вино на берегу Мааса под дождём и очередная победа инстинкта над разумом
office nookie friends with benefits blah blah blah
мне постоянно хочется китайской лапши в коробочке с coolsingel
и ещё снова к большой воде, и в насквозь искусственный Алмере
Одно из любимых — ехать утром в анабиозе после бессонной ночи в поезде из одной нидерландской провинции в другую. Снова тихо мало людей много солнца через рукотворные ландшафты за окном
я ела круассан, развалившись на 4 сидения, и тут поезд нырнул в поле нарциссов
и после тюльпанов
DUTCH GREY
A dutch friend asked me if I would like to see the tulip fields. Inwardly I really did not want to see the tulip fields. For some reason I thought that seeing so many tulips —red, yellow, white, purple — would be too much. In any case I did not want to see the tulips. My friend persuaded me to go with him. I am glad that he did. He brought me into deep view. When we rode along the roads which moved through the tulip fields I began to understand Mondrian. I always thought him to be an international painter; I found him to be a Dutch painter. It was not the color of the tulips but the density of the sand and earth where the bulbs were planted which remained me of Mondrian. It was the atmosphere of opacity. The place, the land, the earth was the dense opacification. The colored flowers were not the issue, it was the infinite penetration and the compaction of trapped light crystals in the earth which illuminated the air into a grey solidity... Dutch grey.
John Hejduk, Mask of Medusa (NY, 1986)
office nookie friends with benefits blah blah blah
мне постоянно хочется китайской лапши в коробочке с coolsingel
и ещё снова к большой воде, и в насквозь искусственный Алмере
Одно из любимых — ехать утром в анабиозе после бессонной ночи в поезде из одной нидерландской провинции в другую. Снова тихо мало людей много солнца через рукотворные ландшафты за окном
я ела круассан, развалившись на 4 сидения, и тут поезд нырнул в поле нарциссов
и после тюльпанов
DUTCH GREY
A dutch friend asked me if I would like to see the tulip fields. Inwardly I really did not want to see the tulip fields. For some reason I thought that seeing so many tulips —red, yellow, white, purple — would be too much. In any case I did not want to see the tulips. My friend persuaded me to go with him. I am glad that he did. He brought me into deep view. When we rode along the roads which moved through the tulip fields I began to understand Mondrian. I always thought him to be an international painter; I found him to be a Dutch painter. It was not the color of the tulips but the density of the sand and earth where the bulbs were planted which remained me of Mondrian. It was the atmosphere of opacity. The place, the land, the earth was the dense opacification. The colored flowers were not the issue, it was the infinite penetration and the compaction of trapped light crystals in the earth which illuminated the air into a grey solidity... Dutch grey.
John Hejduk, Mask of Medusa (NY, 1986)
image credits cwhilbun
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