Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Polder Peil: as a sunset in the polder A polder landscape, which is so characteristic for the province of Zeeland, is not what we usually think it is. It is not just a vast flat plain that has been reclaimed from the sea. It is a landscape that undulates between highs and lows, between dikes and ditches. A landscape that is crossed by asphalt roads and that always ends at the seawall. The nine sculptures by Michael Beutler (Germany, 1976) are intended to make visitors to the Wilhelminapolder aware of the differing elevations that give this polder its characteristic profile. Beutler was commissioned by the Koninklijke Maatschap de Wilhelminapolder (a land reclamation association), in cooperation with SKOR and CBK Zeeland, to design the sculptures in commemoration of the 200-year anniversary of the polder. Changing light The sculptures differ greatly in size and are all placed at different elevations. The largest is located next to a pond at the lowest point in the polder, and the smallest at the top of a dike. The other seven sculptures are located in between these two. What connects them, of course, is the continually changing light in the vast polder that is captured by the concrete medium of the sculptures. But there is also something else. The spheres consist of two identical halves that never close completely. The clearly visible axis that results is exactly 3.80 meters above sea level. If we imagine the axis of one sculpture continuing on to the subsequent sculpture, we see an imaginary line that floats just above the sloping surface of the polder: An invisible horizon at an elevation at which the setting sun makes the polder glow. Identity Everywhere in the polder, a visitor can see at least one other sculpture, and at one location five can be seen simultaneously. Consequently, they are linked together visually and create their own route with a length of 10 km. A visitor who walks or cycles along this route from one sculpture to the next will see that e

Like suns setting, three meters above true level LandArt in de Wilhelminapolder 2013 Planning realisatie: 2013 Het weidse landschap van de Koninklijke Maatschap de Wilhelminapolder ten noorden van Goes wordt na de zomer het decor van unieke landschapskunst. In augustus en september wordt het kunstwerk ‘Like suns setting three meters above true level’ van de Duitse kunstenaar Michael Beutler geplaatst. Het beeldbepalende kunstwerk bestaat uit negen, visueel met elkaar samenhangende betonnen sculpturen, die over ruim duizend hectare landbouwgrond van de maatschap verspreid staan. Het meest westelijke beeld is hemelsbreed ongeveer zeven kilometer verwijderd van het meest oostelijke beeld. De hoogste sculptuur is tien meter en de laagste meet één meter (vanaf maaiveld); deze hoogste en laagste sculptuur staan op het respectievelijk laagste en hoogste punt van het gebied. Staand bij een van de negen grijswitte, bolvormige sculpturen is vanaf die plek één ander beeld waar te nemen. Vanaf de Deltaweg (N256) zijn vier of vijf sculpturen goed te zien. Ook bij het Goese Sas kan het kunstwerk ‘beleefd’ worden. Het is de bedoeling van de kunstenaar om de toeschouwer bewust te maken van het landschap en van de hoogteverschillen daarin. Photo © Eddy Westveer www.eddywestveer.com All rights reserved This photo and more are available in high resolution.