Graduation paper for the Academy for Arts & Design, Den Bosch (NL, later AKV St. Joost). It was written between December 20, 1997 and March 20, 1998. The original paper was loose-leafed, printed on various types of paper and in a variety of fonts, and could be read in random order.
The paper tells the story of uncertain times: climatological shifts – Earth seems to head to an ice age, but at the same time unusually mild temperatures are recorded in mid winter – and an extraterrestrial threat are intertwined with personal recollections.
The paper was awarded best graduation paper of 1998, and published in an edition of 500. Design by Jeroen Van der Ham (Joebob Graphics). ISBN 90-71015-17-3.
The master paper for the MfA Sandberg Institute is an A5 booklet in an edition of 20. Apart from the opening, the texts are made up from letters to art historian Tineke Reijnders, set in a fictional future. In this future, an ice age has a strong grip on the Northern hemisphere, while, due to circumstances unknown, the Southern hemisphere is heating up, causing the Antarctica ice sheet to melt.
The letters are written in a post-apocalyptic world. The narrator houses in the Boijmans van Beuningen museum in Rotterdam, in a frozen Europe, while most of the inhabitants are relocating to milder places, causing a climate fugitive crisis in Africa and South America.
Exhibition organized and curated by Alexandra Crouwers in an empty former town house/furniture store in Antwerp.
With Ad de Jong, Alexandra Crouwers, Derk Thijs, Erik van Lieshout, Iris van Dongen, Jan Dietvorst, Lisetteh, Marc Bijl, Martyn F. Overweel, Nanda Smits, Paul Hendrikse, Peter Lemmens, Pieter Dobbelsteen, Robert-Jan Verhagen, Rogier Walrecht, Rolf Schuurmans, Steven Blum, Theun Karelse.
The 30.000 Miles Graveyard.
Animation, 720p, colour/sound, 3’59”, 2005.
Photography-based animation. Soundtrack by Respighi.
Produced during a residency at Kunsthuis Syb, Beeststerzwaag, NL. Supported by Fonds BKVB (Mondriaan Fonds), NL. Screening at 700IS Reindeerland Experimental Film and Video, Reykjavik, Iceland, 2006.
01.05.2005 – 04.06.2005
Alexandra Crouwers, Evert Defrancq, Nick Ervinck, Christophe Floré, Peter Morrens, Rebecca Sakoun, Leopold van de Ven, Anne Vernimmen, Ane Vester, Wharton / Leib, Judith Witteman
Installation with 5 small LCD screens, 5 seamless loops (SD digital 3D animation, various lengths, colour/sound), red tubelights.
Working period. Murals, chair, Indian ink, colored tubelights.
Solo show at Base-Alpha Gallery, Antwerp.
The exhibition was based on an experience of 5 minutes in the town of Dunsmuir in North California.
In February 2010, a performance night took place in the exhibition, with musicians improvising on the text of the Dunsmuir animation.
Practical Applied Hermetics
Installation with mural (black acrylic paint on wall), animation projection, safelight. Installation view at S.M.A.K., Ghent (Hareng Saur, 2010) and Le Fresnoy, Studio National des Arts Contemporains, Tourcoing (FR, Visions Fugitives, 2011).
Below, drawings, Indian Ink and acrylic paint on paper, 150cm x apprx 230cm. 2010-2011.
The Order of Volume I.
Animation projection on mural, wooden gate, soundtrack. Installation view at LhGWR Gallery, The Hague.
The Cover Mountain
An multi-disciplinary exhibition in the shape of a publication. With texts by evolutionary biologist Jan Verpooten, Dutch poet (now deceased) Gerrit Komrij, Brussels performer Antoine Boute, musician Mauro Pawlowski, and works by Ad de Jong, Fia Cielen, Romeo Hoornaert, Marc Bijl, Kelly Schacht, Jim Skuldt, and myself.
Edition of 65, including a special edition of 12.
The White Hide III
3-channel hyperpanoramic video installation (3xHD1080), colour, sound, 5’31”, 2013
A slow travel movement through a post-apocalyptic landscape, from dusk till dawn. Hologram-like elements pop up and disappear again, together with gas-outbursts and volcano eruptions. The frame suggests a painting-like image but also gives the impression to be the outline of a hole in the projectionwall, through which the viewer is watching the scene.
The subtile soundtrack, compiled of wind, bells and the sound of thunder or explosions, add to the otherworldly atmosphere.
The White Hide [III] was produced for and part of On the Precipice, by ISIS Arts (UK).
The installation has two previous versions. The White Hide [I] is an installation with three projected slides and a videoloop. The White Hide [II] is a single screen rendition with sound.
- 2012 The White Hide [I], Rio/Retro, F44 (sic), Antwerp (B)
- 2012 The White Hide [II], Friday the 13th, RA, Antwerp (B)
- 2013 The White Hide [III], On The Precipice, The Big M, Isis Arts. On the Precipice toured the North-East of England throughout 2013 in The Big M, the tour attracted over 5,800 visitors to The Big M which toured to the Toffee Factory as part of The Late Shows (Newcastle upon Tyne), Saltwell Park (Gateshead), Whitley Bay (North Tyneside), mima Middlesbrough Institute of Modern Art (Middlesbrough), Woodhorn Museum and Northumberland Archives (Ashington) and Berwick Film & Media Arts Festival (Berwick upon Tweed).
I.M. Dog, Star
Solo exhibition at LhGWR Gallery, The Hague. Includes 5 animation loops, vertical, projected, HD, various lengths, 5 prints. Silent.
A series of dioramas: boxed scenes.
The Poisson’s Equation
Seamless loop, animation, HD1080, bw/w, no sound, 3’00”, 2014, edition of 3+1 artist copy
In a desolate, nocturnal landscape a barren tree slowly rotates around its axe above a small pond, its roots touching the water surface.
The Poisson’s Equation is an equation used in electrostatics, theoretical physics and the calculation of gravitational forces. In this case, the latter applies.
This image returns as part of the three-channel video installation INERTIA.