time

A few days ago, I already talked about how quickly time seems to pass. How it seems to be racing. In that blog, I probably used the same general terminology and spoke of time racing, of it running away. That, apparently, it is moving. Forward, never backward. Never at rest, always continuous. That’s just the general terminology, that’s just how people talk about time. And I keep catching myself talking about time in this way too.

Talking, not thinking.

Because time doesn’t pass, it doesn’t race. Time does not move at all.

Apart from the fact that time is only a human term for ever ongoing processes in the world around us, time is something static. Where do I come up with such nonsense? Let me start with the train station and the train. Perhaps you know the scene from the film in which it was not the train that departed but the station? Exactly: it’s all a question of perspective. If you are standing on the platform, it is clearly the train that is moving. If you’re sitting on the train, it’s the station that’s moving. I think it’s the same with time: it’s a question of perspective whether time is moving or whether it’s us who are actually moving. Just because we have no influence on all the processes around us and within us, but these processes, including ageing, inevitably progress, does not mean that it is time that inevitably progresses. Yes, well, we humans may have decided at some point, because of the fact that we cannot stop the processes, that we cannot stop the progress of things in the world, that it is time that progresses and moves. But that, I think, is not so. Yes, clearly there is a relation between us and time. Like between the platform and the train. One of the two is moving. Clearly. And inevitably. But no: I don’t think it is time. Rather, it is we who are moving through time. Time is a constant. It has always been (even before the Big Bang there must have been a time, otherwise the ‘moment’ of the Big Bang would never have ‘come’). And time will always exist, even if our universe should no longer exist. And if time has always existed and will always exist: where should it move to? Is there any room at all for a movement, for a progression of time? If, on the other hand, I change perspective and look not at the train as the departing element, but at the platform, a different perspective emerges. So if we are the ones moving through time.

It is we who move through time. And since it is we who move through time, an important relation is added here: us. Our life. Time does not exist for us outside of our life. At least we know nothing about it while we live here. This relation is very important because it gives meaning to the whole construct of time. But more about that in a moment.

Time, to use an image here, is something like a vessel. A vessel filled with – almost – an infinite number of moments. In the form of little balls, if you like. And it is a vessel that is not infinitely high. Or at least consists of finitely high sections. When we are born, we move through this vessel from above. We move through the multitude of moments. Continuously. We move past most of the moments without looking at them closely, even more: we don’t even pay attention to most of the moments we move past. Only once in a while, now and then, do we dive into one of these globules. Immerse ourselves in a moment. For us, time suddenly seems to stand still. And yet we continue to move. Only in this bead. We continue to leave all the other moments around us behind, just as we did before. Only this one moment, the one in which we are immersed, the one to which we give all our attention, seems to stay with us forever. At least until we leave it too and realise again that we are still moving through time and that our course of life has not been stopped. Even if it seemed so to us. At that moment. And with each moment, with these almost infinite moments that we pass, we approach the bottom of the vessel. Or the bottom of the section we are in. It’s just a matter of personal perspective. Whether this vessel has only one bottom or whether it has several sections is a matter of faith. I do believe that there will be another section after the one I am currently moving through. But that is another subject.

So we move through these countless moments towards one ground. The end of our life. The point where there are no more moments that pass us by. That we experience. The special thing is the paradox of temporal sensation. Or rather the paradox of how we feel time. When we dive into the vessel at the top, with our birth, our young years, we don’t know how deep this vessel is. How many moments it will hold for us. How many opportunities to dive into individual moments. When we will reach the bottom and the moments will be instantly gone. The older we get, the closer we get to the ground, the more aware we seem to become that the ground is getting closer and closer. And the more conscious we seem to be of trying to hold on to individual moments. To immerse ourselves in them. To become completely absorbed in them.

And the further down we move in the vessel of time, the faster we seem to move through time. Just as if the density were decreasing further down in the vessel.

Science has a term or two for dwelling in a single moment. ‘Flow’ is probably the best known. If an artist, to make the connection to art, is inspired, is in ‘flow’, is completely absorbed in his art, mediates between the worlds, makes the invisible visible to other people – then he is completely immersed in a moment. He is completely absorbed in it. This immersion in the moment is a prerequisite for inspiration. Or rather, the two go hand in hand: inspiration and immersion in the moment. If an artist makes art without immersing himself in the moment, in other words, while he continues to fall through the vessel and he passes by the moments, his art will only be just that: art in passing. Fast art. Cold art. Art without passion. Without the passion of the moment in which the artist is immersed. Then the piano piece will be played and many a listener will find it beautiful. But it will lack soul. The depth. The passion. Of the moment.

