BERT HOLVAST

  

– RELEVANT TEXT'S AND STATISTICS –

  

  

THEN ALL THE VISIBLE IS TEMPORARY, YET ALL INVISIBLE ETERNAL

  

  

SINCE IMMEMORIAL TIMES HUMANITY TRIES TO CAPTURE THE ESSENCE OF BEAUTY.
IN "WHERE THE FLOWERS BECOME …" BERT HOLVAST SUCCEEDS TO NAIL NATURES RAVISHING BEAUTY IN ALL IT'S SPLENDOR.
THE DELICATE SENSIVITY OF THIS ARTIST ALLOWS HIM TO PLAY WITH COLOUR'S EXUBERANCE, WITH THE REFLEXION OF LIGHT ON WATER,
WITH THE MAGNIFICATION OF DETAILS NEARLY INCOPRIHENSIVE, IN TEXTURES WHICH BECOME ALMOST TENGIBLE AND WITH EMPHASIZING PATERNS.
SUCH RESULTS IN COMPELLING PHOTOGRAPH'S, FULL OF POETRY, REVEILING A FATHOM LOOK AND A SCHOLAR OF THE ELDEST UNIVERSAL SECRETS.
PHOTOGRAPH'S WHICH DISARM BY EXIBITING A REALITY IN FRONT OF OUR EYES,
SEEN – AND VALUED AS A FUNDAMENTAL SOURCE OF AN AESTHETICAL SENCE WHICH WE IMPROVE AND WHICH CONVERTS US – BY FEW.

  

TEXT: MARIA ADELAIDE DE AGUIAR MARQUES TEIXEIRA, MAYOR OF PORTALEGRE.

  

  

  

  

  

DONDE AS FLORES SE CONVIERTEN … WHERE THE FLOWERS BECOME …

  

  

  


  

  

  

  

  

  

ALLES VAN WAARDE IS WEERLOOS – ALL PRECIOUS IS DEFENCELESS

  

  


  

  

TEXT PUBLISHED IN THE CATALOGUE OF THE FIRST ALLES WAARDE IS WEERLOOS EXHIBITION(2006)

  

ABOUT "ALLES VAN WAARDE IS WEERLOOS":

  

IN 2003 ALMOST A THIRD OF PORTUGAL'S NATIONAL TERRITORY WENT UP IN FLAMES.
BERT ENDED UP WITH TWENTY ACRES OF HORRIFYING REMAINS OF WHAT ONCE WAS THE RAW BEAUTY OF A REMOTE PROVINCE OF PORTUGAL, THE ALTO ALENTEJO.
BLACK, DESOLATE AND USELESS LAND.

  


BUT RATHER THAN RESIGNING HIMSELF TO THE FACT'S BERT DECIDED TO TURN THIS TRAUMA INTO A MEANINGFUL PROJECT.
IN HIS PREVIOUS "GRAND TRAVAUX" - THE TWO HUGE SERIES ON MOTORCYCLE RACING AND BULL-FIGHTING - HE HAD ALREADY EXPLORED THE THIN LINE BETWEEN CREATION AND DESTRUCTION.
NOW THIS NIGHTMARE HANDED HIM THE (UNWANTED) OPPORTUNITY TO TAKE THIS EXPLORATION TO A HIGHER LEVEL. ONCE AGAIN DESTRUCTION LED TO CREATION: BERT STARTED TO COLLECT BURNED–OUT TREE TRUNKS, THE REMAINS OF OLIVE TREES AND CORK OAKS, AND OTHER BLACKENED DEBRIS.

  


THESE HE USED AS MOULDS FOR PIECES OF BLOWN GLASS. IN THE PROCESS OF GLASSBLOWING, THE MOULDS BURN AND GET DESTROYED.
THE RESULTING GLASS OBJECTS, CONCOCTIONS OF VERY THICK AS WELL AS VERY THIN AND VULNERABLE PARTS, TEND TO BREAK.
THE SHARDS AND SPLINTERS ARE PHOTOGRAPHED: IMAGES THAT, OVER TIME, WIIL VERY LIKELY GO UP IN THIN AIR AS WELL.

