Human Bodies Covered In Clay Surface, 2013
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Two photographic prints on textile that are to be draped over humans, standing in different poses, mimicking Auguste Rodin sculptures.
On the textiles are photo prints of terra-cotta and plasticine surfaces. These clay surfaces are visibly wet and worked on by hands.
The work speculates the surface and the real.
Materials: humans, photo print on textile
Encrusted Puddle Thing, 2013
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Ephemeral wet puddles photographed and resculpted on a plaster crust
wire, plaster, paper, photopint on canvas
Real Things - Explorations in Three Dimensions, 2012
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Series of sculptures exhibited in the solo-exhibition 'Real Things' at Oliver Francis Gallery.
The works deal with space-in-itself, the object-ness of space, sensual space, art-documentation as the art-piece, the real vs. the unreal, facades, gravity, and time.
Link to the video-documentation of the performative sculpture 'Corner In Space'
Download the complete title/description list
Subject Of Labor, 2012
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Series of sculpture studies, using unreal sculptural objects which imitate materials traditionally used in sculpture, such as: vinyl wood,
marbled pvc flooring, marble plastic, paper with stone patterns printed on it, stone effect spray paint, acrylic bronze....
Creating sculptures from fake raw materials, mostly mechanically produced in China and bought at the dollarstore, questions truth, realities and the significance of raw materials as universal means of production.
Life Is Very Long, 2012
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(exhibited together with the performance "The Imaginary Order" at the Bergen Kunsthall)
Sculptural installation with tennis gravel, styrofoam and 60 frozen Dr. Oetker pizzas, which slowly defrosted as the performance went on.
This work explores death, life and time. The title takes its name from a poem by TS Elliot.
Frozen pizzas are fascinating to me, because of their form (perfectly round and disc-like), their simple color palette and their ubiquity. That the life of the pizza is extended by freezing is miraculous and bewildering. During the performance, the audience sees this freezing process reversed; a human size sculpture of 60 frozen pizzas slowly softens and weakens over a 20 minute period. The work smells like pizza, the sculpture appears to droop melancholically at its audience, and the pizzas, once stiff and rigid, hang limp, giving in to earth's gravity.
The Small Blue Gradient, 2011
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I used a small aqua blue gradient as a thread throughout a series of sculptural compositions of ambiguous artifacts.
The blue gradient, one of the most used backgrounds in contemporary studio photography and in contemporary aesthetics. One of the most important signifiers of our age. What is it this artifact?
A Peanut, Half a Horse,
a Chicken Foot,
a Burning Cigarette
and a Black Hole, 2011
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For Giant Bowl I designed the giant inflatable still life:
A Peanut, Half a Horse, a Chicken Foot, a Burning Cigarette and a Black Hole. The work is app. 4.5 meter high and app. 5 meter in width. The inflatable still life consists out of a round disk with marble motif.
Directly placed on this pedestal are 5 inflatable objects: a hyperrealistic peanut (in a shell), a hyperrealistic burning cigarette, a hyperrealistic chickenfoot, half a horse and a thin black disk. This piece can be thematisized as ‘magic surreal—inflatable neo-dada’.
The elements displayed have individually symbolic meanings: the peanut metaphors evolution, primates and a mental condition, half a wild horse is a metaphor for amputation, restrainment and magic shows (box sawing trick). The burning cigarette is a metaphor for fire (the element), smoke (blurred vision) and the dawning of the end, the chicken foot is a voodoo charm which is symbolically used for the “scratching” of the vision of the future. The black disk is representing a black hole which is a symbol for the mighty unknown. Together these ingredients form an inflatable perspective of the future human condition, revealing the dawning of the end of the post modern world.
The Imaginary Order, 2012
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Google home screen printed on foil and mounted on glass, with the name of the artist in the search bar.
This is a performace piece: a woman sits, hangs and presses herself against the glass plate and licks it. Her movements are weak, extremely slow and viscous like dough.
She moves without beginning, without end. She is in a soft state, pushing her mush against the plate which becomes a wall she cannot go through.
This piece is about a parallel, Google existence and the border between the physical and the imaginary. The internet offers the possibility of another kind of life, a non-physical, mechanical existence which resides separate from the body.
On the internet, there is an "ideal" self, a fictional self, that is not real. This parallel persona is reproduced and distributed in a place that we cannot see or grasp, and it lives and decays at a rate different than our physical selves. However, this alternate, Internet being is still a real thing, its thingness Google.
