A series of prints from “S3” with Hans for scale.
My last post was an exploration of my work as a piece of meditative art making, a quest for meaning among subconscious decisions and coincidental symmetries.
I was rejecting more specific explanations in lieu of any conscious commonalities in my work.
Having spent a couple of month on break and ruminating on what has been going through my mind the past five plus years, I feel that I have come to more definite conclusions and explanations of the contents of my work that are less a random stream of conscienceless and more specific in subject matter.
I hope this – while still subjective – will shed some light on the nature of my work as pieces of illustration with definite meaning as well as abstract paintings with softer definitions.
The first season or series is an exploration of self. The reasons I make art and the nature of myself as an adult. This is concerning my physicality as well as my mental world, social and psychological hangups and preferences. Very little of this was consciously chosen, some of it surprises me even me with the insight into what moves me as a person. It is intensely personal but I hope contains at least some symbols and juxtapositions that speak to a more general human condition.
The second season turns outward. Or at least it attempts to, there is still plenty of my biases and perspective here. But by and large it is a series of reactions and rumination on the nature of our world, media and the act of communicating with an audience. The standardised format made to fit a variety of topics, like posts on a news-site, or the interface of YouTube. The repetition on limitation of media serving to highlight the illustrative content of the work rather than concerning itself tight the physicality of the medium. It is about capital C Content. In the modern sense of the word. That being said the more meditative aspects of my work up to that point are still present though they move from the abstract use of color to the more specific and illustrative use of brush and ink.
The third season is an attempt at focusing my work. the physicality of medium has almost entirely disappeared in favour of digital works. Rather than ruminative introspection or reactive observation the pieces in this series are about the planes of reality. A series of world that are at the same time distinct and interconnected. Be it the world outside my window or the realms of imagination, the collective subconscious, the perceptions of faith and spirituality or simply the created and generated worlds of fiction. It is about connection and division.
For now this is what I know about my work, I don’t think this will be the last reinterpretation or change of perspective I have on the topic but as vague framing devices it will suffice for now.
DON’T THINK SO MUCH.
Most of the thoughts beyond this point are more of a personal interpretation, one among multiple, as my opinion shifts over time as well. therefore the rambling stream of consciousness nature of the following paragraphs can be ignored in favour of personal interpretation. I by all means am not the most self aware person and while I try to remedy that I also enjoy the labours of my subconscious at times. Then at others I get terribly embarrassed or try to rationalise something I don't quite understand myself. This body of work is intended to be enjoyed in the aesthetic surface level, to what ever level of individual meaning you can find in it.
I feel like things need to serve a purpose. I started my work as a way to find that purpose but also with the work as the purpose in mind, the qualities of the earlier pieces and their focus on precision reflects that search for a meaning to my work. something beyond. here is me. this is whats going on with me.
NONE WANTS TO SEE MORE WORK ABOUT ANGST
plus what would it help. I feel like if you feel that way seeing more stuff which supports that perception of the world should only make it more so.
but I came to realise through the course of it and by making more and more things that felt right but I did not completely understand. maybe due to my failure as an illustrator or lack of planning. or maybe there was something more there.
I feel like the act of reinterpretation and reading abstract images can produce a range of instinctual reactions and qualities.
so in the end I ended up making that's about me. at least in part.
I kept up the attempt to create something that touches on the reality of the world around me but I feel all I got in the end is clearer image of the way that I see the world. However obtuse and disjointed. some pieces might need more work some are good as they are. some will never work and I should do something else. some might be my own negative stereotypes I am not that self-aware I think or maybe Probably I am too self-critical.
the content of the work is mostly very abstract. there is some more clarity in some of the ink work but mostly it was impulsive inclusions of popular characters.
All of this pointing to my own detached nature. I feel that is hard to commit to one read of anything. but we still need to at times. I hope that my work can be that to some. a way to read multiple intended meanings to generate their own and to see things in new and changing ways. anything can be bad or anything can be good. I personally believe many things but I will never say that I am truly right on anything. Or on most. I think there are some universal things that we all sort of don’t think are really debatable I just think most things aren’t really a debate but one thing with two natures that manifest simultaneously with probably many more we haven’t thought about.
So I think having a thing thats many things might remind us of that. That is the illustrative purpose of the work, naturally the work also has more painterly and evocative aspects but the desire for communication is definitely part of its “purpose”.
I personally think its about life and my perception of the world as I try to both look for and abandon foundational thinking. This process took roughly 5 years.
