Stijn Ank
04 Oct - 15 Nov 2015
STIJN ANK
Unvoid
4 October - 15 November 2015
What happens between the time when there is practically nothing, and the emergence of something that is definite or definable? What happens between the conception of an idea, before the idea as such exists, and the actual realization of the idea? What are the hidden processes at work during creation? What is the nature of the creative process?
Unvoid is one of many possible answers to those questions. It shows what goes on from the inaugural instant – the moment when matter is still out of the picture – to the emergence of a work of art. Unvoid is the revelation of what happens before matter emerges as, or condenses into a tangible thing.
Sculptures that are cast in closed molds remain mute about the creative process from which they originate. The use of a cabinet with one glass side, a side that acts as a border between what happens inside and what goes on outside, offers the opportunity to disclose the process itself. What happens inside the cabinet, which is a coincidental enclosure, just like the universe, now catches our eye. We see that there is no actual result but the process itself.
What’s more, we see that matter, pure and poor as it may be, while it appears from nowhere, has a will of its own, taking a course that cannot be controlled.
Text by Karel De Sadeleer
Unvoid
4 October - 15 November 2015
What happens between the time when there is practically nothing, and the emergence of something that is definite or definable? What happens between the conception of an idea, before the idea as such exists, and the actual realization of the idea? What are the hidden processes at work during creation? What is the nature of the creative process?
Unvoid is one of many possible answers to those questions. It shows what goes on from the inaugural instant – the moment when matter is still out of the picture – to the emergence of a work of art. Unvoid is the revelation of what happens before matter emerges as, or condenses into a tangible thing.
Sculptures that are cast in closed molds remain mute about the creative process from which they originate. The use of a cabinet with one glass side, a side that acts as a border between what happens inside and what goes on outside, offers the opportunity to disclose the process itself. What happens inside the cabinet, which is a coincidental enclosure, just like the universe, now catches our eye. We see that there is no actual result but the process itself.
What’s more, we see that matter, pure and poor as it may be, while it appears from nowhere, has a will of its own, taking a course that cannot be controlled.
Text by Karel De Sadeleer