Black Rock Desert — Blog

The artist's brushwork gives a sense of light that pushes colour to unexpected expressions, as if light came from his fiery desire, from a need that goes beyond any planning scheme. Thus, the artistic project is carried out and, as it takes shape, it generates more flashes and it raises comparative illusions which match reality. Only then does light express its contrasts, only then does the artist's brushwork choose an ephemeral pause before unveiling other surprises. In this way one stroke joins the next, through the unavoidable declaration of love for the object which has inspired it: a glimpse of the Mediterranean Sea, a corner of Lapland, a memory from the East, a trip to Nevada. Nes Lerpa succeeds in merging the emotions evoked by the images of distant places from one another, while spiritually converging in his brush stroke. The latter sweeps fast on the surface, tracing a truthful drive which belongs to the magical world of art, where there are no geographical frontiers when you evoke simultaneous stimuli at the right time. He manages to aknowledge and capture the amazement of discovery from each look. Thus, this exhibition, set in the ancient Castle of Rapallo, has the scent of all the times and places internalised in the impetuous creativity of this Danish artist. Other works of his, inspired by the same creative mood, are displayed in an exhibition in Reno, Nevada: this coincidence gives further reasons for considering and connecting the different settings caught by Nes's narrative talent. As a matter of fact, he is able to turn the wings of a flying butterfly into an intrincate work of pictorial allusions and perceptional illusions that follow a bright sunset. Or he unfolds the foggy veil of Piacenza hills, where he has his Italian residence, alternating with quick trips to Albissola, where he devotes himself and his colours to ceramics. All this takes place before going back to the Danish countryside, where he dives into other marine and greenery rapture . Admirably, he always finds himself in the recurring novelty of surprise. This enquiring and declarative behaviour lets us find out his inner path of truth -inaccessible otherwise,- by contemplating his paintings. The arid desert of Nevada, apparently emotionless, the changing shades of a Scandinavian forest, the rugged fascination of our Riviera, or the waning brownish-green mildness of some autumn landscapes, gather in his brush, which spreads sand on the colour, abundantly applied on his canvases, arranged on the floor, waiting for a further imprinting stroke. Now the flame caused by the flash of inspiration recurs as a liquid flame to be refined, guided, propped up and tempered through gentle tonality and pace. Then the first flame becomes a track, a trace, a path which is useful to the next step: it is the recurrent breath of life, waiting for what is coming. Indeed, when his works are arranged on the floor of his large studio or on the grass, outdoors, one next to the other, they are like the sheets of a kaleidoscopic tale, to be sorted out and reinvented every time, to be translated in an endlessly suspended time, with the regret of an undesired ending. As Borges wrote, "The sunset is always moving/ however gaudy or impoverished it is,/ but even more moving/ is that last, desperate glow/ turning the plain rust coloured/ once the sun has at last gone down." (1) The magical times of the Argentinian poet in Buenos Aires and Lerpa's endless space meet, merge and are reinterpreted in their communal desire to seize the invaluable essence of life, which is strangled by everyday routine. Only poets and artists are able to conceive such a complex undertaking. Therefore, Nes Lerpa's exhibition, linking Nevada and Rapallo, should not arouse astonishment or scepticism, but it should kindle the perceptive and cognitive interest of visitors.

Essay by Luciano Caprile

Art Critic, Genova, Italy

NOTES

1) Jorge Luis Borges, "Afterglow" in "Fervore di Buenos Aires", "Borges. Tutte le opere", volume 1, I Meridiani, Mondadori Editore, Milan, 1984, p.53.

You can see some of the installations and work process of Nes Lerpa on this video by Kim Dang Tron.

My world in Italy

An artist talk is to be held on Thursday the 22nd June from 6-8pm at the Historic Post office Reno, where some of Nes Lerpa's large scale works, that he created in Nevada are on exhibition.

The Burning Man event is located once a year at the extreme and temporal Black Rock City, Nevada. During one single week 70,000 people from around the planet, found a thriving, living, breathing city on a deserted dried lake-bed, at high altitude, under extreme weather conditions, with "leave no trace" ethics and literally thousands of tons of artworks.

