it stands on itself
it reveals time
it reveals movement
it reveals velocity
it reveals slow pace
it reveals it’s surroundings
it reveals our building, connects our separate floors
it reveals organic structure, air, light and color
it is fragile
it is heavy
this is it
(Thomas Bakker - March 24, 2019)
STIJN ANK (°1977)
Ank’s body of work can be considered as an extensive research into the relationship between matter and void and the various ways in which contemporary sculpture can be defined in relation to its surrounding space.
Marking off the boundaries of a certain chosen space, Ank creates moulds with a variety of materials such as wood, aluminium, lead and rubber, which he then casts in plaster. During the casting process he mixes pigments with the liquid plaster, letting the material render their ultimate appearance. The works created by this process are both fragile and robust, delicate and solid, light as a feather and heavy as lead.
For Ank his works are not merely sculptures placed in space but 'stances' or 'subjects' that appear out of the space itself. They do not refer to any reality or to themselves as objects and they define themselves on the basis of the relationships with both the viewer and the space, thus continuously changing.
‘I want to open up the world', Ank says, 'to a subjective experience of the real of a new ‘thing’ in the ‘reality’ of this world.
I am in search of new originals (origins) that can lead to new suggestions. It’s my strong belief that these new origins are to be found in an untroubled state of mind and body, where we are free and unconditioned: free of meaning and unconditioned in the use of our senses. Everybody is sensitive to such a pure awareness because everybody has experienced it in the early stages of life.
It became clear that the sensible experiencing of space is deeply original and pure. This untroubled experiencing comes forth from a certain ‘sensitivity’. It is with this ‘sensitivity’ that I approach each new context where I try to feel how a new ‘stance’ can grow and make sense in time and space.’
Ank's artistic practice is split in two parts. One is the daily output, which is based on an intuitive creation of new pieces in the studio. Those pieces disclose or unfold themselves out of moulds that mostly emerge from coincidences. The second part of his practice is the site-specific approach, where Ank injects works into often overlooked architectural spaces that only appear during the period of the exhibition. For those works he uses the space itself (or certain borders of it) as a mould.
For Club Solo the attitude is slightly different and unique as for the frist time he will create a work on site that has its roots in an earlier studio work, which means the two parts of his practice come together here.
Building up a work on site is a very time-intensive process, and its outcome reflects the time it took to make it. In addition, these works only have a short lifespan — as is the case in Club Solo, where the work will be demolished after the exhibition.
The very temporary nature of an on-site work, which is contrasted by the time-consuming creation process, heightens our realization that we're experiencing something real that may not allow itself to be experienced again in reality. For a short while these works can thus broaden or transform our sense of the space they inhabit.
Ank doesn't give his works conventional titles, but numbers them, which he explained earlier like this: ‘The titles indicate a place in time and in a series of works in which particular preoccupations can be found when the works were created. That way they form a personal diary of my intuitions at a particular moment. Sometimes I have the impression I am casting time in layers.'