My work manifests in installations that bring together sculpture, language, found objects and interventions in the exhibition space. In my studio, research, sculpture and writing merge; this method forms the core of my practice.
I investigate how we understand the material world around us and how control and desire for (false) security manifest in our environment. Approaching an object with your body requires haptic knowledge: to truly understand something, you have to test its boundaries—until it breaks, or you break yourself. How are we shaped by what we handle? Contact, however minimal, often implies erosion. The interaction between object and body, as threatener or threatened, fascinates me.
My installations balance between meanings and play with the interdependence between us and the material world.
The context of the exhibition space often forms a starting point for my installations. By investigating and engaging with architectural elements, I search for ways to give existing spaces a new layer of meaning.
In addition to my visual work, I write poetry, in which the relationship between man, environment and matter is central. I use language as a means to subtly shift reality, to evoke a potential that the tangible world does not directly allow. Where poetry requires a form of control, I see it as a defense against the experience of lost direction in the outside world.
READING CHARACTERS
For Reading Characters, each participating artist has developed a new work for both a publication and an exhibition. They all departed from the central theme of typography: the form or the origin of language and letters and how people communicate with each other. From there, they all moved in different directions: from dancing punctuation to a magician's hand, a mother tongue, a heart-shaped guardrail, and a book that has never been read.
Poetry readings, Writers Unlimited Festival, Den Haag, NL
Schetsontwerp tentoonstellingsvloer nieuw gebouw TENT Rotterdam
Schrijfresidentie DeBuren Parijs
To Engulf
26 ceramic objects hidden under the tree foliage have assigned letters from A to Z and act as a scavenger hunt within the main route.
The sculptures are based on the phenomenon of edaphoecotropism, the ability of trees to engulf, grow around or break objects they encounter in their growth.The objects attribute small, sometimes magical, fictional events to the habitat of the trees and function as an informative pennant for remarkable incidents packaged as facts in the public space.
Orchestrating Coincidence
With Orchestrating Coincidence, Hilde Onis and Liza Wolters take on the representation of the in-between, resulting in a series of 30 sculptures that defy odds by finding connection at their breaking point. By developing a method that aims to constrain but meanwhile evokes accident the series' individual objects have a say in controlling it's own contours.
Departing from these notions, they explore existing linear views of (gendered) positive and negative space in sculpture.