2015 – present: working title “Sculptural Spaces”
Fascinated by the way we construct the world around us and what life this world comprises, I have created sculptural spaces since 2015. They consist of lines, voids and objects. The physical qualities of line and object influence our way of looking while what happens around it is contributory to the meaning of the line. Objects almost exist as traces of human activity. They provide line and space with a possible associative function, they disclose an absent action. The void can conjure the image of a spot, a residence, a room or a body, thus referring to a physical, an architectural or a scenic context. I am fascinated by its aspect of temporariness, fragility, volatility.
In my practice I make use of 2D and 3D shapes, often made of materials found in my direct environment. Lines consist of wood, metal, textile, chalk or charcoal and function as fragile markers in the space. They exist as frontier or contour lines, shadow lines, topographical lines or as a reference to sound or scripture. Fabrics or fragments of clothing lead in the tactile, consist of structures and carry with them its own history. Some objects in marble were recovered from an earlier period and were reinterpreted. Whereas the line can trace out or divide a space, an object is able to break through this. Their respective boundaries are blurred because of the interaction between line, object and space. In a structure of correlations they get rid of their original meaning to make way for a new context.
1987 – 2002 : in situ
2002 – “Shortcut”: Puurs park
Present: a hiker’s trail carved out spontaneously by the park’s visitors.
Positionering: two lines are laid out as an architectural drawing, as fundaments on both sides of the trail.
Exposition: “Fieldwork & Sculpture”
Curator: Francis Van Hoof Gallery, Puurs
1999 – “Tell Me A Story” : Carrara, Italy.
Present: In a village near Carrara there was a vacant lot with an old table in one of its rooms. On one side of this room there was a double window. The village lies in a basin between hills. There were still a lot of TV antennas on the roofs.
Material: a marble statue with a rubber line lying as a transmitter device on the table.
Photographs: a similar transmitter device photographed in a Flemish landscape.
Exposition: “Notte e Giorno”
Curator: studio SGF scultura
1990 – “Tombe – Tempo” : Castle of Halle-Zoersel domain
Present: a crossing of two hiker’s trails
Material: blocks of turf stacked against a wooden frame. Newspapers were pasted randomly against the inner walls as a reference to ancient Egyptian writing. Centrally inside a square has been cut out through which rain, wind and leaves can come in. Outside four oxygen cilinders have been positioned.
Positioning: The art piece has been placed centrally on the trails’ crossing, causing the trails to run through it.
Exposition: “Zoersel ’90”
Curator: Bart De Baere, directeur Muhka
“Tombe – Tempo” overarches a four-armed trail in the woods. Blocks of turf have been stacked against a wooden frame establishing a relation between the living forest and the past. Inside the “mastaba” the present is focused on. Newspapers have been pasted randomly agains the inner walls and are a reference to the more consistent writing of ancient Egypt.”
Luuk Rademakers, 1990
1987 – “Confrontation” : Conscience Square, Antwerpen
Present: crossing of lines on the square.
Material: three identical metal statues
Positioning: statues placed like concentric circles, shadows change in time.
Exposition: “Monumenta” – Beeld in de Stad (Statue in the City), 19de Biënnal Middelheim Museum, Antwerpen
Curator: Menno Meewis, former director of the Middelheim Museum.
“The installation is in a relationship with its environment. It renders an image of the city at its origins. An intimacy, a dialogue is established between the three elements. One can enter the piece of art. Man is placed central between the three constructions which have been placed correctly while influencing and complementing one another. The image of shadow introduces time: the metal plates which have been placed in a sloping way register the Sun’s orbit in their own manner.”
Luuk Rademakers, 1990
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