David Lynch

David Lynch

“I always say Fellini inspired me. I love being in Fellini’s worlds. And Billy Wilder and Stanley Kubrick and Alfred Hitchcock. To revisit those certain films and go in that world is just—It’s a world that didn’t exist and now it exists. There are some people that are—I always say that they don’t like so much abstraction. They don’t like to feel lost. They like to know always, always, always what’s going on. And when they don’t feel that, they feel a little crazy. And they don’t like that. Other people—and I’m one of them—I love to go into a world, be taken into a world and get lost in there and feel-think my way and have these experiences that I know… I know that feeling, but I don’t know how to put it into words. I know that feeling and it’s magical that this cinema brought it out. This is what I love.” — David Lynch

Léon Spilliaert

Femme en Pied 1902

Léon Spilliaert1

L´Attente (Femme dans une attitude tragique dans un paysage austère)

Léon Spilliaert2

Léon Spilliaert3

Vertigo, Magic Staircase (1908)

Léon Spilliaert4

Digue de mer, Ostende, reflets de lumière

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“To the body of Spilliaert, to the body of those who are haunted, and to the symptoms that have no rational place within the scheme of the subject: when the body of the human turns to the mirror and finds another self gazing back, then the experience of surprise is only because the body is unable to think in advance of its expression. Indeed, a part of the horror written into Spilliaert’s face is as much a horror of being haunted by the premature arrival of a ghost, as it is the horror that the ghost was there all along. How does this expression come into the world? Is there a silence into which a fortuitous circumstance — Spilliaert being placed between two mirrors in a particular room — allows the expression to take shape? Finally, is this gloomy environment simply the means by which the inner world of the haunted gains a voice?”