notities

oranje touw
combinatie met plaaster (zie Tinel), gepatineerd
combinatie met cement + compactuna
combinatie met gelaste metalen constructie (hammak)
muur bekleven met papier maché - referentie Heidi Blucher
lakken

Tekeningen nav Franz West

Tekeningen naar aanleiding van studie vh werk v Franz West en tentoonstelling in Tim Van Laere Gallery.

Ça se prononce comment, Eilidh?

Ça se prononce comment, Eilidh? Welded metal and papier maché.

The work and its title reference my nascent grammar of sculptural work.
The materials are mundane, cheap, quotidian. The processes are basic, sometimes childishly so. The forms and compositions are sparse.
Papier maché and rusty metal, together with simple sticks and pieces of wood and obviously rope: my materials of choice.
The relationship with the surrounding space, the behaviour of the forms, objects, works in this space, their relationship towards (being attracted by or repelled from) walls, light sources, pillars is what interests me.
And the objects flaunt their externality, however humble it may be, confidently. No need for in-your-face colours, no gaudiness in shiny material outward appearance.
Each title speaks of a work's genesis and trumpets its position.

On a first level, this work (Ça se prononce comment, Eilidh?) consists of two vertical structures. One which recalls a totem pole or a farmer’s fence post, the other a metal rod which leans towards (but does not touch) the post. The structures lean away from and lean towards one another: they belong together, and though they do not touch, they support one another. They are one of my few works that stand alone, if together.
The work echoes my "three-stick boxes" even if there are no sticks, no boxes.
The objects' skin invites the viewer to touch.

I have long pondered the question as to whether to place the work on a dais, a podium, pedestal, foot, what have you, to metaphysically weld the two present pieces together. I have decided not to - it communicates better when stood at foot level, like the beholder. It invites interaction; does not wish there to be any distance.

The title is a pun. It is a sentence in French, obviously; a somewhat unusual but grammatically correct simple sentence which does have some grace, owing to its incongruity. And it asks about pronunciation while focusing on the contorted grammar and on the last word's strange, literally alien, spelling. Pronunciation and spelling are to grammar what colour and texture are to sculpture, embellishments which may detract attention or focus it.

And so, the title boldly posits this work as a manual (or grammar) of my work.

Privately, there is a hidden layer in the title (a pun again, you will not be surprised to learn), a wink, a nod, a question to her: how does that sound to you?

Ma madeleine

Ma madeleine. Papier maché.
(This work no longer exists)