Record Salon # 16 Helma Kuijper | Wegert & Sadocco
Home Contact About Us About Shopping Events Exhibitions Current Upcoming Past 2014 2013 2012 Lab 2011 2010 2009 2008 2007 Showroom 2011 2010 2009 2008 2007 Cabinet Vernissages 2014 2013 2012 2011 2010 2009 2008 2007 Salon (Artist Talk) 2014 2013 2012 2011 2010 2009 2008 2007 Artists Trias Artistica Links
Attendees: Jan Reus, Eric Beets, Marianne van Gils, Ed Wegert, Nicky Wegert, Kees Looy Steyn, Carolien Broersen, Kerre de Graaf, Viktor Baltus, Rob de Vries, Corry Schrader, Annelies Hurdles, Tineke Poelstra, Helma Kuijper, Serge Sadocco and Wilma Wegert
After the introductory round Helma took the floor. Julia talks about her study at the Royal Hague Art Academy, where they paint and draw as a direction chosen. During the study, it soon becomes clear that the plane does not give the satisfaction they are looking for. The search for a different dimension has begun. The key piece of this is a piece of cloth 20x 20 cm pattern in which parts are pasted. These patterns are actually sewn to each other, but in such a way so that the wearing of the garment appears to be almost impossible. This shows already furnishing that HK has no need for the practical side of art. Jan van Schoonhoven is an example for her how the plane could be three dimensional. She admires the non hierarchy of materials in the work of van Schoonhoven, all materials have the same value. Also witness the works of van Schoonhoven at infinity which also characterize the work of Helma Kuijper.
Helma tells how she admires the work of Theo Jansen: the giant beach animals that can move and the material thereof. While Helma keeps her story, she also mentioned artists and art material with it, so that everyone immediately knows what it is about.
With Eva Hesse Kuijper feels especially kinship. She refers here to a recognition furnishing of her work through the work of Hesse. Both of creep in the material completely. Both assume that it is the essence of the material already hidden in the material and the task of the artist is to make it visible. It seems as it were, whether the material is dematerialized and then becomes meaningful again.
The artistic process is sometimes triggered by an accident, a recognition of the nature of the material. Sometimes it can take years before a work of art has finally gotten where HK is happy and the work may leave the studio. Shape and stratification
In the work of HK we get to mathematical elements, such as the work with the resistors. These refer to the interest in mathematical topology. (Topology (Greek topos, "place," and logos, "study") is the branch of mathematics that deals with properties of space are preserved under continuous deformation ( the objects furnishing may not be torn or glued). Topology is an outgrowth of the geometry, but unlike in geometry furnishing keeps the topology is not concerned with metric properties, such as the distance between points, but with properties that describe how a space is composed like consistency furnishing and oriented education.) One would think that the works of HK measurable and calculable, but nothing is less true.
The process begins with a candid look at the materials, without knowing, without naming, so the time just stopped. The moment of wonder. Then comes a finished structure that gives the same candor and admiration experience for the viewer. And that this results in a mathematical topology again shows that HK looks with an open mind, because she would never be able to calculate.
Viktor Baltus explains that if you see a road sign is just a matter getting a practical association, if necessary, we all turn right. This conditioning furnishing we have to 'unlearn', just like Kuijper that conditioning does not have, or has unlearned. Only then can you look with an open mind to work and click in your head feel and let time stand still. MvG calls this moment furnishing the sublime purity of a work of art. This MvG recognized in the work of Eva Hesse and recognizes this again in the work of Helma Kuijper.
