TEXT ELISE EERAERTS
The totality of the works constitute a coherent whole through internal relationships and repetition. The system of
processes – used from 2007 until the present – consists of a duality of geometric ideas (shapes and plans) and
physical objects that originate from these concepts. Unlike the shapes, the plans have a certain scale because
architectural elements are inherent to them. More specifically, entrances, passages and stairs would direct the
movement and the field of perception of the person in each self-contained fictive plan. In the beginning, the system was
first applied to two shapes that surfaced: e f . They generate new plans and shapes by the use of fragmentation and
geometrical transformations, such as mirroring, rotation and scaling.
When formal concepts are transformed into physical objects, they obtain certain formal properties concerning
scale, size, material, location and placement. By creating formal oppositions a field is constructed in which precise
possibilities become substantial. On the one hand this implies infinite formality (concerning scale, size, material,
location, and placement), on the other hand, concrete objects and processes are extracted from this method. The
processes and experiments that make a work specific and ‘existent’ create certain interpretations, expressive elements
or even narratives within the work. It is not my intention to point those out, but rather to look at the consequences of
them.
PORTFOLIO TEXT DESCRIPTIONS:
[0]
This is a text experiment that contains a typeface that is derived from all shapes and plans.
1.1-1.13,2.1-2.6
Mäntsälä [project & video stills]
If an object is made with an unclear intention concerning its content, people might see nothing - or they see buildings,
animals, objects from outer space (the future), temples (the past), small daily objects … in it. In the work Mäntsälä
[video] the participants of the project Mäntsälä speak about their ideas about the meaning of the object that was made
together. The sculpture had been dug out of the earth in seven stages: in each stage a certain amount of earth was
removed. The sculpture measures 150 cm x 300 cm x 400 cm. Its shape at excavation on 31st of May 2008, constitutes
the first form in the continuity of plans and shapes.
3.1
plan 2: blue screen
The work plan 2: blue screen is a transparent façade that consists of three plates of industrial blue glass. The three
glass plates are attached to each other in angles of 135 degrees so that they make up corners equal to those of
an (extruded) octagon. This octagonal prism‘s height, width and length are based on the proportions of a cube that
measures 2m x 2m x 2m.
The blue screen is a fragment that comes from plan 2 realized in scale 1:1. plan 2 contains specific blue and red colors
that are part of the subtractive color system. However, these two specific colors don’t subtract each other in this plan,
they are subtracted in plan 3.
3.2
plan 1 (scale 1:1 and 1:150)
plan 1 consists of grayscale colors. The image plan 1 (scale 1:1 and 1:150) represents a digital drawing that refers to
the original scale of plan 1. The physical height of plan 1 would be 36 meter. The rectangular figure on the left is a 1:1
scale fragment that refers to the empty section in the middle of the 1:150 scale figure on the right.
4.1, 5.1-5.5
3 videos
Minerals and crystals appear naturally as geometrical objects. Devoid of their context, they are abstract materials. 3
videos is a video work in which both objects and crystals are combined. In these videos the crystals together with the
objects were filmed in 16mm. The objects are placed in a neutralized field, seemingly size-less, material-less and placeless.
The middle monitor depicts the process of producing the films by showing the short flashes of the beginnings and
ends of each film reel and the repeated restart of the camera. The video on the left monitor shows one shot of a crystal
gradually becoming darker and finally melting/exploding. The right monitor shows a montage of individual moving
objects and crystals. The represented objects are derived from a small number of plans or shapes.
6.1-6.2
plan 2: stair: hundreds of pieces
The work plan 2: stair: hundreds of pieces is based on the stair around the octagonal centre of plan 2. All the planes
that would be necessary to constitute this stairway are two-dimensionally presented in five stacks of cardboard.
On each piece within the stack there is a copy of the same print depicting the total plan of the stair containing
measurements and details of each piece. Each digital print is marked referencing the part of the stair it represents.
These full-scale pieces lie on a large table as if they are as if they were ready to be assembled into a model. The planes,
however, are in sections. In the production process, each successive piece was generated/cut from the leftover of the
previously cut piece. The geometric patterns these fragments form within the planes, look irrational, but they are the
result of a consistent working method.
