Tijn Gerards

I am constantly confronted with outcomes that seem to undermine. By means of a process in which the unconscious is made conscious I play with this undermining. This, I learned, is my natural tone. Respectful, yet iconoclastic at times. Both the visual language of conceptual art and everyday banal building- and/or construction materials are part of my visual vocabulary. However, I do open the door for the associative and human. By addressing the dynamics of what we perceive to be static, I emphasize a process of becoming - inherent to ourselves and the materials we are surrounded by - an endless game between representation and mediation. I take the role of the director, but the viewer makes the image. Micro-aggressions, powerplay, fragmentation, control versus chaos and covert/overt play I use to activate a continuous feedback loop with the materials I choose to work with. This causes the works to embody the movements by which a composition is able to break free from the scheme of its own construction. The outcomes can be busy, complicated or the exact opposite, but are critical, aware of their own influence and the manipulative power of their respective mediums.