ART & CULTURE | by AIDHA BADR | 17 JULY 2020
ROELAND TWEELINCKX: THE ART OF INTERVENTION
In a culture that is entirely saturated by digital images, self-representation and endless communication, the 49-year-old Belgian artist, Roeland Tweelinckx, through small interventions, plays with our optical observation and perception. By creating surreal situations and short circuits which engage viewers in a critical reflection of the predicament that is our post-digital world. Most of the objects utilized by Tweelinckx are household or ordinary objects from an already existing reality such as electric sockets, cables, support beams, pillars, a broom, radiators, pipes etc. These objects that he creates himself, then manipulates or distorts them in a way that displaces their functionality, renders them useless. By modifying the nature and the context of his objects, Tweelinckx provokes the viewer to reconsider the situation.
The Truth Is In The Middle, 2020. Existing paint tubes, aluminium, plastic
23 x 3.5 x 3.5 cm
Half Full, 2013. Cola bottle, cola and resin 20 x 6 x 6 cm
Tweelinckx's works between creating sculptures and site-specific interventions in galleries or public spaces, with a strategy that lies in these interventions being barely visible, the viewers eyes roam around a space devoid of clear signs of art, and once noticed, his comical interventions take over the entire space, irrespective of how minimalistic or invisible they are intended to be.
Blue Column’s (intervention) 2014, wood, paint and the architectural environment, dimensions variable
Seemingly playful and innocent, the works by Tweelinckx carry a lot of weight, "my work looks very simple or minimal, but it is very layered. Each work is stripped down to become an abstraction of itself, stripped of its unnecessary details. I'M very serious about my work, but my work can also bring a smile to your face, art should not always be serious, not for me at least, you can laugh with it, but it’s not a gimmick. It’s yours to keep." Tweelinckx tells LOS GATOS.
Better When We’re Together, 2016 . Synthetic resin, dimensions variable,
Some of his works can be seen as a critique on society, expectations and love, and working within the tradition of the trompe l'oeil, Tweelinckx makes light of reality. "With my work I create expectations, I'm misleading people — putting them on the wrong track, but with a lot of love." Tweelinckx's intention is to open a dialogue between his works and the viewer, creating a space for what has been seemingly been lost, rather than employing the aesthetic significance of ordinary objects.
"By cutting a rectangle out of the glass, the print and the frame, the subject is literally and thoroughly removed. So through this intervention on the framed picture, it becomes an object, or a sculpture. The context becomes more important than the subject, and the context becomes the subject."
- Tweelinckx about The Absence Of The Essence
Absence Of The Essence, 2017. Print, Wood, Oak frame, paint and glass (Archive paper / canson 210 gram) 98 x 73 cm
Support Carriers & Composition With Sockets, 2011. Metal, paint and the surroundings, displaced existing sockets, a copy and the surroundings.
Most of his ideas start off as a sketch, but he could also be inspired by situations that he encounters on the street, or in a shop, or from a fire extinguisher that he notices in a building where he regularly passes, or just a lyric from a song, or a rushing thought that occurs to him while cycling. "My challenge is channeling my ideas, and registering them. There's just too many ideas and my head never stops, the idea of Double Beam came to me when I when I took a walk in the city of Mechelen (Belgium), when I passed a house that was being rebuilt, there were two beams lying in front of the house, they lay side by side, parallel, but I saw them as if they were literally connected, as one object, a nonsense construction, so in my mind it became immediately a sculpture, a ready made that I recreate in my head."
Double Beam, 2016. Wood and paint. 250 x 70 x 20 cm
How Did I Get Here, 2020 . Metal, yellow paint and existing ceramics, 105 x 56 x 12 cm
All images courtesy the artist.