7.1
Mäntsälä [project]
After a couple of months grass and other plants started growing on the excavation.
8.1, 9.1-9.4
plan 4(2): stair: 6 units
plan 4(2): stair: 9 units
plan 4(2): stair: 1 unit
There are two identical stairs in plan 4(2), which would each lead to other spaces. plan 4(2): stair consists of 18
deconstructable units, of which each is a step. Together they can form one stairway, one unit, but in different exhibition
set-ups they were presented in various formations, according to the architecture of the space. When the stair is
constructed as one piece, it is in fact possible to ascend the staircase, but each step narrows towards the top. The
reason for this lies in the proportion of the stair’s own geometry and its place inside plan 4(2). The treads of plan 4(2):
stair are made of laminated particle board in marble décor commonly used for kitchen counters.
10.1,10.2 10.3,10.4
stretched cube and cellar
plan 4(2): 2 stairs (scale 1:100)
plan 4(3) (scale 1:50)
plan 4(2) (scale 1:200)
stretched cube and cellar is an isometric drawing of a stretched cube over the vaults of an actual basement space.
The shape of the stretched cube originates from plan 2, where it is placed in its centre. There it is conceived as a red,
transparent object within the blue screen and the surrounding stairway. The red and blue colors could be perceived by
ascending the stairway. The images that picture plan 4(2): 2 stairs (scale 1:100), plan 4(3) (scale 1:50) and plan 4(2)
(scale 1:200) are photographs of objects made during the working process.
11.1-11.2
extruded octagon (window)
The work extruded octagon (window) was exhibited in a deep cellar. There were four long steep stairways from the
ground level to be taken, before entering the space. The extruded tube from extruded octagon (window), which is
located about four meters high in one room, brings in natural daylight. The octagonal shape that frames the tube and
that connects it with the inner space originates from the bottom planes of the stair around the octagonal prism of
plan 2. Yet the size is based on the dimensions of the cellar, namely the size of the vent.
12.1,12.2
plan 4(3): 24 units
plan 4(1) (scale 1:200)
plan 4(3): 24 units is a digital drawing that displays the top view of each of the 24 units which form plan 4(3) when they
are put on top of each other. In plan 4(1) (scale 1:200) the negative geometrical shape of plan 4(1) is cut into a block
of talc stone.
13.1-13-2, 3.3-13.4
7 units (octagonal table-set) [room]
7 units (octagonal table-set)
7 units (octagonal table-set) is a flexible table made of fiberboard that consists of seven units. These single parts
are created as segments of a flat octagonal figure. Because the eighth segment is missing, the void in the centre
is accessible. This void is an imprint from the octagonal prism in plan 2; and accordingly the elements of 7 units
(octagonal table-set) represent the ground plan of the stairway in plan 2.
The photographs titled 7 units (octagonal table-set) [room] show the seven units installed in an interior and a studio
context. There are multiple possibilities to configure the table: because the angles of the units are supplementary the
elements can also be placed in a long line. When they were in use, the elements functioned as a table but also as a
shelf and sitting device.
14.1
stretched cube and cube
stretched cube and cube consists of a line drawing of folding patterns for two three-dimensional shapes, namely a cube
and the stretched cube from plan 2. The two patterns overlap and are repeatedly scaled down from the edges of the
page to the centre.
15.1-15.8,15.9,15.10
plan 2: stretched cube [video stills]
extruded octagon (Alexanderplatz) [video still]
stretched cube (rotating) [video still]
In the video plan 2: stretched cube the red, transparent stretched cube from plan 2 is being made from one sheet of
plastic at full-scale. extruded octagon (Alexanderplatz) is a split screen video that shows the work extruded octagon
(window) while it is being transported on a cart. There are views filmed from inside the tube combined with views from
afar. The vertical video stretched cube (rotating) shows a digital version of the stretched cube from plan 2. The form is
rotating slowly around its own axis. Its color is cyan, which is the opposite of red in the subtractive color system.
