MODULES IN MOTION:

ROCKING MODULE

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studio view 2019

(prototype)

carboard, concrete

​1,8m;0,78m;0,78m

MODULES IN MOTION:

concept sketch 2019

Modules in Motion are sculptures that, together, form an experimental playground. These moving modules are designed to react to simple movements like pushing, pulling, falling, running, climbing, emerging, ... While being used by spectators, they become the art installation themselves. The main goal of Modules in Motion is to use complex technology to create social, elementary experiences.

When Michelangelo started his David in 1501 he and a sizzle formed the imaginary connection between a rough block of marble and the most famous sculpture in art history. When today we want to reproduce this sculpture; a CNC milling machine and its operator form this connection. Modern technology doesn’t replace man, it only gives a bigger responsibility to “the sizzle”. As an experimental sculptor I still consider myself the connection between my ideas and their realization; on hand holding the sizzle, the other at a computer keyboard. The creation process of Modules in Motion is a dialogue between traditional casting, which relates to Ancient Rome, and modern techniques like laser cutting. The moving sculptures react to the actions of a spectator using ancient physical principles such as leverage, contra weight, modularity. They combine traditional and contemporary materials like stone (the contra weight) and cardboard (the lever). This combination of digital and handmade, new and traditional form within sculpting, a “sizzle” that is stronger and faster than ever before. The question is: How does this influence our sense of imagination? If Michelangelo had a CNC milling machine, what would David have looked like? Modules in Motion is a series of sculptures which react to simple movements like pushing, pulling, falling, climbing, emerging, … Together, the modules form an art installation/playground in which people can push over the objects, run through them, jump or climb on them, … Modules in Motion researches perception by letting a spectator physically experience the sculptures. This game of action and reaction between spectator and object turn the art installation into a performance. Just like the production technique, the final installation approaches sculpture as a discipline from a new, experimental angle; where ancient physical principles relate to contemporary man.

MODULES IN MOTION:

ROLL OVER MODULE

concept sketch 2019

MODULES IN MOTION:

TILTING MODULE

concept sketch 2019

Struck By Sunlight

(upper left)

2019

painting: acryl on wood

1,44m;1,44m;0,063m

O'Wall

2019

painting: acryl on wood

0,74m;0,87m;0,04m

The Light Is Coming

From The Left

2019

painting: acryl on wood

0,74m;0,87m;0,04m

HOMAGE TO A CHAIR-GIJS COENEN-BOZAR-SCULPTURE

HOMAGE TO

A CHAIR

@BOZAR 2016

polyurethane, chinese ink 2m;1m;1m

A number trivial everyday coincidences bring about an image that in contrast is not trivial at all. An image capturing time, fixated on the wall. “Homage to a chair” is a massive abstraction/ concretization of the world that surrounds me. It’s the accidental compilation of numerous things: a chair, a blade of grass, a spine, a cone, ... developed into an intuitive design. The imagery is brought together by a game of contrast, tensity and repetition in which it carries connotations despite these abstract conditions. A spectator starts to think, to doubt and looking for a reason why. But the solution is absurd, trivial, like the waving grass, a chair standing in a room or a mountain reaching for the sky. It’s the accidental course of events that defines their position until someone, while passing by, takes its time to behold them, the way he does.

O'SOIL

2019

blue concrete, stainless steel

1,37m;1,13m;1m (500kg)

ROCKING MOTION I

2017

steel,rope,wood

9m;9m;4m

SOLO

EXIBITION:

WHERE THEIR

CONTENT LIES

@Serre Hasselt

2019

A CREATURE 

HESITATES

2019

acryl on wood

1,80m;0,85m;0,036

O'BODEM

SUR FACE

2017

plaster, copper

0,4m;0,324m;0,4m

O’Bodem is an angular blocky distorted shape held together by a tight copper rack. Its shape is founded in a simple drawing and adjusted during the making process. Every step was an abstract game of line corresponding with shape, ink with matter, of drawing corresponding with model. This game of ping pong played by third and second dimension led to a very angular shape which in my opinion looks very much like a cheap. Although O’Bodem has an abstract root he flourishes while being interpreted.

CONTINGENT COLORED COMPOSITIONS

2017

ink on paper, wood

0,31m;0,31m;0,018m

PUSH & PULL

2017

ink on paper, wood

0,94m;1,58m;0,054m

OSAE COMI WAZA

2018

acryl on wood

0,867m;0,736m;0,036m

OUT OF TONGUE AND GROOVE FROM TIP TO TOE

2017

mdf, concrete

0,40m;0,22m;0,95m

Composition with four identical objects which seem to be functional but in reality are absurd.

OBJECTS,

LIKE THE GRASS

 2016
polyurethane

0,05m;0,2m;

0,075m

ROCKING MOTION II

2017

steel,rope,wood

10,3m;1,2m;6,3m

Een wijds uitgestrekt landschap, wolken die kalm
voorbij drijven op een helder blauwe hemel, het gras
dat doorheen zijn rijk aanbod aan kleuren een zoemend geluid toelaat; tussen het ruisen door, daar sta ik te genieten. Zowel de kleurenrijkdom als de ruis die zich doorheen het gras beweegt vinden hun oorsprong in het talrijk zijn van het gras. Elk sprietje heeft zijn eigen kleur, die nauw aansluit bij de kleur van zijn buur maar erg verschilt van de grassprietjes verderop. De verdeelde combinatie van groen, roodbruin geel en wind die er doorheen blaast, vormt een beweeglijk pallet dat maar moeilijk te begrijpen valt en bij gevolg makkelijk is om te aanschouwen. Eén grassprietje, roodbruin van kleur, door de wind gebroken, geïsoleerd in mijn gezichtsveld, betekent weinig na zo’n spektakel. Geplukt door mijn hand is hij zijn relatie met de rest verloren, en draagt niets meer bij aan het golvende kleurcontrast van het geheel, net zoals het golvende geheel geen kleurcontrast meer bijdraagt aan hem. Hijzelf neemt niet meer deel aan de gelijkmatige choreografie van zijn grondgenoten. De beweeglijke massa, die zijn schoonheid putte uit talrijkheid, heeft hem verlaten. Bij al dat zoeken en aanschouwen 

stuit ik op iets merkwaardigs...

“Objecten zoals het gras” is a story, written in Dutch, about a fictional character walking in a wide hilly grass landscape, finding objects in the grass that seem to be... in a way comprehensible. Yet he can’t seem to put his finger to them.

I wrote this story to explain my chaotic work indirectly, regarding that chaos can only remain chaotic, if it remains unclear.

OBJECTEN ZOALS HET GRAS

story on paper

RUNNER

2014

TEK7

0,07m;0,05m;

0,05m

In order to make a Modernist's chess game functionality had to be the ground rule of my design: After rejecting the original design of all the chess game pieces the shape of every piece had to grow out of its possibilities, defined by the board game rules: The bishop, only being able to move diagonal on the board, came out of this experiment as a very mechanical piece that seems to "run" while moving. This is remarkable yet a bit humoristic because it forms a wordplay with the Dutch designation for bishop:’Loper’, literally translated as: ‘Runner’

MODULES IN MOTION:

CAPTURING MODULE

concept sketch 2020

© Gijs Coenen all rights reserved