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Ashe, his feet apart, his knees slightly bent, lifts a tennis ball into the air. The toss is high and forward. […] His feet draw together. His body straightens and tilts forward far beyond the point of balance. He is falling. The force of gravity and muscular momentum from legs to arm compound as he whips his racquet up and over the ball. He weighs a hundred and fiftyfive pounds; he is six feet tall, and right-handed. His build is barely full enough not to be describable as frail, but his coordination is so extraordinary that the ball comes off his racquet at furious speed. With a step forward that stops his fall, he moves to follow.
–John McPhee, Levels of the Game, 1969
Moving between sculpture and installation, Maarten Van Roy’s (1985, Bonheiden, Belgium) artistic practice is characterized by an intimate dialogue with matter, exploring how the principles of chaos theory–unpredictability, entropy,...More
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Press Release
Ashe, his feet apart, his knees slightly bent, lifts a tennis ball into the air. The toss is high and forward. […] His feet draw together. His body straightens and tilts forward far beyond the point of balance. He is falling. The force of gravity and muscular momentum from legs to arm compound as he whips his racquet up and over the ball. He weighs a hundred and fiftyfive pounds; he is six feet tall, and right-handed. His build is barely full enough not to be describable as frail, but his coordination is so extraordinary that the ball comes off his racquet at furious speed. With a step forward that stops his fall, he moves to follow.
–John McPhee, Levels of the Game, 1969
Moving between sculpture and installation, Maarten Van Roy’s (1985, Bonheiden, Belgium) artistic practice is characterized by an intimate dialogue with matter, exploring how the principles of chaos theory–unpredictability, entropy,...More
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Curator
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