The ‘b.Ond series’ is the result of creating a deeper understanding of the relationship between form and situation. A study that ran before the start of the Utop series. This was the turning point at which Segers completely disregarded any form of ideology for artistic intervention. This choice created a new level of suggestion in which the artwork took the role of the medium. The way a piece is handled or posed in the world is a measure between and for people. These adaptable structures are a cornerstone of the Segers’ work.


Artist Archive, Sequence of cube in motion 2003

Studio Timothy Segers
Hoboken, Belgium
2021

Timothy Segers

A Move Through Skill

Timothy Segers’ work is about the suggestion of freedom. Having enjoyed an academic education in film, cultural studies, product development, sculpture and trained as a blacksmith, Timothy Segers’work is characterised by the integration of sculptures into their surroundings and their adaptability to constantly changing situations. His skilfully produced art pieces find endless possibilities for they can be limitlessly moved and/or re-attached. In this manner, the artist encourages a new form of dialogue between the spectator and the work of art in an ever evolving context. This implies a radical breakaway from the framed pictures and the closed and static suggestions that rule the art scene. The spectator becomes the creator being granted the liberty to determine the stance of the work of art receiving an active dramaturgic role to shape his own environment.

Segers’ quest for a thorough examination of materials, brings him to existential questions on the subject of creation itself, as well as its direction and movement. Challenging the limits of function and space to ultimately overcome them, Timothy Segers’ art pieces fulfill the desire to break down the walls of matter and dimension. They tend to visually outgrow and transcend their own spatiality owning a hue of infinity.

 

Black velveteen steel cut-outs are titled ‘Utop series’ in homage to The Great Utopia, the Russian and Soviet avant-garde. These dark moth-like figures stem from improvisational distorted light drawings, for which vectoring programs were used. The quickly warped sketches, produced in powder-coated steel graphical shapes, can be pinned with magnets on the wall and are customisable to any given environment. These sculptures defy perspective by the dimensionality they create. Light spaces of void have been incised through the rough thickness of steel. Timothy Segers’ work thrives on the transformation of matter, shaping it to challenge the traditional notions of aesthetics. In doing so, the artist has the ability to alter the perceptions of our surroundings. 

 

Whereas the Utop Series deals with the suggestion of space and direction and their impact on the spectator, the ‘b.ond-series’ is a paragon of the interplay between the form of a work of art, the space we grant it and how this interaction influences our lives as viewers. These sculptures are handcrafted and own a direct tactility to their conception. These polymorph sculptures are rolled out of a boiling brew, conceived by hand and in the moment through twisting and turning. These long curly swirls of matter look as if they winded up in the space at hand and transcended their creator, appearing to have been produced rather in and by the situation at hand. Since they are made of a flexible material they can be remodelled to any given situation and space. Their density however allows them to be enlarged. Their versatile character lies in their shape, as well as in the way they are handled and placed. Intended to be enlarged, they can be genealogically tracked by lineage to their original mould. They beautifully reflect the industrial approach recurring in Segers’ oeuvre. 

 

Timothy Segers’ work came first to the attention of the international art world in 2015 in the group exhibition of the GAB, selected Belgian abstraction, curated by Luc Tuymans for Parasol unit Foundation in London which later travelled to Museum of Contemporary Art in Antwerp, M HKA.

 

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Partners

Trampoline Gallery

Location

Antwerp Belgium

Dates

2017

Tommy Simoens Gallery
Antwerp, Belgium
2018

Timothy Segers

A Move Through Skill

Timothy Segers’ work is about the suggestion of freedom. Having enjoyed an academic education in film, cultural studies, product development, sculpture and trained as a blacksmith, Timothy Segers’work is characterised by the integration of sculptures into their surroundings and their adaptability to constantly changing situations. His skilfully produced art pieces find endless possibilities for they can be limitlessly moved and/or re-attached. In this manner, the artist encourages a new form of dialogue between the spectator and the work of art in an ever evolving context. This implies a radical breakaway from the framed pictures and the closed and static suggestions that rule the art scene. The spectator becomes the creator being granted the liberty to determine the stance of the work of art receiving an active dramaturgic role to shape his own environment.

