The smoke drawings are without ‚handwriting’. Anonymity of the author is widely sustained. My individual moods do not seek prominence; play a minor role only (except for heightened awareness, i.e., sensibility). I think that my artistic involvement, particularly because of my observing distance to my actions, is at least as strong as with drawing in a commonly accepted sense. It is above all in the observing, in the strategy of directing the means. I would gladly withdraw into the background even further, make my author’s individuality felt even less, let the force of light work even more authoritatively - in order to further suspend materiality and thusly gain greater freedom. I hope to reach - with a minimum of physical engagement, far removed from any drama - or space of silence, which - because it makes itself felt intensely - invites us to stay“ (Otto Piene in: Otto Piene, Ölbilder, Rauchzeichnungen, Lichtmodelle, Lichtballet, exhib.cat. Galerie Diogenes, Berlin 1960, quoted from: Ante Glibota, Otto Piene, Paris 2011, p.106).
Ger Van Elk The Haircut, Big Cut, Big Savings, 1971 Diptych, 2 color photographs Ed. 4/4 each 51 x 38.1 cm / 20 1/8 x 15 in framed each 86 x 70 cm / 33 7/8 x 27 1/2 in (via Galerie Bob van Orsouw: Ger van Elk)