal space painting’. And then, as a gift from heaven, came the day
that would change the course of my (artistic) life. The day - February the 20th 1962
- that I, together with millions of people all over the world, witnessed the launching
of John Glenn, the first American astronaut to orbit our planet. It was, by seeing
this planet through the window of the ‘Friendship 7’ space capsule that I realized
that the ‘gigantic’ planet we live on, was less than a microscopic grain of sand
in the endless ocean we call ‘our universe’. I realzed that we, by all means, had
to protect our world from ourselves to make sure that our children too would be able
to fully enjoy its exceptional yet extremely vulnerable beauty. And so arose the
idea to melt this world, the world of Beethoven and Picasso, of Da Vinci and Einstein,
into a universal and all embracing artefact. A time and space exceeding and ‘Universal
Space Link’. I became the explorer of my own imagination. A walker on the tightrope,
extending from the obscurity of the remote past to the endlessness of the distant
future. Fully aware of the fact that the gaping depth on both sides of this endless
and flimsy rope remains the only reason for his next pace.
MY LIFE ON THE CROSSING OF TIME AND SPACE
THE WINDING AND UNPREDICTABLE ROAD OF
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER TWO - ‘THE MERGING’
As I wrote before, I considered it of paramount importance not to repeat myself.
To - on the contrary - continue my unremitting search for the essence of the - bio
» « centric - ‘being’, for the three-dimensional materialization of my - omni ~ dimensional
- dream. (See: ‘THE - bio » « centric - VISION’). It was, however, the cerebral-palsy
of my newborn daughter Annelies, the most painful event of my life, that brought
my ‘Evolution number one’, the first period of my artistic life in a most abrupt
way to an end. It was this traumatizing event that confronted me in a drastic way
with a world totally unknown to me up till then. A world, diametrically opposed to
everything I, as a highly gifted and, consequently, uncomprehended little boy experienced
and endured during my childhood. A gift that, in those times (1950 - 1970), times
when highly gifted children were considered as pedantic whippersnappers, wasn’t recognized
and, as a consequence, resulted in me, not understanding the surrounding world and
this world understanding even less of what was going on in the mind of that, apparently,
arrogant youngster. A gift that resulted in me, being caught in the whirlpool of
my exuberant imagination. Me, sitting on the slipping and vertiginous carrousel of
my dreams, raging through this crazy yet wonderful world. And so I became, sick to
death from the never ending flood of pictures, thoughts and fantasies projecting
themselves in a continuous and breathtaking frequency on the screen of my childlike
imagination, alienated from day to day reality. My ‘gift’ ánd the inherent fear of
failure resulted in me becoming an isolated perfectionist who, contrary to the -
bio » « centric - ideal he pursued, threatened to become an egocentric young man
who lost every contact with the world that surrounded him. The confrontation with
the cerebral-palsy of my daughter ánd her irreversible coma catapulted me, nonetheless,
to a world where ‘life’, and this in its most fundamental form, transcended every
intellectual and artistic pretension. I had to, if I, after this traumatizing event,
would retrieve my peace of mind, return to the essence of my existence, to the time-
and spacelessness of my - omni ~ dimensional -. ánd - bio » « centric - dream. (See:
‘THE - bio » « centric - VISION’). All this, ánd the fact that I, during my spiritual
journey throughout world history, somewhere, halfway the seventeenth century, ran
into the wonderful œuvre of Johannes Vermeer (1632 - 1675), his brilliant way of
catching time and space in his paintings and the outstanding harmony he created between
the human figure and the nearly abstract environment this human figure seems to find
the ultimate peace in, ( see: ‘Woman in blue, reading a letter’, 1662 - 1665), with
the brilliant way he carried to the extreme the tension between light and dark (see:
‘View of Delft’, 1660 - 1661) and the magnificent way he, in one of the most outstanding
portraits ever painted, succeeded in catching the whole universe in the brilliance
of a single pearl (see: ‘The girl with the pearl earring, 1665 - 1667), brought me,
to keep aloof from the three-dimensional illusion. I would, out of the spacelessness,
out of the perfect and achromatic plane, out of the all-comprehensive nothingness,
set off for the all-transcending - omni ~ dimensionality - An - omni ~ dimensionality
- that should leave the world of Cubism far behind. A world where planes are nothing
but an illusion caught between imaginary lines. Where ‘life’ is nothing but a cluster
of illusory creatures scattered and torn apart by illusive meteorites. A universe
where nothing is what it seems, where all three-dimensional illusion gets totally
absorbed by the eternal infinity of the all comprehensive nothingness.
