Everything that holds energy is in flux, the universe, the sea, sounds, the pulsing of blood in our veins. Whether hertz, joule, pascal, or watt, they are all energy denominations. Vibrations can be slow, as currents in water and wind, or fast like light or high pitch sound. We may not always see energy or vibrations, some are invisible to our naked eye, but we know how to use it for light, heat, movement, and pressure. If energies/vibrations collide, they can grow and become much stronger, if they are opposite, they can eradicate each other or be balanced. We sense vibrations and energy in our self. When we feel tired, we feel without energy. When we are excited, we feel energized. Often energy goes hand in hand with emotions and or feelings.
For humans, energy can be a sense of wellbeing. It can attract, be attractive, and be shared. But too much energy can be frightening, destructive, and violent. Low energy can create depression and a feeling of physical depletion. Through meditation, dance, sports, and work we try to influence our need to control our energy, to build it up as well as to calm it down. We strive for balance, not too much to be stressful or too little to feel lifeless. Our vibrational or energetic body can be “up” or “down” and be productive or dysfunctional.
Making forms that make energy visible in static sculpture, I use the symbolism of waves in lines and volumes, regular or irregular, enhancing, or disturbing, growing or calming, interfering or meditative and soothing. The direction is often linear but can change. Lines can interact and visually disturb. By using the materiality of structure, the movement can be regular or shattered. Colors are soothing or energizing. Clarity and opaqueness question the viewer’s emotional senses. The transparent glass allows the wave to be inspected from inside.
For me, these sculptures are a scale of emotional and spiritual energy. They are free to be interpreted, to be perceived as mirrors of our feelings, stages of our vibrational being, and energetic well-being.
Peter Bremers
