'Cupo lo sguardo
in traversale occidente
scorgo lei...ancora lei...
Il suo viso indelebile affligge il mio collo
e guancia guancia quasi...
ascolto irrigidito in perfetto ritmo
un graffante proferire:
audace e lussurioso verbo
in andirivieni cortigiano
ciglia leccate almascara
e ancora...ancora
tiepidi vaginali sospiri
che alitano insaziabili
sul mio appagato sudario...
...Ecco il dopo l'Amore...'
tratto da "Dopo l'Amore" di ~ Catherine La Rose©2009 ~
'Credevo all'eterno
lontana luce
senza confini
senza pelle
invece era qui
così vicino
così reale
occhi chiusi tu
dentro me
a volteggiare
fianchi e corpi intrecciati
senza fine
senza mai morire l'istante
solamente l'incessante
bocche giunte dormienti
sul nostro respiro d'Amore...'
~ Catherine La Rose©2012 ~
Eddy Roos was born in Amsterdam - Nederland in 1949. As a boy Eddy Roos lived in Amsterdam. Across the street from his school had the sculptor Peter Berend High Esch his studio. He was regularly found in his workshop, he made his first portraits. If 13-.14-year-old got his first painting lessons from Dick van 't Wout Visser and Paul. Van 't Wout Eddy Roos sent to pubs, the Central Station and the abattoir there to draw from nature. The cost, his room rent and lessons earned him the morning on a factory to work. In the afternoon I made drawings for Paul Fisher. Dick van 't Wout, an artist with vision, put me in his studio at work. That was very exciting, he was really my mentor. " At fifteen he was able to work at the State Normal School. The wife of Prof. Cor Hund Willie Smith took him aside. She showed all heads make Eddy Roos. "Sin" he says now, "that all the unbaked kleibak are discussed. In the evening he was sent to Prof.. Cor Hund, which the Academy had a separate little class. Eddy Roos, "Prophesy. Cor Hund Bronner was a real man. He could actually explain what sculpture was. With tremendous love he told the Borubudur in Java. He could easily fill a few hours with the explanation of a relief. He got me copying plaster: sculptures by Donatello, the seated man of Phidias. " Eddy Roos is now fully aware that he is the 'classics' in a negative way, dusty know. Rodin was very different to the plaster copies of classical originals, he says. That put them in the garden and saw the sunlight on the surface did. Even Professor Paul Gregoire that Eddy Roos coached at the academy, had the same specialization. Professor Gregoire was said Eddy Roos, the philosopher of the Dutch Sculpture. He pointed him to the architect Dom Hans van der Laan. Gregoire has defined a term as arabesque and truthfulness of the picture. "He absolutely does not grind to the outer shape, he left you absolutely no shape. "Paul Gregoire was located, says Eddy Roos, aware of the danger of thinking Bronneriaans to always be busy with the search for pure architecture in images. "Many people came there no longer." By Eddy Rose Gregoire becomes fascinated by the work of Despiau, Maillol and Brancussi. Sculptors who all opposed the emotionalism of Rodin. That in his student days, nevertheless another way struck by the configuration to deform a la Lipchitz, had everything to do with the spirit of Sturm und Drang "in the democratization wave of the late 60s by the venerable National Academy went. Lipchitz that made everything different than the academic tradition, succeeded by Eddy Roos in pure abstraction to display and still stay connected to nature. Eddy Roos: "While Brancussi and Giacometti to the core of the image thus metaphorically went back and went inside, succeeded by his deformity managed to Lipchitz emotions stronger, he went outside." Of that total self-contradictory experiences of the former academy time and the intense period of experimentation, he made a conclusion that: "I feel my images never finished. You are always in motion, in research. It is the research that interests me most.
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