Altars, 2009
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A project of built altars in urban spaces. These altars function in the praise and worship of elements of life as we know it.
A series of built altars in urban spaces. These altars appear to be discrete entities, placed in a number of urban locations, including public spaces, strips of urban nature, facades of domestic building and parking lots. They serve to praise, bless and connect us to 7 important components of contemporary human culture: food, energy, transmission, light, the physical body, nature and home.
About Altars, written by Claudia Seidel
Culture is determined by rites, and altars have always adorned holy places where people worshipp the gods they believe in. The adoration of a higher being often went hand-in-hand with making a sacrifice of some sort depending on the belief system and the symbolic system being enacted. The 20th century, witnessed a decay not only of traditional rites and symbols of religion but also of those concerning how to lead a thoughtful and fulfilling everyday life. Obviously a deeper understanding of life is vanishing somewhat.
The question of what makes sense in life is currently dictated by lifestyle arrangements accompanied by popular books and brochures to compensate the feeling of an inner void. The Altar series introduces a new symbolic system relating to the arrangement of the everyday objects that surround us. According to the service/mission/function of every Altar piece, a special selection of items is arranged and applied at spec
Various Qualities To Orbit The Mysterious Core, 2013
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Installation of a group of eight photographic sculptures.
The pedestals are printed, rather than produced as volumetric shapes, and the sculptures that sit on them are no thicker than the wood they are mounted to.
The sculptures are photographs of sculptures resting on pedestals; the original sculptures consist out of print out (cut-out) photographs; of partly manipulated fingers and hands that are molding clay. Other materials include: fake wood, real wood, terra cotta clay and pottery pieces, plastic terra cotta pieces, dough, plasticine, puff pastry, water, paint, glue, pigment, cement....
Measurements vary between 30 cm to 45 cm in width and 130 cm to 150 cm in height. The complete installation is about two meter in width, three meter long and one and a half meter in hight.
Materials: stick, rubber, fine art print mounted on laminated plywood (cut out by hand).
Sculpture In The Space Between Blinds, 2012
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Photo of a small sculpture balancing in between the space of two blinds
Clay Scrollbars And Several Rocks, 2012
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Inspired by the philosophy of Immanuel Kant inasmuch as it deals with conditions of the possibility to perceive art in space and cyberspace.
The Residue of
those Celestial Objects bound
to our Sun by Gravity, 2009
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Using displacement and reclassification of scientific, cultural, historical and contemporary planetary interpretation, my goal, through visualization, is to purify the human conception of the fellow planets orbiting around our Sun.
About The Residue of those Celestial Objects bound to our Sun by Gravity written by Hili Perlson:
In November 2009, noted historian and semiotician Umberto Eco curated a show at the Louvre entitled “The Infinity of Lists.” From the ‘list of lists’, Homer’s Iliad, to Andy Warhol’s compulsive collecting, the creation of lists - categorizing, cataloguing and collecting - is as old as time. For Eco, the list reflects man’s attempt to rationalize the world, yet behind each list is the sense of ineffability. The fascination with listed objects is thus imbued with a double meaning: they help us understand the world, yet they remind us at the same time that the world cannot be expressed in certain ways.
In her series “The Residue of Those Celestial Objects Bound to Our Sun by Gravity,” Rachel de Joode creates a list in the Eco sense of the word. Her depictions of the Solar system are a collection of cultural and historical references, sagas and metaphors mixed with scientific facts that may or may not explain much about the world, but help us to rationalize it. They are the visual interpretations of the lists that de Joode has comprised for each planet. The visual interpretation stems, in turn, from her own private visual vocabulary, and so, the list in Rachel de Joode’s art is both a universal and a personal rationalization, and an invitation to contemplate one’s own semiotics.
Hili Perlson, Freelance art and fashion critic, Editor-at-large Sleek Magazine Co-Founder Meta Magazine.
TABVLA, 2011
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TABVLA is a photoseries of small sculptural collages coinciding with a guideline pointing out the diverse symbolic properties of each artefact used in the 6 installations.
This work is about the instant information access in the present world. Facts get to be objects. Facts get to be value.
Download the Index accompanying this series (design by Hanna Terese Nilsson)
Size Matters, 2007
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Skin colored objects measured on the face of a man
About Size Matters , written by Claudia Seidel:
