THE EXHIBITIONS

in a very efficient way of developing technique, where I have learned to do exactly what is needed to create a certain effect or expression, nothing more. It is important to realize that these achievements have been totally subordinate to that of emotion and intuition. Emotion being the engine that propels forward - intuition the rudder deciding direction. Logic and intellect have subordinate roles in this process. Other important aspects are that I have learned considerably from making mistakes and that I have been very attentive on unexpected results of my efforts. The essence of this is the surprise, which represents a step beyond the restricted and prejudiced world of consciousness. From there, curiosity takes charge, experimenting with and developing the discovered novelty. In this context, we must not forget the unexpected urge, being irrational from the point of view of consciousness, but that can result in truly exciting discoveries. On the whole, this kind of development of technique relies on a vivid presence when painting. With time, experience and knowledge increase, thereby stimulating my painting.

TRANSFORMATION - Parts 3, 4 and 5

(3) Transition.

    The paintings in "Transition" represent a period of consolidation and rest. The amount of dream material produced at night decreased drastically during this period and my productivity also decreased. After the work with "Fragments" a plateau had been reached and I gazed around from my outlook. I associate this period with observance and cautious experimentation. Now, suddenly, the combination of focus and direction that I experienced in the paintings done prior to this section (and thereafter) is relaxed. This section connects the two opening sections, that are characterized by equilibrium and a certain amount of harmony, with the three last sections, that describe a process where strong forces from my unconscious are let loose in chaotic turmoil. At the end of this series of paintings the tension rises, the twilight comes creeping. Painting No. 38. implies that it is time to continue the journey, back to the staked out path. My honeymoon with painting is drawing to its close and dark clouds are gathering, I see them ... yet I do not.

Go to the exhibition Transformation, section Transition.

(4) Chaos and Structure.

    When "Transition" was completed and the work with "Chaos and Structure" commenced, there was a dramatic increase in dreams, similar to when "Transformation" was started, but now the amount of dream material was substantially greater. The contents of my dreams were more dramatic now, and for the rational mind, strange and incomprehensible. I experienced periods when I was mentally exhausted. Certain nights I slept very little, others very much, and my daily rhythm was periodically greatly disturbed.

    The paintings show an obvious thematic break in comparison with the previous section and the subject that is most obviously treated is that of opposite pairs. Furthermore, they are characterized by a strong mode of opposition, a situation I associate with great creativity and high productivity.

    In paintings No. 45. and No. 51. we get an interesting look behind the stage: It seems that there are two possible states, when the ordered and structured component of the pair of opposites, that this sections title alludes to, is removed. An observation that is not without interest in the light of the coming developments.

    At the end of this section, the first unsigned and uncompleted paintings appear, a phenomenon that occurs from this point on. This should be viewed from the perspective of the dramatic activity in the unconscious, among other ways manifested in dreams, that to a certain extent results in a disintegration of consciousness. And consciousness is closely associated with me as an individual (signature) and with functions attributed to consciousness, such as the formulation of goals and the ability to achieve them (complete a painting). Thus, this phenomenon is in accordance with the state that the transformation process has reached, and from one point of view, the uncompleted paintings are not uncompleted - things are the way they should be! The act of not signing a painting and not completing it, was not a consciously made choice, but rather something that 'just happened'. If we look closer on the signing of the paintings, a pattern emerges that was not dictated by a conscious choice either, but rather by a strong feeling that this was the way it should be: At the end of "Fragments" I started signing the paintings, not in the lower right hand corner as I had done previously, but in the lower left hand corner, and at the