Inside
House Paint, Plaster, Cotton
310 x 270 x 172 cm
2022
I believe that today’s institutionalised art world is heavily shaped by the binary concept of ‘Inside Outside’. The perception of art and the art world in general are based on hierarchical relations that divide art from its viewer and reinforce class differences.
This contrast between inside and outside is visible in two characteristics of the art world:
First, people are divided into insiders and outsiders. Insiders believe to know art, probably were socialized into many forms of art from an early stage and deem high art as a relevant part of their life. Outsiders are people that believe that high art is not for them. They often dislike forms of art that they perceive as high art and mainly consume popular culture.
Second, ‘Inside Outside’ can be found in the distanced relationship between art and its viewer. Often, there is a strict divide between the artwork and the audience, pushing the viewer to the outside. This is especially prominent in classical genres such as landscape painting. Such works are perceived to have special intrinsic qualities, portraying them as unique objects that are made by a superior individual. This creates an enormous distance between the artwork and the viewer that stops any interaction beyond individual intellectual experience.
In my work, I try to fight the excluding characteristics of the institutionalised art world. I am aiming for a more inclusive approach that enables non-hierarchical interaction between the artwork and the viewer. The work tries to bridge the distance between the audience and the artwork by inviting the viewer to become part of the work. Instead of framing it to make it stand out of its environment, the work becomes part of it, enabling diverse forms of experience. By standing and walking on it, the viewer leaves traces and develops the artwork further. Therefore, the artwork becomes a collective activity that weakens the divide between the artist and the viewer. Every person has an impact, transforming the artist’s individual creative process into an inclusive communal practice.
House Paint, Plaster, Cotton
310 x 270 x 172 cm
2022
I believe that today’s institutionalised art world is heavily shaped by the binary concept of ‘Inside Outside’. The perception of art and the art world in general are based on hierarchical relations that divide art from its viewer and reinforce class differences.
This contrast between inside and outside is visible in two characteristics of the art world:
First, people are divided into insiders and outsiders. Insiders believe to know art, probably were socialized into many forms of art from an early stage and deem high art as a relevant part of their life. Outsiders are people that believe that high art is not for them. They often dislike forms of art that they perceive as high art and mainly consume popular culture.
Second, ‘Inside Outside’ can be found in the distanced relationship between art and its viewer. Often, there is a strict divide between the artwork and the audience, pushing the viewer to the outside. This is especially prominent in classical genres such as landscape painting. Such works are perceived to have special intrinsic qualities, portraying them as unique objects that are made by a superior individual. This creates an enormous distance between the artwork and the viewer that stops any interaction beyond individual intellectual experience.
In my work, I try to fight the excluding characteristics of the institutionalised art world. I am aiming for a more inclusive approach that enables non-hierarchical interaction between the artwork and the viewer. The work tries to bridge the distance between the audience and the artwork by inviting the viewer to become part of the work. Instead of framing it to make it stand out of its environment, the work becomes part of it, enabling diverse forms of experience. By standing and walking on it, the viewer leaves traces and develops the artwork further. Therefore, the artwork becomes a collective activity that weakens the divide between the artist and the viewer. Every person has an impact, transforming the artist’s individual creative process into an inclusive communal practice.