It is both a visualisation of more abstract thoughts and reactions to the world as well as the relationship between the information sphere or the nature or intellectualism versus the immediate nature of existence as a creature of sentience on a planet. Maybe the Plant, cultivated in the garden, or the mold on the dark side of the bread. Its about thinking about stuff I don’t understand and some stuff I don’t think anyone understands. It might be wrong, misguided (dunning krugered :)), I might be thinking about and talking about things that I don’t have the correct conception of, or my biases might be shown in ways that I did not anticipate. This is partially why I am urging the viewer to find their own interpretation of the work. there is some hints to parts of the thoughts I had in the titles, but Like most of the work it was created in bursts. cycles of observation and inaction interspersed with committal to something that clicks either intellectually or instinctually.
What will be will be.
This is me. but also only a faded and subjective Xerox both my misconceptions of myself and the world as well as my biases and instinct as a person.
To be honest It might not be committed enough, maybe the work should be more explicit but in a way it mirrors my own uncertainty. Not just about subject matter but also as someone who aspires for adulthood but also dreads the thought that I will embrace the idea that there is a right way to exist anymore.
Maybe its greedy wanting to be both an adult and also a child. Both part of society and apart form it. Its certainly a sign of privilege that I have been able to commit to creating art to this degree to the exclusion of much. and the results are neither specific enough to be considered insights nor really qualitatively substantial enough to be considered a fully fledged eternal object.
They are thoughts over time. Moments meaning spontaneously, or out of a sense need for action. a desire to interact with society though external expression, yet a transient object of the moment, annoying to maintain over anything more then a century. not quite understood notions born form the noise of our modern world.
It about attempting to perceive the interplay and multiverse of cultures and viewpoints that we call the internet. Its similarities to the collective subconscious and the nature of both constructed meaning, such as drawings or text with abstract meaning such as form, color, gesture and medium.
But then again this is only what I think now, and might not be what I think at another point in time. We Surf the web because the only way to harness chaos is to feel.
but.. HERE THERE BE MONSTERS (Hidden among children in monster masks)
Both Abstract and Specific. Each moment distinct but connected. sort of like a super specific meme for only the artist, the Galerist, the collector and the immediate observer.
1.abstract, automatic; color, shape, space, texture, graphic. rough, imperfect (spray paint, >50% control)
2. reinterpret; shape meaning, energy. Detailed, precise, smooth, sensitive, controlled. (ink, >80% control)
3. framing, hanging, scanning, retouching, documenting, stretching and mounting (prep, <50% control)
4. consuming, owning, decorating, look at while on the can, see every evening coming home. (>0.5% control)
In the end it’s a hodgepodge of things, the main connection being me and my biases and subconscious tendencies that shape these pieces. The most interesting part being the level of introspection it allows myself as well as the subjective interpretation of the viewer.
There is also an aspect of freedom from expectation and even the need to make good art. The quality of the pieces on cardboard or paper meaning they are a good bit more ephemeral as objects then say a canvas with oilpaint. In essence art describing the individual in todays consumer culture and its transient objects, such as cardboard boxes, and its permanence, with branding advertising and graffiti.
Spray-paint and Cardboard are choices that are emblematic of immediacy, the ubiquitous packaging, a symbol of modern commerce reused for the individual end, its long travels end as art instead of mulch.
The paint is immediate, it covers all, its imprecise but extremely effective. artificial pigment and paint-applications give the image an alien quality. It is a weighted toolset of the artist. Premixed, out of control, domineering, opposing control, inherently extroverted.
Finally Ink. This is a permanent marker ink, to follow the street art materials, Harsh deep black, but also highly reflective. Contrast on multiple layer. it is an increase in control, a way to make sense of the desires of the individual (subject matter) and the reality of the world (practical paint application, result of abstract underpainting, successful or unsuccessful)
All represent parts of the human experience, the subjectivity of time and space and present a meditative practice for the artist. The Goal is to create art that enters deep enough into the subconscious to the artist to generate subconscious meaning, the reinterpret it in the moment and document that interpretation with the ink, to then create another layer in creativity concerning the presentation and ultimate framing of of the individual works by a third party, and then finally the subjective read of the ultimate owner and the others seeing it.
There is no definite meaning to these works, I planned one thing, found another, meant another, then the picture is reinterpreted from a visualisation of meditation as a thing of value and importance through framing, and finally is newly understood and interpreted by the viewers in its final form in the place and time it finds itself.
precise enough to commit to saying something, but not precise enough leave no doubt. its meanings being both subjective and objective.
