Timothy Segers
UTOP
Timothy Segers, makes objects that stem from light, unmediated, improvisational gestures, realized in the moment. He devises them without knowing their ultimate destination, as indeterminate objects that can be positioned by others: the curator, the collector and, ultimately, the viewer. Segers makes a quick drawing on his phone, who he distorts and then produces them enlarged in powder-coated steel pieces that are hung on the wall with magnets.
Banner, Timothy Segers, Utop a8, archived obj., 2021
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“An artwork is not finished by just placing it.Hold it, express yourself through it, do something with it. Art is a language you can play with. It offers suggestions.”
Article by Frank Heirman about Timothy Segers in GvA, 2016
The utop gives a mark the properties of an object. This twist translates a drawn element outside its frame. The artwork supports the ability to turn around and flip the direction in the object to reshape how the space is experienced. Making any situation a black canvas for the intent of the beholder. Before the Utops I started to folded up paper boxes with the top covered in black marks.
Artist Archive, Sequence of cube in motion 2003
Timothy Segers
Utop a8, archived obj., 2021
powdercoated steel
120 x 100 x 03
Utop and the symbolicale value at a turn of the hand is a movement that brings together the source of our interaction. the way we turn a suggestion to make our point is as we make a mark. this hidden methode is within every act, every painting, word, object to which we connect a symbolic understanding.
In this manner using perspective the utops where created.
The serie is in constant evolving on how we create direction and a space more efficiently. The wondering of this experience is moving away from these first positions of our anthropcentric view. When we and our way of handeling are surpassing the juke of nature on our path.
In this manner the first steps towards these directing object are applied to the world at large and seeks the mastery of objects. Setting the objects as a subliem experience tapping in to the anthropocene and a level of civilisation that is still a magical experience to us.
When I was assisting an artist, my eye stumbled on a meter high collom lying in the midst of some other collected personal values under a side table of his office. It was a Brancussi. He pulled and lifted the piece onto the table. He got it when he traveled to meet his studio when he was about my age.
I imagined the train journey home to Germany, with a ignited wunder and fire holding the large handled form that so easily and naturally travelled the room as it once would have made the voyage in the young man’s hands. It is a knowledge understanding of how things move and how we move it. Our interpretation of these moments translates to the sense of our interaction. In this time I learned I started on a path to translate this understanding. Of how you pass on this value for matter and people.
Bottom parts of endless columns I to III in the study, autumn 1933 Gelatin silver print, 17.9 x 12.9 cm Center Pompidou, National Museum of Modern Art, © Sucesión Brancusi – All rights reserved, VEGAP, Málaga, 2018
“Timothy Segers is fully aware of the Western roots and values the underpin in 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. For individual experience and the collective unconscious, we are moving towards the benifit of the next infinity
Referring to the eccentric prints and the evolution of the chinees language from the yijing, explains how we have evolved ourselves in the using of the language and how very recently our position to this origine has now completely changed. The understanding of a repositionable object, as the sculptures of Segers focuss on our abbility. On the maner we make an effect in our surrounding. It is in the making concious of how we place and handle an object in our world that we become aware of its impact.
Timothy Segers
Utop tryptic, 2016
set of 3 lino block prints
in round frames each dia 40 cm
“His skilfully produced art pieces find endless possibilities therefore 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
Timothy Segers
M HKA , 2016, Utop 3D nr. 2,
powdercoated stainless steel
475 x 200 x 180 cm
[Timothy Segers ] How we formed the shape and flow of matter has usually been an unconscious act. It is in refining an equipollent action that we create a measure. A measure that defines us by the consequences of how we have made an impact.
