Author: joubin

"My work shows my view on everyday reality with an alienating twist."

"My work shows my view on everyday reality with an alienating twist."

Title thesis:
The Craft of Sensing
Irreproducibility in art and the Factory

Subject:
My theoretical bachelor’s thesis, The Craft of Sensing, looks at the relationship to craftsmanship and its validity in contemporary art. Richard Sennett, Thierry de Duve and Franco "Bifo" Berardi build the basis of its theoretical framework, while comparing studio and non-studio practices of Marcel Duchamp, Bas Jan Ader, Constantin Brancusi, Kurt Schwitters, Sol Lewitt and Daniel Buren. The Craft of Sensing, calls upon the emotive body to enliven the daily life of a factory worker and artist.

Link to thesis (PDF)

My artistic practice encompasses abstract painting, photography and sculpture. I use fiberglass, epoxy, pigments, spandex fabric, wood and acrylic paint in my work. While investigating new materials for a sculpture, I begin with mapping what each material connotes, what we associate with this particular material and its historical usage. For example, with the denotation of spandex, one may conjure thoughts of aerobics, 1980’s, elastic, expansive, colourful bodies and revealing forms. I combine
form, colour and traces from my own hand to create a material story. Typically, I paint and build sculptures during the same period, presenting them together in what
I call “constellations”. The direct visual correlation is not always recognisable at first glance. I am fascinated by this confusion in
the viewer. My aim is to open up different perspectives in order for a more contextual complex dialogue to happen regarding race, gender and class issues and their usages in art.

Title thesis:
The Craft of Sensing
Irreproducibility in art and the Factory

Subject:
My theoretical bachelor’s thesis, The Craft of Sensing, looks at the relationship to craftsmanship and its validity in contemporary art. Richard Sennett, Thierry de Duve and Franco "Bifo" Berardi build the basis of its theoretical framework, while comparing studio and non-studio practices of Marcel Duchamp, Bas Jan Ader, Constantin Brancusi, Kurt Schwitters, Sol Lewitt and Daniel Buren. The Craft of Sensing, calls upon the emotive body to enliven the daily life of a factory worker and artist.

Link to thesis (PDF)

My artistic practice encompasses abstract painting, photography and sculpture. I use fiberglass, epoxy, pigments, spandex fabric, wood and acrylic paint in my work. While investigating new materials for a sculpture, I begin with mapping what each material connotes, what we associate with this particular material and its historical usage. For example, with the denotation of spandex, one may conjure thoughts of aerobics, 1980’s, elastic, expansive, colourful bodies and revealing forms. I combine
form, colour and traces from my own hand to create a material story. Typically, I paint and build sculptures during the same period, presenting them together in what
I call “constellations”. The direct visual correlation is not always recognisable at first glance. I am fascinated by this confusion in
the viewer. My aim is to open up different perspectives in order for a more contextual complex dialogue to happen regarding race, gender and class issues and their usages in art.

Title thesis:
Idee volgt Ding (Idea follows Thing)
Subject:
My preference for the elusive character of things and my resistance to art that wants to tell a certain idea was the start of a discovery journey to find out what a thing is. This wandered into wondering how art can produce ideas. Maybe when art is vague like a thing?

No, not so easy because it is the mental framework of the viewer that allows this. Or not.
Therefore the subtitle “About the usefulness of adding art works” is more a call to make art that doesn’t intent to be useful and maybe that directionless leads to ideas.

Link to thesis (PDF)

I construct things:

• With love to use uncommon characteristics of materials, to figure out how to connect them, to play with tensions between fragile and rough or between sharp lines and undefined shapes.
• With love to de-symbolize objects, to examen what is behind human behavior like group dynamics and desire or what defines uselessness. Actually, an intuitive deconstruction of how and why we add values to our perception, feelings, thoughts and decisions.

With these interests in the back of my mind a thing is constructed that strives to challenge our understanding. Or to raise doubts beyond alienation.

Title thesis:
Idee volgt Ding (Idea follows Thing)
Subject:
My preference for the elusive character of things and my resistance to art that wants to tell a certain idea was the start of a discovery journey to find out what a thing is. This wandered into wondering how art can produce ideas. Maybe when art is vague like a thing?

No, not so easy because it is the mental framework of the viewer that allows this. Or not.
Therefore the subtitle “About the usefulness of adding art works” is more a call to make art that doesn’t intent to be useful and maybe that directionless leads to ideas.

Link to thesis (PDF)

I construct things:

• With love to use uncommon characteristics of materials, to figure out how to connect them, to play with tensions between fragile and rough or between sharp lines and undefined shapes.
• With love to de-symbolize objects, to examen what is behind human behavior like group dynamics and desire or what defines uselessness. Actually, an intuitive deconstruction of how and why we add values to our perception, feelings, thoughts and decisions.

With these interests in the back of my mind a thing is constructed that strives to challenge our understanding. Or to raise doubts beyond alienation.