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.
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 |
2002 — Feu SacrÉ — BordeauX - dÉcors Paul jenkins
1991 — Ivanov — Tadashi Suzuki - MITO, JAPAN
silks painted by the artist in Paris and in Beijing
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
1988 — China: BEIJING and THE Great Wall
1987 — SHAMAN TO THE PRISM SEEN — Paris Opera
1980 — The shining house — OPEN EYE THEATRE, NEW YORK
1978 — An UNmarried Woman— a film by Paul Mazursky
1966 — The Ivory Knife: PAUL JENKINS AT WORK, a short film with music by Irwin Bazelon
