MY  IMAGINATION

              

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being, and this, in the shape of paintings - a medium that nowadays (and this after, for decennia being considered as outdated) is - again - recognized as full and valuable.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.

WHAT’S IN A NAME2

 

MY LIFE ON THE CROSSING OF TIME AND SPACE

 

THE  WINDING  AND  UNPREDICTABLE  ROAD  OF

 

THE  - bio » « centric -  SPACE  PAINTING

1975 - 1985

 

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

1965 - 1975

 

EVOLUTION  NUMBER  ONE  -  ‘THE  UNBENDING

 

THE  - bio » « centric -  SPACE  PAINTING

1985 - 2000

 

EVOLUTION  NUMBER  THREE  -  THE UNIFYING

 

THE  - bio » « centric -  SPACE  PAINTING

2000

 

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.        

WHAT’S IN A NAME2

             

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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Space artist, space art, bie baldwin elbio, Biocentric, Biocentrique, Biocentrisch, bie baldwin elbio, space painting, bieonline biocentric vision,, SPACE ARTIST, SPACE ART, universal space link, conflict, Picasso, guernica, space painting, peinture spatiale, ruimte schilderij,  biocentrique, biocentric, biocentrisch, artist, art, kunstenaar, kunst, Brel ,bolero vivaldi, four seasons, quand on a que l’amour, ravel, beatles, revplution, number nine, CARAVAGGIO, DA VINCI, EINSTEIN, AZNAVOUR, venice, venetie, paris, parijs, mc², gemini, helios, project 2525, space city, space cities, space architecture, space art, space artist, aconcagua, mnt everest, elbroes, kilimanjaro, 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 bergsma, maarten balzar, geert jan derks, the crystal space link, le lien spatial de cristal, virgin galactic, herman portocarero, flamma flamma, interplanetary space painting, world embracing space painting, the fusion, the mirror image, le reflet, la fusion, le lien spatial interplanetaire, le lien spatial universelle, le lien spatial de cristal, nasa, deep impact mission, comet temple one, gizeh, acropolis, fujiyama, teotihuacan, uluru, ayers rock, brugge, bruge, bruges, movie, the unbending, the merging, the unifying, the transcending, le détachement, l’absorption, l’unification, la transcendence, chado, the way of tea, sen rikyu, le chemin du thé, the biocentric design, the biocentric temple, temples, les temples biocentrique, de zonnegoden, zonnegod, dieu soleil, dieux soleil, yhi, izanagi, helios, ahaw kin, amon re, heliopolis, casiono kursaal oostende, ostend, ostende, new york, conflict

 

Space artist, space art, bie baldwin elbio, Biocentric, Biocentrique, Biocentrisch, bie baldwin elbio, space painting, bieonline biocentric vision,, SPACE ARTIST, SPACE ART, universal space link, conflict, Picasso, guernica, space painting, peinture spatiale, ruimte schilderij,  biocentrique, biocentric, biocentrisch, artist, art, kunstenaar, kunst, Brel ,bolero vivaldi, four seasons, quand on a que l’amour, ravel, beatles, revplution, number nine, CARAVAGGIO, DA VINCI, EINSTEIN, AZNAVOUR, venice, venetie, paris, parijs, mc², gemini, helios, project 2525, space city, space cities, space architecture, space art, space artist, aconcagua, mnt everest, elbroes, kilimanjaro, 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 bergsma, maarten balzar, geert jan derks, the crystal space link, le lien spatial de cristal, virgin galactic, herman portocarero, flamma flamma, interplanetary space painting, world embracing space painting, the fusion, the mirror image, le reflet, la fusion, le lien spatial interplanetaire, le lien spatial universelle, le lien spatial de cristal, nasa, deep impact mission, comet temple one, gizeh, acropolis, fujiyama, teotihuacan, uluru, ayers rock, brugge, bruge, bruges, movie, the unbending, the merging, the unifying, the transcending, le détachement, l’absorption, l’unification, la transcendence, chado, the way of tea, sen rikyu, le chemin du thé, the biocentric design, the biocentric temple, temples, les temples biocentrique, de zonnegoden, zonnegod, dieu soleil, dieux soleil, yhi, izanagi, helios, ahaw kin, amon re, heliopolis, casiono kursaal oostende, ostend, ostende, new york, conflict

 

SPACE  ARTIST  -  RUIMTE  KUNSTENAAR  -  ARTISTE  SPATIAL

 

 

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bie baldwin elbio

SPACE ARTIST