I feel like things need to serve a purpose. I started my work as a way to find that purpose but also with the work as the purpose in mind, the qualities of the earlier pieces and their focus on precision reflects that search for a meaning to my work. something beyond. here is me. this is whats going on with me.
NONE WANTS TO SEE MORE WORK ABOUT ANGST
plus what would it help. I feel like if you feel that way seeing more stuff which supports that perception of the world should only make it more so.
but I came to realise through the course of it and by making more and more things that felt right but I did not completely understand. maybe due to my failure as an illustrator or lack of planning. or maybe there was something more there.
I feel like the act of reinterpretation and reading abstract images can produce a range of instinctual reactions and qualities.
so in the end I ended up making that's about me. at least in part.
I kept up the attempt to create something that touches on the reality of the world around me but I feel all I got in the end is clearer image of the way that I see the world. However obtuse and disjointed. some pieces might need more work some are good as they are. some will never work and I should do something else. some might be my own negative stereotypes I am not that self-aware I think or maybe Probably I am too self-critical.
the content of the work is mostly very abstract. there is some more clarity in some of the ink work but mostly it was impulsive inclusions of popular characters.
All of this pointing to my own detached nature. I feel that is hard to commit to one read of anything. but we still need to at times. I hope that my work can be that to some. a way to read multiple intended meanings to generate their own and to see things in new and changing ways. anything can be bad or anything can be good. I personally believe many things but I will never say that I am truly right on anything. Or on most. I think there are some universal things that we all sort of don’t think are really debatable I just think most things aren’t really a debate but one thing with two natures that manifest simultaneously with probably many more we haven’t thought about.
So I think having a thing thats many things might remind us of that. That is the illustrative purpose of the work, naturally the work also has more painterly and evocative aspects but the desire for communication is definitely part of its “purpose”.
MORE DETAILED THOUGHTS (Simple works, simple might be better, Just so its here in case someone asks, I want to be a professional after all, lol)
Do my thoughts on art making really make for a conceptual link that can keep together a series? To unify and elevate a series of works through intellectual understanding of the process? (of the question why make art if you don’t have any major input on the various specifics of my time and space) Or is that attempt the problem, or am I just a lazy person, who likes to play with materials and cannot generate meaning? Or is my attempt to visualise something I cannot put into words some form of failure rather then the hope that through my focus and the attempt itself the subconscious decisions I make will speak to someone who has not understood that subconscious subjectivity.
Why do we like a piece of art, or music. Is it because it is objectively good, or is it because what it was spoke to something deeper within us. In the end how much we get from art and from others fantasy, is always dependent on what level of artistic conception we ourselves can muster. Think of the intertextually of marvel for example. The standing line of Marvel is “the world outside your window” it works excellently for movies, as they more then almost any medium allow us to project. to interpret the characters through action, rather then exaggeration or the explicit. furthermore marvel specifically relies on speculations, as to the workings of its world and the fictional characters within. but By giving us enough loose ends, we do a lot of the work ourselves. we are creatively engaged in the questions of what the future might hold, how to exist as x, we deal with moral questions we might never prose in real life.
I think that’s the true power of art. The power to make a person engage creatively with something. Immerse, interpret, interpolate. Even to retell and misunderstand. A stupid or wrong reaction is mainly a reaction you did not expect.
If someone takes my work buys it then, paints over it or adds to it because they feel they have to, I don’t even mind, because from then on its theirs. Mine was the thing they bought, and if someone works over theirs it becomes that person, and the second person would. That being said, just taking the work, thinking about where to hang it, how to frame it and so on. are creative decisions that change the meaning of the piece to be more in line with what the observer thinks about the piece rather then the creator. and that is fine.
For me the piece is something that exists in the moment. The initial abstract is a piece in itself, the Ink reinterpretation is a piece, and it can be argued that each time the piece is reframed or hung in a new space the piece changes again, this is why I don’t mind my work being vandalised. It is also about the nature of how we generate value.
Lets say I saved the world (for silly arguments sake im not cray or smart enough for that as far as I can tell) the value of my work in the eyes of some would rise and you might argue that preserving its has some sort of higher meaning. Being my irrelevant self it depends on how I sell myself. or if. That being said. My work might also turn out to be evil. if my biases made me draw something evil, am I evil, what if I did something evil, would destroying what I make become good?
Anyway, you can interpret what I do as this. Or you can interpret it as, he felt he needed to make art, so he made something that could be called art. Maybe more therapy then intellectual praxis. but in the end nothing more then a hyper intellectual, finding faces in the clouds, less creative then interpretative. Letting others interpret could be seen as not committing to a statement. Our times greatest sin, Centrism. You can be a centrist individual but, in public, in art? Anyway I try do be specific.