16.1-16.2
plan 4(1): 27 units (scale 1:200) [detail]
plan 4(3): 24 units (scale 1: 70)
plan 4(1): 27 units (scale 1:200) is comprised of 27 pieces of talc stone. An entire 1,8 ton block of talc stone with a
diameter of approximately one meter was cut into parts according to a three-dimensional cubic grid that constitutes
three times three sections. Subsequently, the middle unit is a perfect cube and all 26 matching parts reveal material
irregularities. Talc stone is an extremely soft and fragile stone, yet it’s weight is heavier then the average weight of
natural stones.
The work plan 4(3): 24 units (scale 1: 70) is cut out of green marble. Its scale is 1:70; its shape forms plan 4(3) when
all the slices are placed on top of each other. The marble is cut as thin as possible according to its material properties,
which makes the work very fragile.
17.1-17.4
plan 4(1) (scale 1: 200), plan 4(3): 24 units (scale 1: 70) and plan 4(3): 3 top volumes: 12 units
[exhibition view]
In plan 4(3): 12 units 12 multiplex objects constitute the three upper volumes of plan 4(3) in full scale. Each of these
three volumes is fragmented into four segments according to the radiuses of the octagonal ground plan of plan 4(3).
18.1-18.9
Looking for a diamond
The video installation Looking for a diamond is the result of a collaboration with Jeremias Holliger. It deals with the way
we look at/through/for objects. The narrative mainly focuses on the diamond, moreover, it includes indications that the
way we see things can be more than it seems. The installation was set up for 4 days. Every day the installation changed.
19.1-19.5, 19.6-19.14
pars pro toto
it’s so sad
The work pars pro toto consists of 180 triangular necklaces that were given away during the event of the exhibition. The
necklaces are nearly identical to the ones created for the work looking for a diamond and they are modular: one can turn
them into endless amounts of three-dimensional shapes. This endlessness is being referred to in the printed text and
drawing.
it’s so sad emerged from the triangular necklaces which are part of the work pars pro toto. Being centered around these
objects, the video shows a senseless situation in a supermarket and an unsuccessful excursion to a place that consists
of triangles.
20.1-20.3
Was glänzt, ist für den Augenblick geboren; das Echte bleibt der Nachwelt unverloren (Faust)
Was glänzt, ist für den Augenblick geboren; das Echte bleibt der Nachwelt unverloren (Faust) consists of a galena
crystal and a cube which is split into two parts. The negative imprint in the two cubic objects is the exact shape of the
galena crystal. The cube refers to the highest symmetry which is found in gold in the cubic crystal system; whereas the
galena crystal mainly contains lead and sulfur.
21.1-21.5
plan 4(3): 10 units
The shape of plan 4(3): 10 units is a detail of plan 4(3) that is realized in its true scale. The work is made of 1.5 mm
stainless steel sheets that are cut and then folded. From certain perspectives the work looks solid, whereas from other
points of view one can look though the object; due to the material and formal properties the work shifts in perception.
22.1, 22.2-22.5, 25.1, 37.1-37.2
stretched cube [spast]
spast film 2011
spast film 2012
The work stretched cube (spast) consists of an object of 2 meters in height. It is comprised of six aluminum plates that
can be assembled and disassembled. The work is able to be reconstructed and is portable with its own custom-sized
backpack. Through its ability to be conveniently transported, stretched cube (spast) took on an improvisational nature
as it reacted to the context of an array of spatial situations. stretched cube (spast) physical and formal properties is
derived from a visual effect through three-dimensional anamorphosis; the shape of the stretched cube can also be
perceived as if it were a perfect cube depending on the viewpoint of the spectator. As the object is ‘curated/ exhibited’
in space, that feature gives the possibility to control what other people see, a stretched cube, a cube, or both.
spast film 2011 and spast film 2012 are video’s created in collaboration with artist Alice De Mont.
spast film 2011 is a video featuring stretched cube (spast) that was filmed in different unstaged situations: the place
where the video had been exhibited, the factory where the object had been laser-cut, on the bus while in transport,
inside the work plan 4(4) (scale 1:5) and within the exhibition space.
spast film 2012 consists of 2 videos of stretched cube (spast) within the main sites of the exhibition. Wandering the
typical landscapes and around other artworks that were in process at the exhibition space, stretched cube (spast) was
finally thrown down from the church tower.
