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.