~
My ‘EVOLUTION NUMBER TWO’ was the materialization of a world in which I flew at my
demons with the power of the oriental sobriety. Thanks to Vincent van Gogh (1853
- 1890), the man who, as human being ánd as artist, had a lot of problems to deal
with, I became acquainted with the composed strength, the restrained violence and
the deafening silence of Japanese painting. A painting that, as well as the unique
way Johannes Vermeer (1632 - 1675) succeeded in catching time and space with a few,
accurately drawn brushstrokes, inspired me to a line pattern that would become the
essence of that what I would, later on, consider as my first - bio » « centric -
painting. This was the end of my ‘classical’ way of painting. It was a way of painting
that laid the foundation of my third period, my ‘EVOLUTION NUMBER THREE’.From now
on my paintings would, increasingly, drift away from the three-dimensional. I would,
bit by bit, caught sight of what I, since my earliest youth, since my first drawing,
dreamt of, the - bio » « centric - world of the - omni ~ dimensional - . The only
thing that, as far as I was concerned, mattered, was to penetrate the time- and spacelessness
of the endless plane. An achromatic plane that, just as unexpected as accidental,
fell into my lap. The boundless plane that, one day, would become the essence of
my ‘EVOLUTION NUMBER THREE’. A shimmering stone in the harsh and scattered sand of
my winding and unpredictable road.
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER ONE - ‘THE UNBENDING’
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER THREE - ‘THE UNIFYING’
THE - bio » « centric - SPACE PAINTING
EVOLUTION NUMBER FOUR - ‘THE TRANSCENDING’
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 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.
After twenty stormy and tumultuous years, a dizzy and vertiginous whirlpool of drawing
and painting, a never ending hurricane of music and dance and an endless fight with
myself ánd my environment, I ended up in a period that, later on, would be known
as my ‘EVOLUTION NUMBER ONE’. This period, a period in which I drew my inspiration
from the ‘Early Netherlandish painters’ (Jan van Eyck - Rogier van der Weyden - Dirk
Bouts - Hugo van der Goes - Hans Memling - Gerard David - . . . ) and their self
willed perspective. A perspective that, seeing the fact that it, in no respect, took
into consideration the (up to then) unknown laws of perspective of Fillipo Brunelleschi
(Firenze: 1377 - 1446), was considered as primitive. Théir approach of perspective
ánd the way the Cubists (1907 - 1914 / Paul Cézanne - Pablo Picasso - George Braque
- Juan Gris - Francis Picabia - Jacques Villon - . . . ) would, four centuries later,
take by assault ánd destroy the ‘Brunelleschian perspective’, lay the foundation
of my urge to exteriorise the all - transcending - omni ~ dimensionality - . The
creations of the (from the art - historical point of view) quite important ‘Early
Netherlandish Painters’ (‘Vlaamse Primitieven’), and of the equally important Cubists
were the such and such stimulation for me to put my search for the time and space
exceeding and all embracing nothingness, the - bio » « centric - way (see: ‘THE -
bio » « centric - VISION’) on canvas. Whereas the ‘Early Netherlandish Painters’
approached tridimensionality out of their twodimensional restrictions, the Cubists
transcended the same tridimensionality by creating an unprecedented multi - dimensionality.
They observed ánd projected their tridimensional world, as it were, from different
points of view at a time. Mý purpose, however, was, to transcend this multi-dimensionality
by approaching ánd projecting the tree-dimensional world I once ended up in, out
of the eternal infinity of the all comprehensive nothingness, out of the time- and
spacelessness of the - omni ~ dimensional - ‘All’. An - omni ~ dimensional - ‘All’
that I only could attain by, starting from the world of the Early Netherlandish Painters,
(a world on the crossing of the two- ánd the three-dimensional), transcending the
multi-dimensional world of the Cubists. It would take three decades for me to achieve
that aim. Three decades with three clear and distinctive periods, my so called ‘EVOLUTION
NUMBER ONE’, ‘EVOLUTION NUMBER TWO’ and ‘EVOLUTION NUMBER THREE’. Three periods that
were nothing more than the forerunners of the ‘EVOLUTION’ to come, my ‘EVOLUTION
NUMBER FOUR’. During my first period, my ‘EVOLUTION NUMBER ONE’, it became clear
to me that, despite the fact that the - omni ~ dimensional - remained my ultimate
purpose, I could only attain this - omni ~ dimensionality - out of the ‘classical’
way of painting, whatever the shape of de two-dimensional ‘canvas’ (plane) I used
might be (see: ‘EVOLUTION NUMBER THREE’). I, however, never tried to disconnect myself
from the three-dimensional world (see my three-dimensional creations) since this
three-dimensional world is not only the essence of my existence yet an essential
and inseparable part of the - omni ~ dimensional - and - bio » « centric - universe.