  

IN THIS PROCESS OF CREATION, EVERY STEP FEEDS ON THE DESTRUCTION OF THE PREVIOUS ONE; AND EVERY STEP ECHOES THE DESTRUCTIVE PROCESS THAT STARTED THE WHOLE CYCLE.
EVAPORATING, VULNERABLE BEAUTY AS A RESULT OF MULTIPLE AND REPETITIVE DESTRUCTIONS CLENCHED.

  

AND WE? WE ARE LEFT BEHIND EMPTY–HANDED, WITHOUT ANYTHING ONCE MORE.

  

BERT HOLVAST SHOWS – AND SHAPES – THE VULNERABILITY OF THE THINGS WE LIKE AND LOVE THE MOST IN OUR LIVES.
EVERYTHING VANISHES WITHOUT TANGIBLE MEMORIES; THE ONLY THINGS LEFT ARE IMAGES THAT EVAPORATE WITH TIME AS WELL.

  

TEXT: PAUL LOOIJMANS

  

  

  

  

  

  


  

  

BERT HOLVAST: BASICLY, IT'S ALL ONE SONG, BY PAUL LOOIJMANS.

  

NEIL YOUNG AND HIS BAND CRAZY HORSE ARE ON STAGE, DOING ONE OF THEIR RENOWNED, TRANCE–LIKE HEAVY–METAL CONCERTS.
THEY HAVE BEEN PLAYING FOR OVER TWO HOURS WHEN THEY PLUNGE INTO YET ANOTHER SONG.
SOMEONE IN THE AUDIENCE, RECOGNIZING THE FAMILIAR POWER CHORD IN THE INTRO, SHOUTS OUT: 'YOU ALREADY PLAYED THIS ONE, THEY'RE ALL THE SAME!'.
UPON WHICHNEIL STOPS PLAYING, LOOKS THE SPECTATOR IN THE EYE AND EXPLAINS TO HIM THE PRINCIPLE BEHIND HIS WORK: 'BASICALLY, IT'S ALL ONE SONG…'

  

NEIL YOUNG IS ONE OF  BERT HOLVAST'S FAVOURITE ROCK ARTISTS, AND THIS IS HIS FAVOURITE QUOTE.
TO SUM UP YOUR FULL OEUVRE AND CAREER IN ONE SHORT, SELF–IRONIC SENTENCE – THAT’S SOMETHING THAT HE CAN APPRECIATE.

  

'YOU ALREADY PAINTED THIS ONE!' IS SOMETHING ONE MIGHT WANT TO SHOUT OUT AT HOLVAST HIMSELF.
FOR NEARLY TWO DECADES NOW, HE HAS BEEN OBSESSED WITH CAPTURING THE SENSATIONS AND EMOTIONS OF THE TAUROMAQUIA, THE PORTUGUESE VARIETY OF BULLFIGHTING.
ALONG THE WAY, HE HAS CREATED A SET OF POWERFUL IMAGES, WHICH HAVE BECOME TRUE ICONS: THE DESOLATE HORSEHEAD, THE ARCHED BACK OF THE DESPERATE BULL, THE'CAVALEIRO' BENDING OVER FOR ANOTHER CRUEL, BUT ELEGANT STRIKE WITH THE FARPA…
ALL RECOGNIZABLE AND REPETITIVE ELEMENTS OF THE HOLVAST GRAMMAR. WE KNOW WHAT TO EXPECT.

  

AND YET WE DON'T. ANOTHER CONSTANT ELEMENT IN HOLVAST'S WORK IS SURPRISE AND CONTINUOUS DEVELOPMENT.
HE USES HIS FIXED SET OF ICONS TO DISPLAY A WIDE ARRAY OF INNOVATIVE TECHNIQUES AND MATERIALS, THUS EXPRESSING AN EQUALLY WIDE ARRAY OF MOODS, STATEMENTS AND EMOTIONS.
OVER THE YEARS, HOLVAST'S IMAGERY SEEMS TO HAVE GROWN MORE AND MORE MINIMALISTIC – CUT BACK TO OUTLINING JUST THE BARE ESSENCE.
AT THE SAME TIME, THE INTENSITY AND EXPRESSIVITY OF HIS WORK HAVE DEEPENED ENORMOUSLY: HOLVAST KNOWS HOW TO SAY MORE WITH LESS.
HE CAN REALLY GRAB YOU BY THE THROAT.

