Ann Veronica Janssens
A few days ago, the sun shone through the window of Micheline Szwajcer’s office and illuminated Candy 812/3-110-812/3 by Ann Veronica Janssens.
The brilliance of the sculpture is due to its materiality.
The cast glass captures the UV rays of the light.
With a delicate purity your sight transforms into vision, a cantation of reverberations between a space seen and unseen, an amplification of the senses guided by sight alone. The heart rate increases at an instant. Knowledge assembles itself grasping for a hold on reason. Answers remain questions. A compounding collision of diachronic lexicons collide simultaneously, whilst external refractions occur with the logic from all the bases. Effortless. The numbers collapse at the close of time. With a simple side step the doubt of reason realigns with the present, tracing a pathway of primordial light. A sense of community takes hold and is shared. This gesture of light was placed in an open field of democracy across the floor beneath you. Within its mountains and fjords, skies carry questions of the scalings of the internal seas. The heart beats again. At this moment of calm we have reached a threshold of experience, navigated by refraction and reflection there appears a bartering point, a position of trade with the infinite. Here we question our make up and our belonging within the scale of things.
A single point
An infinity of points = a line = one dimension
An infinity of lines = a plane = two dimensions
An infinity of planes = a solid = three dimensions
An infinity of solids = time = four dimensions
An infinity of time = the Universe = the
All There’s an elegance at work here that brings to mind the fusion between the arts and sciences, from humanities and the psychological to the subatomic and quantum mechanics. Early on in Berlin 1921, Einstein gave a public lecture on “Geometry and Experience”: he commented that “in so far as the propositions of mathematics refer to reality, they are not certain; and, as far as they are certain, they do not refer to a reality.” This paradoxical thinking is omnipresent within the works of Janssens. Her delicacy of touch overshadows the architectural confines of its surroundings and lies in wait in the mind space of the viewer to be relived once again within the field of memory.