Kuijper almost furnishing does not give titles to her work. She believes that a title the viewer a direction forces, where she just wants to be open to suggestion. The viewer needs to experience the experience which the ratio and the conditioning is switched off and the wonder remains. The new meaning of the material
After talking dinner with an aperitif starts with a tomato carrot soup, served with a breadstick wrapped in thinly furnishing sliced mortadella. As a nice entree plate scallops, the main course consists of OSSC
Home Contact About Us About Shopping Events Exhibitions Current Upcoming Past 2014 2013 2012 Lab 2011 2010 2009 2008 2007 Showroom 2011 2010 2009 2008 2007 Cabinet Vernissages 2014 2013 2012 2011 2010 2009 2008 2007 Salon (Artist Talk) 2014 2013 2012 2011 2010 2009 2008 2007 Artists Trias Artistica Links
Attendees: Jan Reus, Eric Beets, Marianne van Gils, Ed Wegert, Nicky Wegert, Kees Looy Steyn, Carolien Broersen, Kerre de Graaf, Viktor Baltus, Rob de Vries, Corry Schrader, Annelies Hurdles, Tineke Poelstra, Helma Kuijper, Serge Sadocco and Wilma Wegert
After the introductory round Helma took the floor. Julia talks about her study at the Royal Hague Art Academy, where they paint and draw as a direction chosen. During the study, it soon becomes clear that the plane does not give the satisfaction they are looking for. The search for a different dimension has begun. The key piece of this is a piece of cloth 20x 20 cm pattern in which parts are pasted. These patterns are actually sewn to each other, but in such a way so that the wearing of the garment appears to be almost impossible. This shows already furnishing that HK has no need for the practical side of art. Jan van Schoonhoven is an example for her how the plane could be three dimensional. She admires the non hierarchy of materials in the work of van Schoonhoven, all materials have the same value. Also witness the works of van Schoonhoven at infinity which also characterize the work of Helma Kuijper.
Helma tells how she admires the work of Theo Jansen: the giant beach animals that can move and the material thereof. While Helma keeps her story, she also mentioned artists and art material with it, so that everyone immediately knows what it is about.
With Eva Hesse Kuijper feels especially kinship. She refers here to a recognition furnishing of her work through the work of Hesse. Both of creep in the material completely. Both assume that it is the essence of the material already hidden in the material and the task of the artist is to make it visible. It seems as it were, whether the material is dematerialized and then becomes meaningful again.
The artistic process is sometimes triggered by an accident, a recognition of the nature of the material. Sometimes it can take years before a work of art has finally gotten where HK is happy and the work may leave the studio. Shape and stratification
In the work of HK we get to mathematical elements, such as the work with the resistors. These refer to the interest in mathematical topology. (Topology (Greek topos, "place," and logos, "study") is the branch of mathematics that deals with properties of space are preserved under continuous deformation ( the objects furnishing may not be torn or glued). Topology is an outgrowth of the geometry, but unlike in geometry furnishing keeps the topology is not concerned with metric properties, such as the distance between points, but with properties that describe how a space is composed like consistency furnishing and oriented education.) One would think that the works of HK measurable and calculable, but nothing is less true.
The process begins with a candid look at the materials, without knowing, without naming, so the time just stopped. The moment of wonder. Then comes a finished structure that gives the same candor and admiration experience for the viewer. And that this results in a mathematical topology again shows that HK looks with an open mind, because she would never be able to calculate.
Viktor Baltus explains that if you see a road sign is just a matter getting a practical association, if necessary, we all turn right. This conditioning furnishing we have to 'unlearn', just like Kuijper that conditioning does not have, or has unlearned. Only then can you look with an open mind to work and click in your head feel and let time stand still. MvG calls this moment furnishing the sublime purity of a work of art. This MvG recognized in the work of Eva Hesse and recognizes this again in the work of Helma Kuijper.
Kuijper almost furnishing does not give titles to her work. She believes that a title the viewer a direction forces, where she just wants to be open to suggestion. The viewer needs to experience the experience which the ratio and the conditioning is switched off and the wonder remains. The new meaning of the material
After talking dinner with an aperitif starts with a tomato carrot soup, served with a breadstick wrapped in thinly furnishing sliced mortadella. As a nice entree plate scallops, the main course consists of OSSC
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