Segers’ quest for a thorough examination of materials, brings him to existential questions on the subject of creation itself, as well as its direction and movement. Challenging the limits of function and space to ultimately overcome them, Timothy Segers’ art pieces fulfill the desire to break down the walls of matter and dimension. They tend to visually outgrow and transcend their own spatiality owning a hue of infinity.

 

Black velveteen steel cut-outs are titled ‘Utop series’ in homage to The Great Utopia, the Russian and Soviet avant-garde. These dark moth-like figures stem from improvisational distorted light drawings, for which vectoring programs were used. The quickly warped sketches, produced in powder-coated steel graphical shapes, can be pinned with magnets on the wall and are customisable to any given environment. These sculptures defy perspective by the dimensionality they create. Light spaces of void have been incised through the rough thickness of steel. Timothy Segers’ work thrives on the transformation of matter, shaping it to challenge the traditional notions of aesthetics. In doing so, the artist has the ability to alter the perceptions of our surroundings. 

 

Whereas the Utop Series deals with the suggestion of space and direction and their impact on the spectator, the ‘b.ond-series’ is a paragon of the interplay between the form of a work of art, the space we grant it and how this interaction influences our lives as viewers. These sculptures are handcrafted and own a direct tactility to their conception. These polymorph sculptures are rolled out of a boiling brew, conceived by hand and in the moment through twisting and turning. These long curly swirls of matter look as if they winded up in the space at hand and transcended their creator, appearing to have been produced rather in and by the situation at hand. Since they are made of a flexible material they can be remodelled to any given situation and space. Their density however allows them to be enlarged. Their versatile character lies in their shape, as well as in the way they are handled and placed. Intended to be enlarged, they can be genealogically tracked by lineage to their original mould. They beautifully reflect the industrial approach recurring in Segers’ oeuvre. 

 

Timothy Segers’ work came first to the attention of the international art world in 2015 in the group exhibition of the GAB, selected Belgian abstraction, curated by Luc Tuymans for Parasol unit Foundation in London which later travelled to Museum of Contemporary Art in Antwerp, M HKA.

 

Subscribe

Partners

Trampoline Gallery

Location

Antwerp Belgium

Dates

2017

Trampoline Gallery
Antwerp, Belgium
2017

Timothy Segers

A Move Through Skill

Timothy Segers’ work is about the suggestion of freedom. Having enjoyed an academic education in film, cultural studies, product development, sculpture and trained as a blacksmith, Timothy Segers’work is characterised by the integration of sculptures into their surroundings and their adaptability to constantly changing situations. His skilfully produced art pieces find endless possibilities for they can be limitlessly moved and/or re-attached. In this manner, the artist encourages a new form of dialogue between the spectator and the work of art in an ever evolving context. This implies a radical breakaway from the framed pictures and the closed and static suggestions that rule the art scene. The spectator becomes the creator being granted the liberty to determine the stance of the work of art receiving an active dramaturgic role to shape his own environment.

Segers’ quest for a thorough examination of materials, brings him to existential questions on the subject of creation itself, as well as its direction and movement. Challenging the limits of function and space to ultimately overcome them, Timothy Segers’ art pieces fulfill the desire to break down the walls of matter and dimension. They tend to visually outgrow and transcend their own spatiality owning a hue of infinity.

 

Black velveteen steel cut-outs are titled ‘Utop series’ in homage to The Great Utopia, the Russian and Soviet avant-garde. These dark moth-like figures stem from improvisational distorted light drawings, for which vectoring programs were used. The quickly warped sketches, produced in powder-coated steel graphical shapes, can be pinned with magnets on the wall and are customisable to any given environment. These sculptures defy perspective by the dimensionality they create. Light spaces of void have been incised through the rough thickness of steel. Timothy Segers’ work thrives on the transformation of matter, shaping it to challenge the traditional notions of aesthetics. In doing so, the artist has the ability to alter the perceptions of our surroundings. 

