First Things First 2, Young artist from the HISK September 2007
REIKO KANAZAWA’s interest lies in the relation and interaction between social and religious history, as well as her own personal experiences and environment. Using mixed media, including installations, sculptures, video and text, her works interrogate the perception of reality and redefine the divergence between the Western and Japanese ways of perceiving reality in a poetic way.
Playing with fragments extracted from our everyday environment, LEA LAGASSE ‘s works unsettle our perceptions. Objects are suspicious; rebellious; dysfunctional and humoristic: any part of our surroundings can suddenly become the receptacle of intimate hallucinations. Each installation is a self-contained system where reality can somehow become uncertain and ambiguous. The choice of each medium is deliberate in order to interrogate its characteristics and limitations. "Trompe l’oeil" video projections, absurd scenographies and artifacts that deceive and mislead cause the audience to loose their bearings and blur, for an instant, their sense of self-consciousness.
MAX SUDHUES’ work collages objects from daily life with various types of projections. In installations, video loops, slide projections, single-channeled films and site-specific interventions I work with moved and moving pictures of shadows and light, transformations of banal objects into poetic and bizarre associations. He is interested in disarranging and alienating points of view, in changes of dimensions, which may also change the viewpoint of the spectator. Sometimes it´s just about the small time period of not really knowing how to classify: new possibilities occur. For a short moment, he wants to confuse and tell a different, poetic story distinct from the well-known.
By means of basic building materials HANS WUYTS constructs installations which give a first impression of enclosed man-sized pinhole box cameras. These improvised constructions support video projections and mechanical movements which lay bare aspects of time and space. Reflections concerning art, the artistic calling, and his own fascinations are the focal points through which his installations of image, movement and space come into being. Through an endless chain these components sense each other without actual ‘actualisation’, or without having to merge into a univocal, converging image. The intended purpose of ‘one single image’ constructs a chain of a multitude of images by means of spatial aspects which evoke that ‘one’ single image as being absent. Scale varieties, slow-motion video scenes, abstracted architecture, driven mechanics or scintillating canvasses seamlessly merge as a deconstructed principle in a disclosure. From this disclosing perspective, the shift from an original context mirrors into a continual shift between architecture, sculpture and the art of painting in the installations themselves. His aesthetic convictions and visual strategies are situated on these transgressions of boundaries. By means of different installations he inquires into the duality of an open or closed character of a specific boundary. He either emphasizes the obstruction or the open character of the installation or chooses not to do so while the viewer is positioned opposite the structure. Text :Joris Vermeulen, Antwerpen 2006.