Time does not pass. It does not race. We are the ones who rush through time, fall through it. And we are the ones who fall past countless moments. We are the ones who have to immerse ourselves in a moment if we want to hold on to it, at least a little. And the deeper and longer we immerse ourselves in a moment, the deeper and longer it becomes a part of our lives. The more of it remains with us. For our further journey through time, through the vessel of countless moments.

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Epson Semi Gloss

A great all-round paper, chosen for its photographic aesthetics, vibrant colour reproduction, high contrast and robust feel. Its semi gloss, flat surface lends the artwork a photographic feel, combined with the subtle painterly feel of a Giclée fine art print. Our most lightweight paper of all Giclées. The surface is resin coated making it our strongest paper.

Hahnemühle German Etching

This heavyweight paper has a slightly warm base tone and a strong mottled texture. It creates a print with strong colours and deep blacks that feel rich and high in contrast. This is due to the texture of the paper enabling it to hold more ink and capture the light. The German Etching is one of our heavier weight Giclée art printing papers. With its weight and strong texture this paper gives an artwork a handmade crafted feel. Hahnemüle German Etching is a robust Giclée paper, meaning it doesn’t tend to fray as much at the edges.

Hahnemühle Photorag

The super matt finish of Hahnemüle Photorag makes this paper one of our most popular papers amongst artists, illustrators & photographers alike. The paper gives muted blacks with even colour reproduction, and excellent detail. The surface has minimal texture with a chalky smooth cotton feel which creates smooth colour gradients. It has a delicate surface, so we recommend extra care when handling. Photorag is suitable for mounting but its cotton texture means edges can fray if not carefully handled.

Hahnemühle Pearl

Hahnemüle Pearl has a smooth orange peel texture and a bright neutral white base, it creates really natural black and white images and offers vibrant colour reproduction and great detail too. The paper is resin coated with a fibrous feel. The satin finish of the resin coating gives depth to the image which combined with the texture and vibrant colour reproduction give the image the feel of an oil painting. This is one of the most suitable of the Giclée Art Paper range for mounting

Hahnemühle Bamboo

Bamboo is the world’s first digital fine art inkjet paper made from bamboo fibres. Bamboo represents naturalness and resource-saving paper production. Particularly suitable for warm-toned colour and monochrome prints.Hahnemühle Bamboo is made from 90% Bamboo fibres and 10% cotton combining photography with environmental friendliness. This natural warm-toned, smooth surfaced and optical brightening agent free genuine art paper offers maximum ageing resistance. It guarantees an extremely large colour gamut and high colour density.

Canson Baryta

A pure white Baryta base paper with excellent black density, contrast and reproduction of detail. Great for high contrast images, as well as fluorescent and vivid colours. The Baryta base creates whiter whites and deeper blacks whilst the silky smooth reflective coating enhances the detail and definition of the images. We recommend care when handling the print as is a sensitive paper and we advise that you add a border to the image if you would like to have it mounted.

Canson Aquarelle

Canson Aquarelle Rag is another highly textured Giclée art paper in our range, offering strong reproduction of blacks and good colour intensity with a texture that holds the ink and catches the light. This Giclée paper has a white uncoated paper base, which together with the texture gives the artwork a lovely fine art reproduction feel. The texture is even more pronounced than Hahnemühle German Etching so if you are really looking for the craft feel, this is a great option. Like the German Etching, the Canson Aquarelle Rag is a robust paper that handles mounting well.

C Type Kodak Metallic

Kodak Metallic has a rich metallic base. The colours have a reflective, metallic and 3-dimensional feel. High mid-tones & highlights add luminosity & iridescence.

C Type Fuji Flex

Fuji Flex, a.k.a. super-gloss, has a plastic feel to the paper with a warm base colour and an ultra-high gloss finish, giving luxurious rich colours. Very high – deep blacks & high visual contrast.

C Type Fuji Gloss

Professional colour paper from the Fuji Crystal archive range with a gloss finish, which accentuates the colour to give a punchy, rich feel. Gives our image more contrast, glossiness and a punchier colour feel when compared to Fuji Matt, although it maintains tonal properties and accurate reproduction.

C Type Fuji Matt

Fuji Crystal archive paper with a semi-matt finish. The paper is coated with a slightly stippled texture giving a very natural photographic finish with subtle colour. Great versatile paper, very natural and works well with all photographic images. Maintains colours in a very natural way, giving a detailed, 3-dimensional beautiful photographic reproduction.

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We, Gratus Art OUe (Registered business address: Estonia), process personal data for the operation of this website only to the extent technically necessary. All details in our privacy policy.