I will likely do the series on nails for a couple more months and expand the catalogue. I feel like I could just make one every day for the rest of my life and it would be no problem. But the ultimate goal is still to make art that’s meaningful, helpful, important and most of all, can be understood by a great many people, while making them feel smart and want to make guesses about stuff, even if they might be wrong. Even if I might be wrong.
is this art or is this me just doing stuff because I feel that I need to do something.
like fleeing from the reality of life through forced introspection that ultimately helps no-one.
Do I really just want your money? and there is nothing to attempting to stack together vague notions and instinctive decisions.
I suppose it depends on if my perspective is unique, or my work evocative enough. or some such thing. maybe just because its funny.
I find that one of the easiest common denominator. Why do I think of some cartoon when there are things going on in the world. am I expected to comment to understand. we are all equal, especially in the void of the net. but then we are not at all when it comes to the actual realities outside this budding meta verse of human whatever.
IN THE END IT DOESN’T MATTER FOR YOUR PERCEPTION OF THE PIECE. AND FEW OF THEM ARE ABOTU THIS TOPIC AT ALL.
Confusion is an excellent source of creativity and the motivation to figure stuff out yourself. Like once upon a time the Monty Python confused a cat.
The function of art in modern society. Picasso said everyone is an artist. I think so too. at least potentially. With many things people learn to do at some point they get good and confident enough about what it is they are doing they will feel the possibilities of creative problem solving and possible change and advancement. The issue is that in a regulated system. Change and experimentation are difficult if not dangerous. So these urges are suppressed.
I personally believe that a good place to start is by staring at clouds and finding what you can see. But that is my visual bias talking. Sound or touch something else might work just as well. Then you apply the same mode of thinking to art you look at. try to make your own interpretation. maybe read the interpetainon of someone else. but if you’ve made your own its an act of creation. Its art, its your connection to your subconscious and it has value to you. Like a sign in the spiritual sense or a reaction of your subconscious in the scientific. it does not matter. to me that’s magic. true immersion.
HANS VON SCHRÖDER aka das_Hans aka -ans
1190
Days after my last post… There sure are a lot of new option and modes and stuff here. even this box thing. kinda annoyed that it stops there and I can’t be bothered with figuring it out so imma just keep going for a bit, a there it is…
… soooo, yeah, its been a while. I’ve been yelling at twitter instead of doing this, for one because its just so much more low maintenance the other because there is a chance I might actually get a human interaction out of it. Sort of in the same way how there may be interactions with other players in an MMO even for people who only play the single player and type too slow.
I’m also not going to Proofread this. You can say that my writing style has become more simple and less ambitious, I know that with my dyslexia and tendency to go on to tangents, I don’t really make for a great author. I have tried writing fiction, but tbh I don’t have the sustained focus necessary. Plus a chapter never feels as good to me as a painting. I supposed if I finished a book I might feel different about it. But the books I can hope to Finnish I don’t really have great interest in writing.
Its the same with my art. Why do you make art. I could make a painting and spend a long time on it. Think and tweak so that it will become more beautiful and meaningful and whatever. But ultimately what is the point. To either make something that will conform to the zeitgeist for enough people to gain recognition or success or something like that? or do you have to have some high minded goal like putting forth some kind of socio philosophical truth or quirk of the human condition.
Then focus in on that and work it until it is honed to perfection. But really, the endresult is still dependent on luck to a degree. Unless you luck out and hit the nail on the head at the right time in the right place in the right way and so on. I don’t think exceptionalism is the way of the future and the way we will find the path forward. But we need to look at the unremarkable, the everyday. At the same time we still need the cult of personality to understand larger human truths as well. As we start to live in a world that can fly between the intensely personal intimate to the public and anonymous. We each need to accept a little duality moving forward I think. Back to the cult of personality, Ive always thought that if it was two people in one it would be better. Like a quantum decision state. finding the points where there is indeterminacy by virtue of separate context. Or on a cultural scale. Policutural colonialism. The world is shrinking. As we start sharing more and more of our information infrastructure with each other and with the advent of more powerful natural language AI I think that it is inevitable that there will be cultural colonialism or the attempt at it. We are seeing this with the media coming out of china for example.
Alarmists or Reasonable defenders of democratic virtues that were hard fought for and won. Have a point that certain cultures and view points are in fact dangerous or used to manipulate masses. But I also think that exposure to more and opposing ideological view points over extended periods of time, will naturally make us more aware of manipulation of this kind.
