Timothy Segers
b.Ond
To have been fully granted the path towards this production gives me great joy. Conceiving how the unfathomable condensed itself into the right materials and skills needed for these new creations has opened an entire new space of influence. We happily share our results and hopefully can do so continuously while the experience grows in the coming months.
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 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 versatile character lies in their shape, as well as in the way they are handled and placed gives a measure of the situation and people that hold it.
Sculpture: Timothy Segers: b.Ond isobetadin, 2020
Partners
Partners
Reference exhibitions
Reference exhibitions
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Reference text
The ‘b.Ond series’ is the result of creating a deeper understanding of the relationship between shape 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
“[Segers ] A good setting provoces interaction. There is no theme, no concept needed beyond the skill to set something in the right way.”
Timothy Segers
b.Ond Ngola, 2018
Polymer, length 159 cm, dia ca. 4cm
provided with hand-made dark red velvet satchel
Segers works embodies a physical barrier that drives the crowd. Many works of art seek to make a social impact, but they are bound by the spirit of time or the culture. Segers works follows an early understanding of the use of abstraction. How systems, matter and habits can be applied beyond our cultural embedded symbolic value.
And the art of putting this expanded form into life as a mystic confrontation. Which describes a new layer, a concept that comes forth and what goes beyond our consciousness. Artworks that are creating such sublime experience.
It’s like the experience between Mark Rothko’s rectangle planes or the disorientation felt while walking through a Richard Serra. But even in the cradle of abstraction, like Kazimir Malevich, it’s very clear how they handle and share the unexplored possibilities beyond the reality that we know.
What makes Segers works pioneering in this line of uncovering the unknown, is that he removes the artwork from its framework. Each piece becomes an interactive experience, which is made to become part of the expressions of the crowd.
magazine.artland.com/stories-of-iconic-artworks-mark-rothko-seagram-murals/
“Timothy Segers is fully aware of the Western roots and values that underpin the education that shaped him. He acknowledges the drive towards development inherent in Western culture. He neither condone nor criticizes it, and chooses instead to work with these forces, subtly altering their course.“
Kate Mayne, 2017
This rather unique focus of Segers to create artworks as a means of expression is a sign of our time. Because the concept of an artwork is quickly disappearing when it goes through the many curatorial styles and it gets integrated into our personal lives and preferences.
We soon lose the concept like a dead language. For Segers, this contemporary position of the artwork determines a different level in which the artist influences. The objects that he creates embody a timeliness, which holds on to the applicable nature of the abstract.
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.
Random notes, Gretta Welsh, 2020