23.1,24.1-24.5
plan 4(4): (scale 1:5)
plan 4(4): (scale 1:5) is a site-specific work made in collaboration with architect Roberto Aparicio Ronda. The work
consists of about 8 tons of loam, a special type of earth. The material was first delivered and brought inside the
exhibition space.
The earth was rammed together into four layers on top of one another. The work is a positive volume that contains the
negative volume of an octagonal prism, with a diameter of 2 meters. The positive volume is determined by the specific
geometry of the exhibition space with its arcs and columns. Certain architectural elements are included in the work.
In the future plan 4(4): (scale 1:5) is planned to be integrated in the demolishment process of the building.
26.1-26.3, 27.1
plan 4(1) (scale 1:2) – pigeon tower lo
The work plan 4(1) (scale 1:2) – pigeon tower lo is located in the city of Lo, next to Lo’s existing pigeon tower. Around
the city of Lo many buildings have been rebuilt after being destroyed during World War I. plan 4(1) (scale 1:2) –
pigeon tower lo reflects the idea of reconstruction and originality through its built form as a new pigeon tower. The
measurements of the octagonal ground plan of the work are equal to the interior diameter/plan of the existing pigeon
tower. The grid of plan 4(1) (scale 1:2) – pigeon tower lo is based on the interior of the existing pigeon tower which is
divided into compartments where the pigeons nest. The work consists of wooden planks treated with a green protective
coating that fades away over time. The grid is constructed with planks that are solely connected by half lap joints
to create a self-supporting structure. plan 4(1) (scale 1:2) – pigeon tower lo is made in collaboration with Roberto
Aparicio Ronda.
28.1, 29.1-29.2
reflected directions (labyrinth)
reflected directions (labyrinth) is a walkable floor labyrinth in the main lobby of the North Station. The labyrinth has the
shape of a compass needle tip which exactly points to a large compass rose on the wall of the same hall symbolising
orientation. The labyrinth in contrast, requires a complex path. This reflects the tension between the intentions and
expectations of travelers on the one hand, and the complicated tangle of railway station architecture and railway
infrastructure on the other hand; basically, two different orientation logics. The shape of the labyrinth is based on a grid
with two directions: that of the actual North-South connection, from station to station, and that of the north and south
wind directions. The direction of the winds is shown as a continuous line, while the direction between the stations is
determined by the beginning and end of the maze. By integrating the directions into the work an locating symmetrically
the main station hall on it, the visitor is able to orient himself in a larger context.
30.1-30.3, 31.1, 32.1-32.5
plan 2: octagonal prism – moving space
In the work plan 2: octagonal prism – moving space the work of art as an object is considered in its material properties,
not as a static object but as a performative act in itself. A portable system that is carried to and assembled in chosen
locations, stages temporary situations hosted by its shape and presence. The work’s shape, being an octagonal prism,
is to be situated in similarly shaped environments. For a series of performances in Copenhagen, the chosen spaces
where the shape was assembled were Frederiksberg Kirke, Amalienborg and Gammelstorv. These public spaces contain
octagonal architectural features shaped as a church, a square, and a fountain. All of these sites have a historic context
and while moving around, in and through the object, participants were invited inside for a walk and explanation about
the site’s context. Through these actions, the object becomes a space in which a performance takes place as a guided
tour in these various contexts. At the conclusion of the tour the participants are asked to fill out an evaluation form. The
evaluation form itself starts to question, the seemingly absurd, situation that just occurred.
33.1-33.2, 34.1-34.3
submersion (eupen)
submersion (eupen) is a video of a performative experiment. It is part of a series of works, submersions [work in
progress]. The concept of the project is to create an opening in the water’s surface by submerging a transparent shape.
The object is made of one piece of transparent polyester; its edge is aligned with the water’s surface to make a negative
volume within the mass of the water. The work is performative, movable and temporary; it is free of site specificity.
submersion (eupen) was the first full-scale test, realized in the city pool of Eupen, Belgium. This experiment created a
new situation because the object became flooded and floated through this first attempt of submersion (eupen). This is
part of the unpredictable nature of this work. In the future this project will develop into further experiments that will lead
to new approaches and ideas.
