J a n n e C l a e s
WHAT IS THE VALUE OF OBJECTS IN A CONTEXT ?
SCHIKKEN EN SCHUIVEN, Konvooi, samenwerking On The Point, Brugge, Cyanotype, 2019
Nightshop Chez Madeleine, Candy shop, Brussels, 2019
WARP, K1, Sint Niklaas.
DE (ON)EINDIGHEID VAN HET (ON)GECONTROLEERDE
“ what is the value of objects in a context”
When one enters a space, any space, there is a staged setting displayed in the way the maker of the space imagined. The way humans will experience the objects & the space, is a pre-determined scenario.
The space is stopped in time and picked apart by it’s maker and has taken the essential things with it, to then be installed again in a new context on a a different location. The space, is an atelier, a working place or laboratorium.
Scenario 1.3
The spatial planning will be experienced here by means of a rack, table, light-box and television.
First there is a film shown. In the film there is a setup of the essential things that are reinstalled by the maker in a different space. The experience of the object & the spatiality becomes different. It is the introduction to a scenario what could be experienced or played in the “now” in the current space.
The shapes / bodies / objects in this space are developed from materials that start from nothing but are developed into something. The idea is that these materials can be used and re-used all the time by which the most essential part of continuity is kept in stance.
The light-box is a start of the work with the title “de (on)eindigheid van het (on)gecontroleerde”. It is the beginning of the idea that an induced state of flux and endlessness in compositional possibilities is made possible. That there is a constant possibility for change. This originated because the maker is inspired by the light-box being a tool for presentation and a tool for drawing.
The rack refers to archiving and saving the different possibilities within objects and materials. It makes it an inexhaustible source of information.
The table is a moment of confluence, dining, communicating…
When one has wandered through the space, one shall engage in finding that: The triptych – object, matter, spatial completion – is essential in the creation of new meanings and continuity. Hereby, these elements question the value of object and form.
view of Movie, 2018
Silver Objects, 2018
Light installation, with objects out of different materials to gesture new compositions.
June, 2017
Table installation with differentphotograms/compositions.
June, 2017
Comp.20170420
Photogram, June 2017
Presentation infinite transparant book on overhead projector.
June, 2017
Table with photogram. Light installation with objects. Overhead projector with book, Dia projectors on screen. June, 2017
Een chronologisch overzicht van composities die in het jaar 2016-2017 zijn vastgelegd door verschillende apparaten: digitale camera, I-pad, analoge camera, scan, screenshot..
Comp.20170420
Materials: Ceramics, Textile, lead, parafin, castresin, rubber.
All materials have no residual value and come from the idea starting from nothing and going to something in the same way the technique of weaving: you have one thread and you create a surface.
Presentation at TIG # 5 Tumult/ Design Museum: Fimo objects installation. April 2017
Presentation at TIG # 5 Tumult/ Design Museum: Window composition of objects. April 2017
Light installation with different materials objects.In collaboration with Maranne Walravens Presentation at MAP, KASK Gent, April 2017
Installation with Fimo material objects. Presentation at MAP, KASK Gent, April 2017
Installation with Fimo material objects. Presentation at Zwarte Zaal, KASK Gent, Februari 2017
SPACIAL COMPOSITION IN FLUX
An In between spatial research to form and different material combinations in hard and soft material who can be connected visual or fysical.
Photo of Composition:2156 / Materials: lead, steel, plastic fabric and concrete.
April 2016
Photo of Composition:2565/ materials:steel and concrete
April 2016
Photo of Composition:2365/materials: steel, lead, concreteand marble.
April 2016
Transparant work of all compositions in different layers for creating new compositions.
material: Lime paper.
Gourvernement Gent, June 2016
AS I WAS WALKING THROUGH CITIES
As I was walking through cities, I was making pictures of the architecture.
Noticing the buildings that I photographed had the same structure most of the time. And my photos focus on the lines in the buildings (horizontal-vertical).The pictures I would later interpreted, and translate into drawings, My drawings are the beginning for different suggestions in my pieces. A continuation for my compositions on which I base the selection of materials and qualities I want to use. Their feel, atmosphere can be found in my drawings. To put this in an actual piece, I began folding my fabric. Folds that I change during my process.The compositions will evolve naturally over time, as I process and develop my designs further. Tending to make the same evolutions in compositions, as the evolution in the structures I photographed.
The research led to black on black - white on white - black on white - white on black compositions. The dark colors with different greyscales,Related to the use of colors, the quality of the textile is important, Using less color makes it more interesting to play and combine different materials and to get gradients and an (smooth) evolution with (small) accents.
Key words in this work:
BINDINGS/ COMPOSITIONS OF THE DRAWINGS, DIFFERENT MATERIALS WHO ARE RELATED TO MY DRAWINGS THESE DRAWINGS WHO ARE AGAIN RELATED TO MY PICTURES. /THE COMPOSITION OF THE FOLDS_
photo in Bergen, Norway
February 2015
Presentation photo. Weaving and iron
May 2015
Presentation photo. Jaquard
May 2015
