In BOL,, Maria Blondeel presents a comprehensive collection of blueprints and remnants of audio-visual work from the period 1987–1990. Her installation Bal, Dozen en vazen (Ball, boxes and vases) of 1987, which comprised, amongst others, a projection of slides and a sound performance, started with a piece of advice by Paul Cézanne (1839–1906): “Traitez la nature par le cylindre, la sphère, le …
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In BOL,, Maria Blondeel presents a comprehensive collection of blueprints and remnants of audio-visual work from the period 1987–1990. Her installation Bal, Dozen en vazen (Ball, boxes and vases) of 1987, which comprised, amongst others, a projection of slides and a sound performance, started with a piece of advice by Paul Cézanne (1839–1906): “Traitez la nature par le cylindre, la sphère, le cône, le tout mis en perspective (…)”. Besides this, in a series of contact sheets one can observe how, back in the eighties, blueprints were projected on top of each other, after which they were photographed again. Recently, a selection of those analogue photographs was printed on Japanese paper. Blondeel literally connected the visual and auditory, by transposing images of the slide series into sound – called ‘sonification’. In addition, she published the booklet Verheven Werk (libretto, opera elevato) in 1990, a libretto for four voices, which was recited simultaneously with the homonymous stereoscopic slide projection.
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