35.1-35.3, 36.1
plan 2: octagonal prisms – reconstructing a column
The roof of the Neue Nationalgalerie is supported solely by eight columns around its perimeter. This design allows for
a structure whose enormous interior space is nearly entirely open. plan 2: octagonal prisms – reconstructing a column
reacts against this spatial arrangement by erecting a column within the museum’s interior. The work, which is lightweight
and movable, consists of thin brass bars and metal cables arranged in a system of tensional integrity – or “tensegrity”
as it was named by Buckminster Fuller. Tension between the elements balances the bars and the cables, giving volume
to the structure and allowing plan 2: octagonal prisms – reconstructing a column to take form.
Performative as well as sculptural, the work is repeatedly de- and reconstructed during the course of the exhibition,
each time being moved around within the space. Nearly touching the ceiling, the object articulates and makes explicit
the scale of the Neue Nationalgalerie’s massive open space.
38.1-38.2, 39.1
complementary volumes
In complementary volumes, the dimensions of two spatial components are determined by one another’s presence. A
large, opaque object is supported by a frame surrounding it, and the volume of the frame is in turn dependent on and
defined by the presence of the inside shape. Thus, both components balance each other in a tension that is immediately
palpable to the visitor.
40.1-40.2
reliquia
reliquia is made of solidified olive oil and laurel extract. Its specific substance is hard to recognize when perceiving
the object, and remains unidentified to the viewer, which adds to reliquia’s abstract nature. When it was exhibited in
an ancient castle, the object was staged in an encounter with other objects from an existing catholic manger setting.
In its presence – as a stranger among these figurative and highly symbolic objects – the abstract quality of reliquia is
amplified, refiguring the meaning and qualities of the figurative objects.
41.1-41.8
tutorial (blocks)
The work tutorial (blocks) starts as an instructional video about how to make brick objects from clay-bearing soil from
the site where the scene of the video takes place. Usually only the surfaces of the objects we see shape our knowledge
and experience of materials and volumes. But the act of creating an object and therefore having knowledge of its core
substance makes the manufacturer aware of its inside content and mass.
In the video, the narrative of the tutorial turns when the laurel plant appears, and the objects move away from their
position. When one of them is smashed to pieces, it seems to contain another smaller object inside. What lies beneath
the surface of the place where the material was originally resourced are, instead of soil, the finished objects themselves.
Towards its ending, the video resumes the tutorial format by showing the fire-hardening process of the objects,
undergoing their final material transformation.
See the video on: vimeo.com/117795549
42.1-42.5
blocks
blocks is made of clay-bearing soil. It came into existence using local natural resources in a remote setting in Italy.
On the very grounds where the work was made, there used to be several kilns for brick-making in the past. blocks are
modular, and can form various compositions and shapes. When exhibited, the work is not static; people can touch and
experience the modularity of its shape. blocks are the protagonist in video tutorial (blocks).
43.1-44.2
obtrusive object (viridis)
obtrusive object (transitional indigo)
obtrusive object (viridis) and obtrusive object (transitional indigo) are massively made of solidified olive oil and
colorants. obtrusive object (transitional indigo) contains a colorant dye which is slowly changing color from yellow
to indigo due to a chemical reaction that is triggered by the material properties of its core substance. The sculptures
are part of the video project obtrusive objects [in progress] where objects present themselves in an unusual, strange
way. The reason for this lies in the idea that we do not actually know the thing-in-itself, but when we are dealing with
the things our perception beholds, we often assume the way objects exist, is obvious and understandable. This notion
touches the core or our being.
45.1-45.3
fire pit (blocks)
The video fire pit (blocks) shows the firing process of blocks through the traditional method of a fire pit. A hole is dug,
filled with sawdust and within it the objects are placed to be fired during the course of a night. During the firing process
a humming/singing performance took place around midnight. The live sound recording of this performative ritualistic act
is included in the sound sequence of the video.
[shapes and plans (2007-2015)]