Roeland Huys
www.myspace.com/roelandhuys
About my work
As a spacial artist I find myself moving trough structures that define the perception of the artistic act.
The process of this act has become the object of my work.
Through out a personal evolution I’ve became aware of the influence that space and context lay upon the outcome of an ‘art’-object.
Within this determination the process becomes an equivalent in importance as much or more so than the object itself. In this case the object can be reduced as a result of this process, captured through
registration.
Never the less I find myself to purify the act through anticipation of an audience.
Being present within a space, alternating it, or adding a new context to it , is a way to intensify the perception of everyday’s environment.
I try to handle the idea of flexibility at all time, whether in choosing locations or the materials I use.
Because the act it self is volatile, so often are the materials, loose components that are easily assembled in a variety of form or shape, whether pre-composed or used ad hoc.
The environment and my own residue created throughout an act is a process that puts certain things motion. On one hand there is the act of presence in witch registration often are the only remains.
Otherwise the intervention dwells on in the context where it was constructed, alienated by the absence of the intention by the artist, consumed and annexed by its new territory.
It lives on as it becomes like the act itself, an object of perception and investigation.
About my work
As a spacial artist I find myself moving trough structures that define the perception of the artistic act.
The process of this act has become the object of my work.
Through out a personal evolution I’ve became aware of the influence that space and context lay upon the outcome of an ‘art’-object.
Within this determination the process becomes an equivalent in importance as much or more so than the object itself. In this case the object can be reduced as a result of this process, captured through
registration.
Never the less I find myself to purify the act through anticipation of an audience.
Being present within a space, alternating it, or adding a new context to it , is a way to intensify the perception of everyday’s environment.
I try to handle the idea of flexibility at all time, whether in choosing locations or the materials I use.
Because the act it self is volatile, so often are the materials, loose components that are easily assembled in a variety of form or shape, whether pre-composed or used ad hoc.
The environment and my own residue created throughout an act is a process that puts certain things motion. On one hand there is the act of presence in witch registration often are the only remains.
Otherwise the intervention dwells on in the context where it was constructed, alienated by the absence of the intention by the artist, consumed and annexed by its new territory.
It lives on as it becomes like the act itself, an object of perception and investigation.
