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  • IERTU, NIKEYSWODA, GARFINOSWODA, SNIBURTAD, ELBEETAD

    IERTU, NIKEYSWODA, GARFINOSWODA, SNIBURTAD, ELBEETAD
    lichtervelde BELGIUM

    suckerPUNCH: Describe your project.

    nick ERVINCK: Whoever studies Ervinck’s work is constantly torn between two worlds, virtual and physical. As an artist he refuse to close himself in one of the two worlds. This hybrid zone between therefore remains the ultimate playground for his imagination, a place where art and technology come together in a kind of monstrous beauty.

    The oeuvre of Nick Ervinck has one foot firmly planted in the digital world. This means that he does not only use the computer as an instrument, but that the digital logic largely determines his artistic thought and method as well. Using copy-paste, he applies images, shapes and textures of extremely diverse origins: basilicas, corals, dinosaurs, cottages, Rorschach inkblots, Chinese rocks and trees, Henry Moore and Hans Arp, manga, twelfth-century floral wallpaper, the anatomy of the human larynx, and so on. These elements are then digitally reproduced, mirrored, distorted and assembled. During this process, Ervinck works with procedures and patterns, although intuitive sculptural craftsmanship maintains a crucial role throughout the creative process. He thereby strives towards a balance in the final image between structure and complexity, figuration and abstraction, fancy and symmetry

    NIKEYSWODA and GARFINOSWODA (2011-2012) seem made ​​of two components, although they three-dimensional printed as a whole. The blue smooth shape contrasts with the yellow explosive structure that embraces her. The combination evokes a dynamic tension, a symbiotic struggle to manage the physical space.

    SNIBURTAD and ELBEETAD (2011-2012) exists both as a 3D print and a HD 3D animation video. Inspired by the voluptuousness of the so-called ‘Rubens woman’, this work tries to create a dialogue between old and new. It shows us how new technologies can be used to renew or reinvent the art historical tradition. In this piece, there is an apparent tension between the round forms and the fragile structure surrounding it. Instead of being the internal support structure (endoskeleton), the skeleton is situated outside of the body tissue (exoskeleton). This only amplifies the effect of a bulging formlessness that seems to extend itself in space.

    sP: What or who influenced this project?
    nE: Deer antlers, basilicas, corals, dinosaurs, cottages, Rorschach inkblots, Chinese rocks and trees, Henry Moore and Hans Arp, full figured women out of the paintings off Pieter Paul Rubens, manga, twelfth-century floral wallpaper, the anatomy of the human larynx, and so on.

    sP: Whose work is currently on your radar?:
    nE: Everything I have the change to see, but mostly sculptors like Anish Kapoor, Tony Cragg, and so on.

    Additional credits and links:
    [WEB SITE]

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