04/12/20 - 30/12/20
Winter in Holland
Hetty Rietveld

I wrote a Dutch haiku in January 2020 and translated it into Japanese. A haiku is a short Japanese verse consisting of three lines of 5-7-5 syllables. I calligraphed the Japanese text with ink and brush; it reads from the top right to the bottom left. Because the seasons are traditionally the subject of haiku, the images evoked are often universal. I feel this haiku, written on a Dutch winter's day, fits particularly well in the winter landscape around Tsarino as, despite bare branches and puddles of rain in the Netherlands, Bulgaria or Japan, the blue winter sky holds the promise of a new spring.






mizutamari ni

kuroi eda no hansya ya



After the rainstorm,

black branches reflect themselves

in a clear blue sky

01/01/21 - 27/01/21

Days After Sight

Charlotte Mumm

The reddish, float-like construction Days After Sight presented in the glass cube of the Razklon Gallery goes beyond our natural comprehension when it comes to solid surfaces. Dichroic glass discs, facing all cardinal points, are connected to a wooden, seemingly floating construction. The dichroic glass has a special micro-coating, allowing colours and transparency to shift depending on light conditions and point of view. Passing by, Days After Sight may seem a Fata Morgana in how it destabilises what we expect, what we can hold on to and what we see at that moment.

Since navigation and the search for balance continuously shift my art practice, both in my works and the process of their creation, I got attracted to dichroic glass. It mirrors the shifting and searching in a perfect way. Every new perspective delivers a different impression. 


The sandblasted drawing on the dichroic glass discs is also about this shifting of perspectives. Depicting an abstracted window, it references the connection of the inside/intimate and the outside/public. Through the technique of sandblasting, the drawing becomes a blank space within the effect-claimed-coating. While putting more thought into it, I doubled the image and changed its direction. Similar to a water-paddle-wheel, the dichroic glass disc windows have become constantly changing rotors shifting the perspective: antithesis becomes thesis, inside becomes outside, personal becomes universal.


29/01/21 - 24/02/21

The personification of non-existence
Asa Palenga

What is silence? Is it the sound of not-happening, a stop in air movement? When does it take place? The personification of non-existence is an attempt to widen people's perspective on how to approach others, the different and intangible. Sealed from the outside world, the multilayered box acts as a sanctuary. It does not allow one to either intrude or interfere. The empty vacuum constructed inside the sanctuary creates the possibility for silence to occur and appear, shielded from the outside world. The sanctuary distances the phenomenon of silence from us, the listeners.

Eavesdropped silence does not exist. The nature of listening is an act, which in the process generates the noise of the listener absorbing sound. Hence, silence cannot be where others are. Silence is emptiness, or: non-existence.

© 2020 Tsarino Foundation