Husserl's concept of the living present - the specious now in which retention and protention overlap so that any instant carries the just-past and the about-to-come within it - finds a structural parallel in the five orange strokes that fan across this field. Each line arrives from a compressed origin at the left and opens outward to the right, the topmost reaching furthest, the lowest curving most dramatically away from its neighbours, so that the whole assembly reads less as a static image than as a single movement caught mid-unfold. The separate curve at the far right, taller and more vertical than the rest, stands as the protentional edge: the form anticipating its own continuation beyond the visible.
Husserl's concept of the living present - the specious now in which retention and protention overlap so that any instant carries the just-past and the about-to-come within it - finds a structural parallel in the five orange strokes that fan across this field. Each line arrives from a compressed origin at the left and opens outward to the right, the topmost reaching furthest, the lowest curving most dramatically away from its neighbours, so that the whole assembly reads less as a static image than as a single movement caught mid-unfold. The separate curve at the far right, taller and more vertical than the rest, stands as the protentional edge: the form anticipating its own continuation beyond the visible.
- Curatorial note, wifärt gallery