  

HIS USE OF TECHNIQUE IS ORIGINAL AND EXUBERANT.
IN THE EARLY STAGES OF HIS BULLFIGHTING SERIES, HOLVAST EXPERIMENTED WITH ODD METHODS SUCH AS OIL–ON–MILK CARTONS, BEDSHEETS PAINTED ON BOTH SIDES, CORRUGATED IRON, WASTE GRANITE, TECTYL AND CARBOLEUM.
RUMOURS ABOUT THE ALLEGED USE OF HUMAN URINE ARE AS OF YET UNCONFIRMED.

  

DURING HIS IMPRESSIVE HORSE WITH NO NAME SHOW IN CÁCERES, SPAIN (2002), MASSIVE AMOUNTS OF VISCOSE POLYETHYLENE BLED FROM THE HORSE PORTRAITS INTO THE GALLERY.
AND THE PLASTIC–COVERED CANVASES LITERALLY BURST OPEN LIKE THE ANIMAL'S DRIED–OUT WOUNDS.
HEADS OF HORSE–MEN ON MIRRORS IN BAROQUE, GILDED FRAMES, JAPANESE DRAWINGS, PAPYRUS AND PARCHMENT FOLLOWED.;
AND, MOST RECENTLY, EXPIREMENTS IN SELF–BLOWN GLASS.

  

HOLVAST'S ART IS A CELEBRATION OF HIS CRAFTSMANSHIP.
NONETHELESS, IT IS NOT L'ART–POUR–L'ART, OR TECHNIQUE FOR THE SAKE OF TECHNIQUE: HE'S A MAN WITH A MISSION AS WELL.
IT WOULD BE FAR TOO SIMPLE TO CATAGORIZE HIM AS A SINGLE–ISSUE POLITICAL ACTIVIST, OPPOSING TO CRUELTY AGAINST ANIMALS.
BUT IT IS CRYSTAL CLEAR THAT HIS WORK IS ASKING SOME DIFFICULT QUESTIONS.
NOT ONLY FROM HIS IBERIC  AUDIENCE – WHERE THE DILEMMA IS OBVIOUS; ALSO FROM US IN WESTERN EUROPE, WHO ARE ALWAYS READY TO FLIRT WITH  THE MEDITERRANEAN PASSION AND TEMPAREMENT.
AND, PERHAPS IN THE FIRST PLACE, OF HIMSELFf. HOW CAN SOMETHING THAT IS SO CRUEL, BE SO BEAUTYFUL AND FASCINATING AT THE SAME TIME?

  

THE COMPLEXITY OF THIS QUESTION IS BEST ILLUSTRATED BY THE FOLLOWING INTERESTING FACT.
BY NOW, BERT HOLVAST IS A MAJOR NAME IN PORTUGAL, AND SELLING QUITE WELL.
SOME OF HIS REGULAR BUYERS ARE THE PORTUGUESE STARS OF BULLFIGHTING…
AND THE CRUELLER THEY ARE DEPICTED, THE BETTER THEY SEEM TO LIKE IT.

  

MORAL STANCES ARE VERY TEMPTING, WHEN YOU'RE CONFRONTED WITH BERT HOLVAST'S WORK AND LIFE.
IF YOU,RE AGAINST BULLFIGHTING, YOU SHOULDN'T SELL TO BULLFIGHTERS.
IF YOU'RE NOT FROM PORTUGAL, YOU SHOULD STAY AWAY FROM COMMENTS ON PORTUGUESE CULTURE.
IF YOU CAN'T STAND ANIMAL SUFFERING, WHY WATCH IT AND PAINT IT?
ALL ANGELS HAVE BEEN COVERED – IN WRITING, IN SPEECH, IN GOSSIP AND IN SILENCE.

  

HOLVAST HAS ALWAYS SHRUGGED OF THIS DEBATE.
HIS MISSION IS NOT ABOUT BULLFIGHTING, NOR ABOUT IBERIAN CULTURE: IT'S ABOUT PAINTING.
WHAT IS THE BEST WAY TO CAPTURE YOUR OWN FEELINGS AND OBSERVATIONS ON THIS ISSUE?
WHICH MATERIALS, FORMATS, TECHNIQUES, COLOURS BRING THAT ABOUT?
AND HOW DOES THIS WAY OF PAINTING, IN TURN, INFLUENCE AND CHANGE YOUR PERSPECTIVE ON THE SUBJECT MATTER?
AND SO ON, AND SO FORTH, IN A CONTINUOUS CYCLE OF TRYING, FINDING, REJECTING, LEARNING AND DISCOVERING.
THIS IS THE CYCLE THAT MATTERS TO HOLVAST.

