PUCK

KROON

notebooks

what happens

decontextualised position

the unknown other

manifesto

don’t knowing

a projection of the space

bergvorming / mountain formation

while moving

counter message / against noise

positive negative

in conversation with

the sound of those downfalls

47:28,25

rice waffle

the ear

stonedust

“The first words placed define the space.”

- Drucker, J. (2018). Diagrammatic Writing. Thousand Oaks, Canada: SAGE Publications.

 

Just as the words placed first determine the distance to the following words, the questions determine the follow-up questions and the approach to what is taken for granted. All this needs examining by experiments: what is axiomatic and what is considered true?

 

Through my work I am looking for urgency in doubtfulness. Doubt, both poetic and critical, is necessary to find new perspectives on the changeability and the intended boundaries of the art world itself. With a philosophical and perceptive lens I investigate phenomena, contexts and spaces through both image and language. An example of an investigated phenomenon is the interspace: what is contained in the space in between and how does it appear?

 

By observing and registering I (critically) question the arts. Images, structures and especially intangible matters such as recitation, composition, projection and site-specific installations are a result of these considerations. They are expected to receive attention from both the spectator as well as myself, the artist.

 

The process is fundamental to my artistic research and is expressed in my work by making itself visible as part of the layered whole. The very first wonder appears when a position is taken and the reflection is shared as a point that later become a comma. Language is a recurring factor, in which my attitude and position towards language are expressed, but also language as a self-contained question. Phrases from books become starting points for approaching an exhibition space, a street sound is the source of a composition. Conversations with other students and tutors but also with strangers are an indispensable part of my process from which new connections, contexts and collaborations follow.

 

Besides spoken, performed and written language, time, attention and space are part of my research field that is approached through observation, registration, ordering, archiving and reflection. By making the process divisible and presenting the research as work, I confront the viewer with ‘being part of’, as when I project the exhibition space in that space itself. The spectator becomes an unconscious participant, which makes the moment of realisation an essential part of my work.

 

I want to make the other aware of the unconscious so new ways of approaching and viewing may grow. That point demonstrates itself in the belief that you must define words before you can speak about them. If that is omitted, miscommunication arises. There, language becomes a means of miscommunication instead of a means of communication.

 

These data are never fixed, but remain fluid and dynamic, making my work a paused investigation that can be set back into motion. Besides that, there are questions around documentation, usability and thinking. My investigation usually results in serial, temporary and immaterial work that often contains a remnant, echo or derivative of the researched. The work enters into an indirect relationship with elements of a space or building.

 

Moments of reflection take place in different ways: writing as editor of Mister Motley is more focused on the accessibility of texts and the emphasis on balanced formulations, while my own work is more about conceptual thinking, sound, recitation, intonation, the reading time and the incomprehensibility of volatility, transience and temporality.

 

Connections, differences or contradictions can be revealed, by an accurate use of language. Then, a renewed position can be taken with regard to the investigated.