‘Hollow Grounds’ 2024
solo exhibition in Museum Beelden aan Zee until 1 April 2024
celebrating me winning the very first Per Abramsen sculpture prize
in the solo an overview of my oeuvre, with a focus on ‘holte’ (hollowness),
based on a line of Tanita Tikaram’s 1988 song ‘Twist in my Sobriety’, as heard by me:
“Look, my eyes are just hollow grounds…”

all works exhibited in the solo were reworked for this occasion
here, the textile installation piece ‘Voelers, geen Voeten’ 2007-2023 and ‘CutDressCutPhoto (purple)’ 2000 (cut photo work, new artist copy, 2023)
all photos studio Gerrit Schreurs

in the foreground, ‘CirkelVrouwInCirkelVeld’ 2010-2024
claiming space’ installation piece, consisting of cut floor vinyl, the elements arranged responding to the exhibition space
see the same work in a different constellation in the duo exhibition ‘Kleider Machen Kunst’ 2011 in the Gerhard Marks Haus Bremen D
on the left you can see the ceramic work ‘Fig 2. Twist in my Sobriety’ 2011

here in the background again ‘Voelers, geen Voeten’ 2007-2023, in the foreground ‘VerteerWezen 3 (reclining black)’ 2017 and on the right ‘behind shredded lilac’ 2019-2024 (cut photo work digitally optimized by Marc Gijzen)

the text work ‘Gronden’ 2023-2024 was published in the accompanying leaflet, and in the review of this solo in Beelden Magazine spring 2024

also in this solo: ‘VerteerWezen 2 (standing blue)’ 2017 / ‘VerteerWezen 16 (white shield)’ 2021-2023

other solo exhibitions: ‘Manifold mumbag & fragments of the white visions’ 2006 / ‘Karin Arink - States of Self’ 2008 / ‘All attitudes, all shapeliness, all belongings’ (Walt Whitman, I Sing The Body Electric) Main Room RAM gallery Rotterdam 2014 / in ‘Club Solo’ 2016 / ‘VerteerWezens (handed down, revalued)’ in Anningahof 2023 /

VerteerWezens’ group exhibitions: ‘VerteerWezens in Mirrors of Time’ in Castle d’Asprémont-Lynden Oud-Rekem Belgium, curated by Annemie van Laethem and Eric Roux with a new selection of VerteerWezens > publication /

VerteerWezens’ is an ongoing series of spatial objects in papier-mâché, started in 2017. The title can be roughly translated as ‘digested-beings’. In each work, a rejected object or utensil from either my home or my studio is combined with aluminium modelling mesh, cardboard and/or other materials. This is often covered with a layer of papier maché made from shredded left-over papers, magazines, waste paper. In this way, used objects, materials and older art works are “digested” by turning them into creatures/beings.
By photographing myself behind/with these sculptures, the relation between the affect-rich object and my concrete physical body becomes clear.
The series ‘VerteerWezens’ is ongoing, and so are the related photo works.