specimen

Ruimteschip 1 - 4   [1989/90]

Mixed media (wood, steel, neon etc.), 4 works each with its dedicated transport crate.
All Spaceship  photos: Mark Weemen.

  • gallery-image
  • gallery-image
  • gallery-image
  • gallery-image

Spaceship 1 [1989]
perspex, wood, aluminium, fans, lightbulbs and fluorescent tubes, 1.4 x 1.5 x 0.5m plus black flight case (collection of the artist)

Spaceship 2 [1990]
wood, steel, lightbulbs and fluorescent tubes, hair dryers, organ pipe whistles 1.6 x 1.7 x 0.9 m. plus wooden case (private collection, Oosterhout, NL)

Spaceship 3 [1990]
wood , steel, light, sound installation and two sound loops, 1,6 x 1,8 , 0,8 m. plus aluminium flight case (scrapped)

Spaceship 4 [1990]
wood, plastic, neon, lights and radio. 1.6 x 1.6 x 0.8 m. plus yellow transport case. (collection of Hans Sonnenberg, Rotterdam, NL)

  • gallery-image
  • gallery-image

Platform 1 - 2 [1995]

Platform 1 [1995]
Stainless steel, industrial construction material, wood, fluorescent light. H. ca 1m
(collection of CBK, Rotterdam, NL) 

Platform 2 [1995]
Copper, wood, Meccano, Bakelite boards, fluorescent candle bulb, blinking red leds. H. ca 1m
(collection of the artist) 

  • gallery-image
  • gallery-image

Vliegtuigmotor [1995]

Aircraft Engine [1995]
Wood, salvaged materials. Height ca 1,60 m
 

Before the Bas Reliefs

“Until 1995 I had intentionally worked from a deliberate dilettante perspective. My assumption was that things must be best when tried for the first time. The problem here is that, unless you are all thumbs, doing many different things over a period will give you a level of skill whether you want it or not. Before long I was making components for sculptures that looked practically factory-made. A viewer of the work could no longer visually perceive the actions that went into making the object, so that the work had a static character. I wanted to find a way to make my skills work for me in a dynamic, open-ended way. I also wanted to work with materials that were in a different universe from hardware store materials or - perish the thought - art supplies... By exploring in depth the possibilities of a weathered, organic and inherently imperfect material like salvaged wood, I could now specialize and direct my skill in a way that the viewer would be able to trace.”