(see: ‘THE - bio » « centric - VISION). And, this way, I had to end up in my ‘EVOLUTION
NUMBER ONE’, a period in which I, starting from a quite classical way of painting,
distanced more and more from all sorts of decorum and, consequently, from all that
could be considered as irrelevant. I drew my inspiration from the Early Netherlandish
Painters and distanced myself from the classical laws of perspective. I projected
what, in an indescribable way, took place in the world of my imagination, thát what
troubled me the selfsame moment, on the time- and spacelessness of the achromatic
plane. Each decorum, each reference to the tree-dimensional surroundings had to give
in on the eternal infinity of the all-comprehensive nothingness, on thàt what I only
could paint without painting. I approached my subjects from different yet, nevertheless,
three-dimensional perspectives, hoping that, one day, I could find the key to the
time and space transcending - omni ~ dimensionality - , but thàt, that’s another
story . . .
During my spiritual and artistic journey through the time- and spacelessness of the
achromatic plane, a journey to the point where three-dimensionality turns into -
omni ~ dimensionality - , I, time and again, bumped into the borders of my two-dimensional
canvas. A two-dimensional canvas that I had to transcend without falling back into
the restrictions of a three-dimensional creation. Without creating the umpteenth
conceptual mind game in order to become the such and such clone of Marcel Duchamps.
I had to penetrate the essence of the time- and space-less plane, the plane in which
beginning and end merge without leaving any trace, the plane where the notions ‘beginning’
and ‘end’ are nothing but a far and vague recollection of a long gone three-dimensionality.
The - omni ~ dimensionality - of my - bio » « centric - philosophy (see: ‘THE - bio
» « centric - VISION’) was, after all, more than a simple mind game. It was the essence
of my existence, the air I breathed, the water I swam in, the path I had to go. It
was the stone which, as so many things in life, lies just for taking. A stone that
I, unconsciously, discovered when I, eleven year of age and inspired by the space
flight of John Glenn - the first American to orbit our planet - set out to create
a universal and world embracing work of art. A work of art that would bloom into
‘The Universal Space Link’, the project during which 13 ‘Crystal Space Links’ would
be brought to the most remote sites on our planet, (The summit of the eight highest
mountains, the center of the three oceans and the north and the south pole / see:
‘The Universal Space Link’). The spherical shape of these 13 ‘Crystal Space Links’
would be the blueprint ánd the foundation of my - omni ~ dimensional - paintings.
The paintings of which the three-dimensional borders would lose themselves in the
eternal infinity of the - omni ~ dimensional - plane, there, where ‘beginning’ ànd
‘end’ are nothing but a three-dimensional illusion.
~
The ‘Crystal Space Link’ didn’t only put me on my way to the infinite plane, the
essence of my - omni ~ dimensional - painting. It was also the onset to the dualistic
and contrasty use of color, so characteristic of the third period of my artistic
life: my ‘EVOLUTION NUMBER THREE’. A dualistic and contrasty use of color that accentuated
the sharply outlined figures based on the archetypical forms branded on our collective
memory. Archetypical forms which, in a subtle manner, effect the sub consciousness
of the onlooker. Archetypical forms on the imaginary boundary between the figurative
and the abstract. I had - in order to reach that aim - to reduce the use of color
as well as the play of planes to their absolute essence. The spherical shape of the
- omni ~ dimensional - painting (the materialization of the indissoluble ‘binity’
of ‘time’ and ‘space’) can’t, however, and this, no more than our own planet, be
caught in one single time zone. When the onlooker revolves around the - omni ~ dimensional
- painting, he doesn’t only evolve in space but also in time. Notwithstanding the
fact that he, out of his strictly personal point of view, seems to remain in one
and the same time zone, he, actually, just like a satellite orbiting our planet,
evolves constantly from one time zone into another. These, for our three-dimensional
grasp, unfathomable time differences create a constant tension between that what
the onlooker saw (the past), sees (the present) and expects to see (the future).
A tension which forms an indissoluble and essential part of the - omni ~ dimensional
- space painting. A tension that makes clear that the notion ‘universal time’ (and,
as a consequence ‘space’) is nothing more than the strictly personal projection of
an illusion. That our three-dimensional world is nothing but one single yet sparkling
facet of the - omni ~ dimensional - diamond we call ‘our universe’.
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venetie, paris, parijs, mc², gemini, helios, project 2525, space city, space cities,
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mnt blanc, mnt vinson, mnt mckinley, karstensz piramd, north-pole, south-pole, arctica,
antarctica, indian, pacific, atlantic ocean, indische, atlantische, stlle oceaan,
ocean atlantique, pasifique, indien, dixie dansercoer, henk develde, edward bekker,rene
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the merging, the unifying, the transcending, le détachement, l’absorption, l’unification,
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design, the biocentric temple, temples, les temples biocentrique, de zonnegoden,
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casiono kursaal oostende, ostend, ostende, new york, conflict
SPACE ARTIST - RUIMTE KUNSTENAAR - ARTISTE SPATIAL
bie baldwin elbio
SPACE ARTIST