Rinus Van de Velde
Physical Items Themselves Are Not Evidence, 2009
Rinus Van de Velde uses signs as a means to put a recalcitrant reality in order. His starting point is shaped through the world of photographic representation. Having an extensive personal archive of images ranging from (semi)scientific magazines such as the National Geographic to biographies of artists and scientists, these images form a rich source for series of drawings in which the source material is still recognizably present. The resemblance between all these pictures is not so much what they show but how they show it. By using the photographs as material for a drawing and by situating it in a different context by adding text, Van de Velde ignores the facts and creates space to tell a personal story. The aim isn’t to tell the reality behind the photo but to create third degree myth. Many of the photographs that Van de Velde references are part of an ideology that isn’t completely right or which hasn’t survived the test of time: like the deep rooted faith in the myth of the artist as authentic or autonomous, scientific progress or paternal exotism. Instead of dismantling, Van de Velde weaves through text and reciprocally references a new story. The result is a sort of mirror-universe, inhabited by brave alter-egos that map the world around them and function as ideal representatives of the actual artist.
When Suddenly It Hit Me, 2009
Maarten Vanden Eynde
Small wooden sculpture, planed square on one side, the other is inflicted like a burned lump or black tumor, like a stick dipped in dark matter.