  

SO BASICALLY, IT'S ALL ONE SEARCH.

  

WITH THIS EXHIBITION, BERT HOLVAST RETURNS TO BELGIUM, WHERE HE STARTED OUT IN 1982 AS A  LAUREATE FOR THE PRIX D'EUROPE.
SHORTLY AFTER THAT, HE MOVED TO PORTUGAL, WHERE HE FOUND THE SPACE – BOTH PHYSICALLY AND CREATIVELY – TO EMBARK ON A NUMBER OF MONUMENTAL SERIES: IMPRESSIVE IN SIZE, AS WELL AS IN SCOPE AND CRAFTSMANSHIP.

  

A ARENA (WITH SAND)

  

  

  

A ARENA (WITH SPLINTERS OF GLASS)

  

LAÇO DE SANGUE – 'BLOOD–TIE'

  

  


  

  

NO–ONE SPEAKS BERT HOLVAST

  

AFTER THE ARENA AND SOBRE AS CORRIDAS PORTUGUESAS, BERT HOLVAST MOVES INTO A NEW PHASE IN HIS CONTINUING STUDIES OF BULLFIGHTING.

  

IN THIS PHASE, HE IS FOCUSING ON THE HORSES – ESSENTIAL CONTRIBUTORS TO  THE BEAUTY OF THIS DUBIOUS 'ART', AND AT THE SAME TIME PERHAPS THE CORRIDA'S MOST TRAGIC VICTIMS.

  

NO–ONE SPEAKS IS THE FILE OF THIS, AGAIN IMPRESSIVE, SERIES.

  

THE TITLE HAS, ON THE ONE HAND, A CLEAR POLITICAL MEANING.
SPEAKING UP AGAINST THE OBVIOUS CRUEL ASPECS OF BULLFIGHTING IS STILL NOT–DONE ON THE IBERIC PENINSULA, AND PROBABLY THE QUICKES WAY TO SOCIAL OUTPLACEMENT.
ON THE OTHER HAND, NO–ONE SPEAKS REFERS LITERALLY TO ONE OF THE MEANEST SECRETS OF THE TOIRADA: THE HABIT TO CUT THE HORSES' VOCAL CHORDS, IN ORDER TO AVOID CRIES OF PAIN OR AGONY THAT MIGHT DISTRACT THE PUBLIC FROM ENJOYING THE SPECTACLE.

  

AS IN THE PREVIOUS PHASES, HOLVAST MAKES US LIVE AND FEEL THE EXPERIENCE, RATHER THAN SEE IT.
WE ARE CONFRONTED WITH WIDE–EYED HORSE FACES, NOSTRILS AND MOUTH GAPING, SOMETIMES STARING AT US THROUGH MONOCHROME CLOUDS OF SILENT PAIN, SOMETIMES HARDLY VISIBLE AND ONLY TO BE SENSED BEHIND THEM.
AT THE SAME TIME, WE ARE DRAWN IN BY THE UNBELIEVABLE ELEGANCE OF HORSE AND RIDER, PERFORMING THEIR LETHAL DANCE WITH THE RAW, MUSCLED ENERGY OF THE BULL.

  

AND AGAIN THE TRUTH HITS HOME: MAN AS LOVER AND TORTURER OF ANIMAL, DANCING PARTNER AND EXECUTIONER IN ONE.

  

TEXT: PAUL LOOIJMANS, AT THE FIRST FULL SHOW OF THE NO – ONE – SPEAKS SERIES IN HAARLEM, HOLLAND, MARCH 2000.

  

  

  

  

  

NO ONE SPEAKS

  

  


  

  

A HORSE WITH NO NAME BERT HOLVAST

  

IN THE BURNED–OUT CHURCH OF THE SANTA CLARA CONVENT, PORTALEGRE, PORTUGAL, A SPECIAL SHOW OF THE 'A HORSE WITH NO NAME' SERIES TOOK PLACE.

  

SPECIAL, BECAUSE, IN THE YEAR 2003, THE CITY OF PORTALEGRE ORGANIZED A CYCLE OF EXHIBITIONS FROM THE VAST BODY OF WORK OF BARBARA WALRAVEN AND BERT HOLVAST.
A CYCLE OF EXHIBITIONS TO HONOUR THE COUPLE'S NEVER CEASING CONTRIBUTION TO THE CITY'S ART PANORAMA FROM THE LAST DECADES.

