Using bits, chunks, crumbs of my photographed skin I created an abstracted photographic sculpture.
“The Colour of Me also takes a geometric base for its form, one that reimagines the surfaces of the artist’s own body in a painted abstraction seeking some form of truth. It is a representation that extrapolates the visible surface of the artist into a hypothetical body. Using a geometric form to represent something as organically supple as the human physique creates a switchback for the eye. This is not a portrait, not as we know it, nor is it any kind of traditional figurative sculpture, and yet it is both — a metamorphosed conglomeration of impossible structures, a composite body that allows us to study the strangeness of skin, our everyday colour container. The work replicates the average dimensions of the artist’s own body: 165cm high, 45cm wide, and 20cm deep. It is also an average of her skin colour. But what colour is skin really? The racially loaded names for skin tone remain contested, fragile and inflammatory notions, badly chosen colour labels that don’t come even close to any true tonal descriptions of our dermal surfaces. Here de Joode looks more deeply for a truth of colour in her own skin, asking herself what colour she is. The result is a self-rendition, photographed, modified, fused, warped and digitally painted in an impossibly non-human form, where a surreal surface becomes the location to search for a truth in skin colour, revealing a superficial signifier that exists only in our perceptions.” - text by Din Heagney
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
Ephemeral wet puddles photographed and resculpted on a plaster crust
wire, plaster, paper, photopint on canvas
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
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.
(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.
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.
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.
Lasercut photo mounted on aluminium-dibond, marble, stainless steel, brass 140 x 105 x 25 cm
From my solo-exhibition Dust Skin Matter at Diablo Rosso Gallery in Panamá City.
"In Dust Skin Matter Rachel de Joode explores the relationship between dust, the human body and matter. Dust is everywhere, dust is the tale of the becoming object. Dust is the stuff of which we are made – ‘ashes to ashes and dust to dust’, and, in the form of tiny meteorites, the space-borne remnant of the birth of the universe. Skin is covering us, matter is all around, shadows are things. We live in deep space. What is there? A lot of things are here."
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).
Photo of a human finger not touching the crusted edge of a meteorite
Photo of a small sculpture balancing in between the space of two blinds
Inspired by the philosophy of Immanuel Kant inasmuch as it deals with conditions of the possibility to perceive art in space and cyberspace.
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: