Anne van Eck
dal 4/11/2011 al 2/12/2011
Segnalato da
4/11/2011
Anne van Eck
Ververs Gallery, Amsterdam
Van Eck's creatures are not usually recognizable as real animals. They remain somewhere in between rodents, frogs and puppies, however these sculptures can be seen unequivocally as symbols of birth, death and transitoriness
"Cold. red, wet (and vulnerable)" Roel Arkestein, curator GEM, museum of contemporary art, The Hague
Exhibitions with Anne van Eck's work frequently resemble curio-cabinets from a Kunst- und Wunderkammer. She presents her sculptures on tables or -as in the GEM in The Hague, during the first Haagse cultuurnacht, in 2003- in metal scaffolding-like shelves. More often than not the collection consists of animal figures made from red, unfired clay. However, this term, 'animal figures' requires somewhat of an explanation. The creatures Anne van Eck makes has nothing endearing or anecdotal, nor are they in any way waggish. They are the most helpless, unsightly creatures that one can imagine. Naked, blind and as slippery as new-born animals, they lie on their bellies or sides. one can not yet discover any form in their bodies and usually they fit to loose and sloppy in their wrinkled skin. The curious proportional relationship between the body parts of these animals contributes to the suggestion that this concerns undeveloped creatures. The heads of these animal figures are much too big; the limbs, which seem to be searching for something to hold on to, are proportionally too Small. The creatures are not usually recognizable as real animals. they remain somewhere in between rodents, frogs and puppies.
Van Eck's sculptures can be seen unequivocally as symbols of birth, death and transitoriness. Her work reveals a compassion with all that is vulnerable. In order to keep the clay sculptures from drying out -which would lead irrevocably to fractures and disintegration- they need to be continuously watered. Just as with real animals, the survival of the slippery-wet beasts is a question of continues care. Often after a exhibition the artist decides to perform euthanasia on her sculptures by withdrawing the intensive care. Recently van Eck began to experiment with materials of a more permanent character such as modelling wax, latex, polyester and ceramics. Nevertheless these sculptures appear to be just as frail as her clay sculptures. Except for the association one makes with her new born animals who can barely tolerate the light of day, these sculptures evoke visions of laboratory animals, clones or other artificial interventions performed on nature by man. Van Eck's sculptures are also about creation in a more metaphorical sense. Her work has been compared to the Jewish myth of Golem, where a human, fashioned out of clay, is brought to life. In a similar way, against one's better judgement, Van Eck wants to breathe life into a lifeless substance; an endeavour that is irrevocable doomed to fail. For example when her pet rat died, as a substitute she kneaded a bigger than life-size model out of clay. Van Eck's creatures assume a place somewhere on the border-line between life and death- their look is at ounce disturbing and impressionable.
The titel refers to the book by Leo Vroman; "Warm, rood en lief" (1994)
Opening: November 5, at 5pm
Ververs Gallery
Hazenstraat 54 - Amsterdam
Free admission