The Temple under construction

This year the artists with early passes were working on their installs in raging dust storms and winds up to 60 miles an hour. The conditions were relentless and extremely difficult, their projects and installs were all running behind schedule and the event kicked off with many projects still semi built on the playa, some were still in their packing crates. Not only are the artists installing and constructing giant structures they must also be able to withstand up to 100 mile an hour winds and not collapse on people. It is a huge undertaking and one done mostly for the love of art and creation.

The event this year was one of extreme physical endurance due to almost continual 4 hour long dust storms, where all sense of orientation is lost and goggles and dust masks must be worn continuously. My main concern was to maintain cameras and computer in order to work on my panoramic portrait project. Although the art works were phenomenal and outstanding as usual, the dust storms made it difficult to see, let alone find much of the art on the massive open playa. This however is what Burning Man is all about … One of their 10 principles includes “radical self reliance” as a concept of primary importance. The area is not easy, at about 6000 feet above sea-level, scorching desert during the day and freezing during the night, you must bring in all your own water, food, camping gear and lots of rebar for lashing down shade structures etc. Every thing you bring in must be taken out as well…there are no rubbish bins, no shops, no souvenirs, and the only thing you can buy is ice, at Arctica and coffee and lemonade at Center Camp.

Frances from RogueNV at Burning Man. Photo by Jack Deming

Incredible structures are conceived, designed and built in warehouses and studios and garages across America and even internationally.

"Temple of Mazu"

One of the key pieces this year was The Temple of Mazu, a project designed by “Kiwi” Chris Hankins, project managed by Nathan Parker and constructed in The Generator workspace in Reno. Hundreds of people volunteered to help the core group bring this project to fruition. The temple was constructed of wood with a giant lotus flower on the roof. Surrounding the lotus flower sat writhing metal dragons that breathed fire at night. Little wooden walkways with hanging lanterns ran from the main structure, in the manner of rickety Asian water bridges, and at night reflections of water in pink and blue were projected on the dust below giving the impression of cool calming rippling water below your feet. This whole structure was built with the knowledge that it would be burnt on the Thursday of the event. What always amazes me is that a real atmosphere of spirituality and calm can be generated so quickly at this event. A Japanese Buddhist monk asked if he could do some ceremonial blessings during one of the nights prior to the burn, circled by people watching he burnt incense and chanted.

"Papillon" by the Trinity Group

One of the installations that resonated with me was a smaller one called “Papillon” by the Trinity Group. It was a small old fashioned metal swing-set with a latticework of butterflies made from mirror pieces and mosaic glass with metal links. The pieces were suspended and light, fragile but strong enough to withstand the brutal elements at Black Rock City. Trinity Group are from the Bay area and create a piece every year. While being mainly see-through, the little pieces of mirror mean that you were looking at a mosaic of what is behind you as well as looking into the distance. Seeing backwards and forwards has always intrigued me as a photographer and storyteller.

Every year a main temple is built, where “Burners” remember their loved ones, place mementos of those who have died all over the walls, meditate, sing, play music or even just sleep. This year the structure was made in the form of a giant sound shell, winding around was a passage through the shell to arrive at a sculpture garden in the center. By the last day the temple is always alive with energy and prayers and wishes, it has become a focus for so many people’s personal spirituality while not belonging to any religion. On the Sunday the temple is full of photographs, poems, messages written on walls, dead people’s shoes and memories, and is burnt as the event draws to a close.

Burning Man is a huge notorious Art event with a fundamental ethic of acceptance for all the diversity of human nature, creativity and ways of being. “Radical Self Expression” is another of the 10 principles. This event gives the opportunity for all participants to do just that, to whatever level they want as long as it doesn’t hurt others.

Jack and JosephineAll photography by Frances Melhop unless otherwise credited. — Jack and Josephine
*All photography by Frances Melhop unless otherwise credited.*

Photograph by long time "Burner" George Post