She loves me-loves me not.
My hands I pick
and having broken my fingers
So the first daisy-heads
one happens to flick
scattered into May.
Let a cut and shave
reveal my grey hairs.
Let the silver of the years
ring out endlessly !
Shameful common sense –
I hope, I swear –
Will never come
It’s already two.
No doubt, you’ve gone to sleep.
In the night
The Milky Way
with silver filigrees.
I don’t hurry,
and there is no point in me
waking and disturbing you
with express telegrams.
The sea goes to weep.
The sea goes to sleep.
As they say,
the incident has petered out.
The love boat of life
has crashed on philistine reefs
You and I
No need to reiterate
In the world what a quiet sleeps.
Night tributes the sky
with silver constellations.
In such an hour as this,
one rises and speaks
and world creation.
I know the power of words, I know words’ tocsin.
They’re not the kind applauded by the boxes.
From words like these coffins burst from the earth
and on their own four oaken legs stride forth.
It happens they reject you, unpublished, unprinted.
But saddle-girths tightening words gallop ahead.
See how the centuries ring and trains crawl
to lick poetry’s calloused hands.
I know the power of words. Seeming trifles that fall
like petals beneath the heel-taps of dance.
But man with his soul, his lips, his bones.
Past One O’Clock by Vladimir Vladimirovich Mayakovsky
Artist PETER SEELIG
The relinquishing of man in music and dance, in colour and painting, in rhythmic movement and swinging lines constitutes the theme of Peter Seelig’s work. He circuits his subject in drawings and paintings obsessively. Figures and faces allure in an expressive decidedly modern picture language presence.
In many sketch books, the likewise meditative and dynamic graphic exercises are held. Human bodies and human faces are fixed in situations and conjugations to a lively oscillating netting. Hereby many of these sheets have been prepared by method of “blind drawing”. During performances of ballets, operas or dramas the artist draws without watching the result, discreetly, and with specially designed tools. When these sheets, released from their sketch boos, cover whole walls of exhibitions, they reproduce the experience of movement and of dance in a serried dynamic of lines.
In his painting the human form acquires a sketch like forcefulness. In a picture group one linear formulation dominates against a black background. Symbols of elementary simplicity emerge. The lines are like simultaneously those in a test arrangement , the tracks of racing electrons, becoming visible is a black eternity, and real figures of Lillith or the flowers for Alice. Strange spirals or the form of an angel flying through the dark room.
In other pictures, colour and form dominate the harmony. A group of women approach the viewer with great cheerfulness, or in an unmistakable erotic pose. Here the colour attains its greatest strength of contrast and brilliance, and the eye motive is emphasised. In other pictures the call is milder, the colour deepens, and the contour of the whole form determines the composition.
Peter Seelig’s artistic work grows out of a debate with modern art and a wide range of interests including music, theatre, ballet and literature. His lovely Vienna atelier apartment is full of books. Numerous visits to Switzerland and France, where in 1968 he experienced the enthusiasm of the students in Paris, belong to his personal biography. In philosophy, this sphere of positive energy would be described as Dionysian. The presentation of this possibility of human being is the program of his artistic work.
Zur Arbeit Peter Seeligs von Prof. Ulrich Gansert,Wien, am 15.2.2009 (translation by Vanesssa Hensel)
On divague… à l’ombre des mots avec Peter
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