  

IN SIX DIFFERENT VENUES, FROM TWO CONVENTS(SANTA CLARA AND SÃO BENARDO) TO THE TAPESTRY MUSEUM, FROM AN ART GALERY TO A GOVERNMENT BUILDING. THE SHOWS RAN EITHER SIMULTANEOUSLY OR HAD OVERLAPPING START AND FINISH DATES.
TOTALY DISTINGTIVE UNIVERSES. THE ARTIST'S ARE KNOWN(AND FAMOUS!) FOR THEIR ABILITY TO CONCEIVE AN EXHIBITION IN A CLEAN GALERY SURROUNDING AS MUCH AS IN A DIRTY OLD INDUSTRIAL ENVIROMENT.

  

THE SANTA CLARA CONVENT WAS CHOSEN TO HARBOUR THE 'A HORSE WITH NO NAME' SHOW FOR IT'S SAD AND DISTURBING APPEARANCE.

  

AN ALTOGETHER AN OVERWHELMING AND ALARMING EXPERIENCE THAT OFTEN REDUCES THE SPECTATOR TO A STATE OF AGONISHED ANXIETY.

  

HOLVAST'S ART NEVER LEAVES YOU INDIFFERENT. SO BEWARE!

  

  

  

  

A HORSE WITH NO NAME

  

  

THIRTEEN YEARS LATER HOLVAST RETURNED TO THE SANTA CLARA CONVENT. THIS TIME IN THE CLOISTER GALLERY.

  

THE BURNED–OUT CHURCH HAS BEEN RENOVATED, TO A POINT – IN THE ARTIST'S VIEW – OF TRAGIC MISS–PERCEPTION.
THE BEAUTIFUL SAD AND DESOLATE APPEARANCE VANISHED, COMPLETELY DESTROYD. 'AS GOOD AS NEW'!

  

AS THE LOCAL THEATRE GROUP WAS NOW OCCUPYING THE CHURCH, HOLVAST MOVED TO THE CLOISTER GALLERY, AND INSTALLED 'A  HORSE WITH NO NAME –RETHOUGHT–'.

  

THE SMOKED OUT ORIGINAL EXHIBITION PLACE WAS NO LONGER SOOT STAINED AND BLACKENED…NOW, ALTHOUGH NEW AND WHITE, IT WAS NEVERTHELESS DEAD.
CONSEQUENTLY HOLVAST DECIDED TO BURN THOSE ART WORKS EXHIBITED IN 2003.

  

LEAVING US ONLY SADNESS AND DESPAIR.

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

  

A HORSE WITH NO NAME RETHOUGHT

  

  


  

  

RELEVANT STATISTICS

  

1953
BORN IN WEDDE, THE NETHERLANDS.

  

1977–1981
ART STUDIES IN DEN BOSCH AND BREDA, THE NETHERLANDS.

  

1982
FIRST MAJOR SOLO EXHIBITION IN THE NETHERLANDS, DIJKSTRA GALERIE, WAALWIJK.
LAUREATE PRIX D'EUROPE, OOSTENDE, BELGIUM.

  

1982–1987
CREATES HIS FIRST TWO MAJOR SERIES: "YAMAHA" AND "KENNY", TWO DOZENS OF MULTI–PIECE, MULTI–LAYERED, MULTI–MATERIAL PAINTINGS, TRANSMITTING THE ENERGY AND EMOTIONS OF MOTORBIKE RACING.

  

1984
ESCAPES HOLLAND CLAUSTROPHOBIA AND MOVES TO PORTUGAL.

  

1987–1993
ACCOMPLISHES "A ARENA", TWENTY–THREE  (LATEST SCORE) CANVASSES ARRANGED IN THE SHAPE OF A FULL SIZE BULLFIGHT RING.
THE SPECTATOR CAN ENTER THIS PAINTING AND EXPERIENCE WHAT IT MUST BE LIKE FOR THE BULL TO DO THE SAME.
FROM THE CHEERFUL AND BRIGHT PRIMARY COLORS OF THE OPENING PARADE, TO THE FINAL MOMENT WHERE THE BLOOD  HAS DEFINITELY CLOUDED THE BULL'S SIGHT AND HE HAS TO GIVE UP THE STRUGGLE  IN A BLUR OF RED AND BLACK.
"A ARENA" – AN "IMPOSSIBLE" PROJECT DUE TO SHEER SIZE – WAS SHOWN IN LISBON, PORTALEGRE, HAARLEM AND MARINHA GRANDE.

