"Drunken sailor" by Erik Pevernagie, Oil on canvas, ( 100 x 80 cm) xx
People being incoherent might get on our nerves sometimes. We like coherence in actions and thoughts since we value clarity and structure in our lives. But at times, we are alarmed because we cannot help being incoherent when we want to challenge established norms and explore unconventional paths that lead to unexpected connections or new insights. Allowing ourselves some incoherence might open the door to new perspectives and surprising outcomes.
When we are drunk, we might become incoherent, for sure.
When gloom and doom have been creeping into our lives, the freshness of our emotions may have withered alongside the tiresome path of our expectations.
If we don't readjust our perception in time, the screeching hinges in our mind may break for want of oil. Our viewing angle narrows unremittingly, inducing blurred vision, misinterpretation, and incomprehension.
The incoherence that a magic bottle with a life-giving potion can offer is appreciated by many. By "breaking out the booze," they can have a ball and ignore their heartbreak or their sense of nothingness. Feeling disheartened, it gives them wings while they swing on the waves of their fantasy.
The drunken sailor is rocking on the sea waves on his boat but is not present in the picture. We realize we are standing next to him and feel invited to rock with him, taking his identity and current state of mind. So, we can create a relationship between the internal space of the picture and the external world.
'Phenomenon : Perception
Factual starting point : Bottle and glass
French:
La peinture incarne l'angle visuel du marin ivre qui regarde mais n'est pas présent sur la toile. Le spectateur qui visionne l'image comprend qu'il est debout à côté du marin et se sent invité à prendre l'identité du marin ivre. Ainsi, le spectateur crée une relation entre l'espace intérieur de la toile et le monde physique externe. De cette façon le tableau s'ouvre au public.
Dutch:
Het schilderij belichaamt de visuele hoek van de dronken zeeman die kijkt, maar die niet aanwezig is op het doek. De toeschouwer die het schilderij bekijkt beseft dat hij naast de zeeman staat en voelt zich uitgenodigd om de identiteit van de dronken zeeman aan te nemen. Aldus creëert de kijker een relatie tussen de inwendige ruimte van het doek en de externe fysische wereld. Op deze manier opent zich het schilderij voor het publiek.
