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2007 — BALLET WESTERN RESERVE
An evening of dance choreographed to the paintings of Paul Jenkins
in the collection of the Butler Institute of American Art, Youngstown.
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Feu
SacrÉ — dÉcor Paul jenkins, Texts George sand,
music frederic chopin
2009 — Théâtre
de la Porte Saint-Martin, Paris. With
Marc Laforet.
2006 — Les
Nuits de la Mayenne, St-Berthevin - Ecole de musique, July 24th,
2006. Théâtre Mogador, Paris, March 20-April
2, May 11-12, 2006.
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2005 — AS ABOVE SO BELOW — EN BAS COMME
EN HAUT
Abbaye de Silvacane — July 15 - September
15, 2005
10 Paintings created for this exhibition in the Abbaye de Silvacane,
a 13th century Cistercian abbey 30 km from Aix-en-Provence. An additional
work on canvas from this series was shown at the Atelier Cézanne,
Aix-en-Provence, throughout the exhibition.
Route départemental 561
13640 La Roque d'Anthéron
Exhibition organized by Victoria Ville-Paris |
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2002 — Feu SacrÉ — BordeauX - dÉcors
Paul jenkins
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1991 — Ivanov — Tadashi Suzuki - MITO,
JAPAN
silks painted by the artist in Paris
and in Beijing
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1989 — Meditation Tower —© Yves Bayard
MEDITATION TOWER
The work of the renowned American painter Paul Jenkins on the prism colors
inspired this Meditation Tower, conceived in the form of a prism which
can be entered and experienced from within as well as from without. A
brilliant light to symbolize our hopes for the 3rd millenium, a center
of ecumenical as well as artistic and scientific contemplation.
The original plans incorporated large stained glass windows by Paul
Jenkins. I was drawn to the fragility of the glass, which mirrors the
ephemeral nature of things and of the human. However, techniques other
than stained glass can be used or created to achieve a similar result
with Mr. Jenkins' work.
Natural light would pour into the tower by day, to create superimposition
of colors in the sight line from one side of the structure to the opposite
side, as well as bathe the entire interior structure in the reflected
transparency and opacity inherent in Mr. Jenkins' work. At night, the
structure would be lit taking into account the neighboring area, so that
the building stands like a beacon to reach beyond itself to embody a vision
of affirmation to the viewer and to take its place in the illuminated
skyline.
The structure of the four cones creates a perspective which draws the
viewer upward to elevate the regard as well as the senses. The square
top of the structure is transparent to view an open sky, a metaphor to
the human wish to reach beyond oneself. The four cones result in an interplay
of perspective with fluid lines moving toward the transparent square of
the summit. The height of the tower would be determined by its relation
to its surroundings, the taller its height, the larger its base. Within
the four " cones" are spaces for myriad uses: exhibitions, meetings,
conferences, etc. Its entrance hallway on the ground floor can be configured
to accomodate large numbers of people in an ecumenical meditation.
Entrance to the Tower would be on the ground floor level as well as
from below. On the street level, pedestrians would approach the Tower
gradually, making an initiatic voyage of walking through a landscaped
area that gradually dissolves into a sacred space, with the Tower centrally
positioned. The Tower does not grow out of the forest but stands as an
icon to the human spirit in its purest aspiration, and acts as a passageway
to another dimension of perception. The entrance would be reached through
a deliberate encroachment, a rite of passage to a sacred space. A space
where the viewers/visitors physically enter and are enveloped by light
and color, to reflect on the past, participate in the present and enter
the future.
© Yves Bayard
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1988 — China: BEIJING and THE Great Wall
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1987 — SHAMAN TO THE PRISM SEEN — Paris
Opera
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1980 — The shining house — OPEN
EYE THEATRE, NEW YORK
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1978 — An UNmarried Woman— a
film by Paul Mazursky
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1966 — The Ivory Knife: PAUL JENKINS AT
WORK,
a short film with music by Irwin Bazelon
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