  

1993–1998
"SOBRE AS CORRIDAS PORTUGUESAS".
AN EQUALLY IMPRESSIVE EXPLORATION OF THE CRUELTY AND YET BEAUTY OF PORTUGUESE BULLFIGHTING.
SHOWN IN PORTUGAL, SPAIN, BELGIUM AND THE NETHERLANDS.

  

1998
MARRIES PAINTER BARBARA WALRAVEN.

  

1998–2000
"NO ONE SPEAKS".
HORSES ARE THE SHINING STARS OF THE CORRIDA.
HOWEVER, THEY CAN ALSO RUIN THE FESTIVE ATMOSPHERE, THROUGH THEIR FRIGHTENED WHINNYING WHEN THEY ARE ATTACKED BY THE BULL.
IN ORDER TO PREVENT THIS, THE HORSES' VOCAL CORDS ARE CUT. A HABIT OF WHICH, NATURALLY, NO ONE SPEAKS.
THIS PHENOMENON INSPIRED HOLVAST TO PRODUCE A SERIES OF HORSE PORTRAITS, ELICITING THEIR SILENT SUFFERING.
THIS SERIES HAS BEEN SHOWN THROUGHOUT THE IBERIAN PENINSULA AND THE NETHERLANDS.

  

2000–2004
"TAURAMAQUIA". HOLVAST'S ATTEMPT TO SOLVE THE PROBLEM OF BEAUTY VERSUS CRUELTY IN PURE PAINTING.
FROM MINIMALISTIC "JAPANESE" SKETCHES TO MONUMENTAL EXPRESSIONIST CANVASSES.
SHOWN IN PORTUGAL, SPAIN, BELGIUM, SWITZERLAND, FRANCE AND THE NETHERLANDS.

  

2002–2007
"A  HORSE WITH NO NAME". IN THE PORTUGUESE CORRIDA, THE HORSES ARE DRESSED UP AND PAMPERED LIKE REAL DIVA'S (AL BE IT SILENT ONE'S, SEE NO ONE SPEAKS).
THEY'RE ALSO GIVEN BEAUTIFUL NAMES. HOW DOES THIS RHYME WITH THE UGLY PRACTICE THEY ARE BEING PREPARED FOR?
HOLVAST EXPLORES THIS ISSUE WITH A CURIOUS MIXTURE OF ANGER, EMPATHY AND IRONY.
SOME OF THE WORKS IN THIS SERIES ARE PAINTED ON MIRRORS….A MESSAGE WHICH IS HARD TO MISS.
SHOWN IN PORTUGAL, SPAIN, BELGIUM AND THE NETHERLANDS.

  

1994–2007
"PAULO  CAETANO". THESE SERIES PORTRAITS HOLVAST'S FAVORITE "CAVALHEIRO". IMPRESSIVE IN SIZE, AS WELL IN SCOPE AND CRAFTSMANSHIP.
FIRST SHOWN IN THE ARTHOBLER GALLERY IN PORTO.

  

2005–2009
"TOIRO". ANOTHER PROTAGONIST IN BULLFIGHTING, AL BE IT A DREARY ONE. SAD ART, THIS TIME NOT ONLY PAINTINGS BUT PHOTOGRAPHS AN SCULPTURES ALSO. PAIN CAPTURED IN GLASS.
SHOWN IN PORTUGAL AND IN THE NETHERLANDS.

  

2009
"EVERYTHING IS BROKEN". HOLVAST'S FIRST EXPERIENCES WITH GLASS. SHOWN IN MARINHA GRANDE, PORTUGAL.

  

2006–NOW
"ALLES VAN WAARDE IS WEERLOOS" "ALL PRECIOUS IS DEFENSELESS".

  

  

TEXT:PAUL LOOIJMANS

  

A HORSE WITH NO NAME

  

  

  

  

TOIRO

  

THEN ALL THE VISIBLE IS TEMPORARY, YET ALL INVISIBLE ETERNAL