 

Whereas the Utop Series deals with the suggestion of space and direction and their impact on the spectator, the ‘b.ond-series’ is a paragon of the interplay between the form of a work of art, the space we grant it and how this interaction influences our lives as viewers. These sculptures are handcrafted and own a direct tactility to their conception. These polymorph sculptures are rolled out of a boiling brew, conceived by hand and in the moment through twisting and turning. These long curly swirls of matter look as if they winded up in the space at hand and transcended their creator, appearing to have been produced rather in and by the situation at hand. Since they are made of a flexible material they can be remodelled to any given situation and space. Their density however allows them to be enlarged. Their versatile character lies in their shape, as well as in the way they are handled and placed. Intended to be enlarged, they can be genealogically tracked by lineage to their original mould. They beautifully reflect the industrial approach recurring in Segers’ oeuvre. 

 

Timothy Segers’ work came first to the attention of the international art world in 2015 in the group exhibition of the GAB, selected Belgian abstraction, curated by Luc Tuymans for Parasol unit Foundation in London which later travelled to Museum of Contemporary Art in Antwerp, M HKA.

 

Subscribe

Partners

Trampoline Gallery

Location

Antwerp Belgium

Dates

2017

Parasol Unite
London, England
2015 – 2016

Timothy Segers

A Move Through Skill

Timothy Segers’ work is about the suggestion of freedom. Having enjoyed an academic education in film, cultural studies, product development, sculpture and trained as a blacksmith, Timothy Segers’work is characterised by the integration of sculptures into their surroundings and their adaptability to constantly changing situations. His skilfully produced art pieces find endless possibilities for they can be limitlessly moved and/or re-attached. In this manner, the artist encourages a new form of dialogue between the spectator and the work of art in an ever evolving context. This implies a radical breakaway from the framed pictures and the closed and static suggestions that rule the art scene. The spectator becomes the creator being granted the liberty to determine the stance of the work of art receiving an active dramaturgic role to shape his own environment.

Segers’ quest for a thorough examination of materials, brings him to existential questions on the subject of creation itself, as well as its direction and movement. Challenging the limits of function and space to ultimately overcome them, Timothy Segers’ art pieces fulfill the desire to break down the walls of matter and dimension. They tend to visually outgrow and transcend their own spatiality owning a hue of infinity.

 

Black velveteen steel cut-outs are titled ‘Utop series’ in homage to The Great Utopia, the Russian and Soviet avant-garde. These dark moth-like figures stem from improvisational distorted light drawings, for which vectoring programs were used. The quickly warped sketches, produced in powder-coated steel graphical shapes, can be pinned with magnets on the wall and are customisable to any given environment. These sculptures defy perspective by the dimensionality they create. Light spaces of void have been incised through the rough thickness of steel. Timothy Segers’ work thrives on the transformation of matter, shaping it to challenge the traditional notions of aesthetics. In doing so, the artist has the ability to alter the perceptions of our surroundings. 

 

Whereas the Utop Series deals with the suggestion of space and direction and their impact on the spectator, the ‘b.ond-series’ is a paragon of the interplay between the form of a work of art, the space we grant it and how this interaction influences our lives as viewers. These sculptures are handcrafted and own a direct tactility to their conception. These polymorph sculptures are rolled out of a boiling brew, conceived by hand and in the moment through twisting and turning. These long curly swirls of matter look as if they winded up in the space at hand and transcended their creator, appearing to have been produced rather in and by the situation at hand. Since they are made of a flexible material they can be remodelled to any given situation and space. Their density however allows them to be enlarged. Their versatile character lies in their shape, as well as in the way they are handled and placed. Intended to be enlarged, they can be genealogically tracked by lineage to their original mould. They beautifully reflect the industrial approach recurring in Segers’ oeuvre. 

 

Timothy Segers’ work came first to the attention of the international art world in 2015 in the group exhibition of the GAB, selected Belgian abstraction, curated by Luc Tuymans for Parasol unit Foundation in London which later travelled to Museum of Contemporary Art in Antwerp, M HKA.

 

Subscribe

Partners

Trampoline Gallery

Location

Antwerp Belgium

Dates

2017

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