That being said this process is intensely stressful. A constant state of attempting to take things at their face value juxtaposed with fundamental questioning of structures and logical leaps made. In essence go there for the action, stay for figuring out what ideological framework the author is trying to or inadvertently creating.
Terrible sentence but I think an intuitive person might get what I mean here.
In essence Everything complicated or worth doing is both true and false. so the only way forward is to not choose either and to choose both. The quantum indeterminate state of “I don’t give a fuck.” and “I care about everything so much I could cry and scream”. Its the right way forward. the only way really. On the way you make choices and then you live with them.
Anyway I think that’s where the art of the future comes in. Short, maybe system constructed, exercises of instinctual self-expression. Then the sharing or throwing away into the world and the process of seeing where it ends up landing or what sticks.
The future of true expression will be some form of system or game design. not only in a digital sense but also as a form of entertainment that has no pressure to conform to any specific ideological framework and instead gives a platform for a subconscious and conscious reflection on ones own values in regard to the world or specific things.
Anyway I made some silly drawings, coming soon.
very quiet, with no caps or breaks, mostly
i’ve been both trying to write something more than rambling monologues and self-indulgent blog posts, and trying new things artistically by using a new medium. that has essentially been the last half year for me. I will in all likelihood post more on the artistic side in the near future as I am currently looking for ways and places to sell said work. however feeling – like one does – that my work has not yet found its legs, I will need to do some adjusting and sorting out of the less inspired experiments. I might still post these somewhere along the line. as a matter of fact much of what I am talking about can already be seen on my personal instagram account. but I feel like this site deserves some more refined presentation so I don’t feel like deleting half the site again somewhere down the road. I’ve already felt for a while like I should delete some of these blog posts, but I’ll let them sit here for a while longer I think. they aren’t hurting any and if my other plan turns out to have some merit they should be buried relatively quickly. to come back to the artistic side of things. I’ll do some documenting and uploading in the near future. we will see what comes of that.
here’s a sneak peek.
coral one
spray paint. - land scapes
Hi there. I have to get something of my chest. Like many people of my generation I enjoy the variety and convenience of online streaming. Be it Netflix, Amazon, iTunes or Google Play. Having a massive collection of instantly streamable content at your fingertips at all times is lightyears beyond television, pay-tv or the cinema. I can just kick back relax and then decide what I want to watch. Maybe even take my digital version in any form-factor I choose.
However there is one thing that has always annoyed me to no end. Something especially prevalent in my country and that is forced localization.
I love watching stuff in its original form. I believe that while half of acting is visual the other half is in language. Annunciation, Tone, Dialect and the fact that the person speaking is actually in the scene in front of the camera.
I also support dubbing – something Germany does to every movie and tv-show there is – I don't personally enjoy dubbing in my movies, I can read subtitles fine – thank you very much, but in general the idea of opening up a piece of art beyond its language barrier is admirable and has a positive effect.
But in this digital age this creates a problem that is incredibly annoying and that has ruined many a movie night for me. That is the problem of versions. Out of all the streaming platforms I named in the beginning of this column only Netflix allows me to set a default language and provides the original version to all its properties. With all the rest you either have to hope for the best or you have to find the tiny fine-print that will tell you what language versions are available. Not only that but sometimes there isn't even an original version. Non of this would be a problem if I would just be allowed to use the english version of the site which will have the original versions of everything but most of these are incredibly stubborn in that they will keep returning you to the page coupled with your geographical location. I understand that this is a legal question, if I live in Germany I should also pay tax on media bought in Germany but this does not excuse the fact that since I am in Germany I will be forced to watch the German Versions only or to severely restrict the amount of original programming I have access to. I mean its not like its about the serverspace. Amazon is one of the biggest providers of servers around the world, yet they don't manage to put the original audio for a film on their server for Amazon Video DE? What is that about.
I understand that my preference for watching the movie that the people involved in its production actually made is a strange one in Germany but I can't believe that I am the only person that feels like this. Most DVDs have multiple sets of audio with your standard compression a movies audio file comes to about 250mb that makes 1gig with the inclusion of 4 entire languages, 500mb with just the original and the German. Even worse is the lack of any subtitle other than German.
This is a multinational country, there are not just German speakers living in the country, so you are going to essentially bar them from your service, WHY? Because there is no space, you know thats not true. Because there is no demand? Well I am here demanding away. Seriously I can't even come up with more. I know its not a legal question, you already own the rights to sell the property in your way, is it considered a second property to include the original version. If I buy a DVD its not, and you are quite beyond VHS, so if that is it that is Idiotic but I don't believe it is.
I will send a copy of this as an email to all the services that are guilty of this in order to find out the reasoning behind such asinine decisions. But I really had to just get this of my chest and I don't believe my ranting will change the situation. Nor do I believe that this in anyway compares to the real problems in the world right now but there you go, this is my website and I can talk about what I want. I promise the next thing I write will not be about consumer service.
Best,
Hans
In the summer of 2014 I went to Italy. As part of the exchange program I went there for we wrote a couple of travel narratives. This is my story describing my trip to the Necropolis of Cervetery.
July twelve, two thousand and fourteen
Sheep; my first impression of the overarching complex of the Necropolis of the Banditaccia was a flock of sheep passing our bus, as it pulled into the small dirt parking lot at the head of the ten hectare complex that marks the visible part of the four hundred hectare large ancient city of the dead. As the doors opened the cling cling of the sheep bells drifting into the bus, probably in much the same way as they would have done during the construction of these tombs in the 9th century BC by the Etruscans.
Over a gravel alley leading up from the parking lot we reached the entrance into the public part of the Necropolis. To our left and right we could see what seemed to be fields, yet openings and dark entrances marked every seemingly natural hill. Over one thousand tombs are spread throughout the structure and that becomes apparent even when walking up to its current entrance. Passing the Italian inspection, faking British accents, we entered the main structure. Small overgrown pathways wind around giant stone mounds to all sides and openings are built into seemingly every part of the landscape, truely this is a city of the dead reminiscent of a very morbid shire with its grass mounds. Before we were let loose we got to hear a preemptory talk explaining how the structures were created, by working them out of the rock creating the circular mounds that are seen today. They also described square tombs that were added in the 6th century BC to extend the capacity for the growing Etruscan noble class as well as subterranean tombs that are set into the surrounding hills.
After the talk a friend and me left the group behind to head off the beaten path and explore without supervision and I am glad we did. Heading over a patch of grass between some trees we made our way to where some of the decrepit “dice”, the square tombs added three centuries after the original structures were created, stand in rows that remind me of a suburban neighborhood. The tombs line an overgrown “street” at both sides. Their entrances are created in the same style that is used for almost all tombs here, with variations dependent on the families wishes obviously. A stone archway opens up to stairs heading down to the entrance of the tomb, most of them have one main room that opens up at the base of the stairs with some including side rooms with other tombs. Most main chambers have up to four sarcophagi along the walls, with two to the left and right of the entrance and two more behind a open separating wall, further inside the tomb. Stone seats are placed next to the squares meant to hold the sarcophagi, to give the grieving a place to hold watch over the deceased.
The graves we found at first were all flooded to different levels and inhabited by a myriad of spiders. As we went further form the prepared ways we found more and more beautiful overgrown tombs to all sides, some of the reaching high over the forrest ground with vegetation all over the mounds making it seems like the high dark entrances are growing out of a high thicket. As we walked deeper into the structure, sketching broken down graves and passing lone archways just standing freely by themselves, the space becomes more cluttered, graves are shooting out of the hills all around us and after mounting a metal staircase, with a big warning sign, we get to a space were the graves stand so close that we had to duck through narrow spiral walkways overgrown at all sides. One of these walkways lead us to a clearing with the biggest mound we had seen so far. The giant structure maybe fifty meters in diameter reaches up another twenty, Its entrance is not at the ground level like with the others but halfway up its slope, with very worn stone steps. Around the structure other tombs stand facing the central one. There are no signs, but this place clearly feels special, with a little metal bridge leading up the giant structures’ entrance. Inside the structure is a grave that is more elaborate than the others but not in fact bigger. One small room holding the remains of one sarcophagus. Before we could find out more or even round it we realized that we were already ten minutes late. I will definitely have to come back here, as I feel that I have barely scratched the surface of this strange city, but for now we were of to see more things.
Welcome potential reader. This is going to be my blog about all the things that are on my mind and which I cannot help myself but write down somewhere. Since the lengthy rants and short-stories I am prone to are not welcomed by my Facebook friends and I do not really know where to put them in the first place this is going to be the "somewhere" that has been missing. I have no idea if anyone will ever read these or if my ramblings will enrich the world in any way or if I am just wasting Squarespace's server-space with a couple of bites of self-indulgent and dyslexic text that noone will ever read. But this is what im doing so deal with it.