Tim segers works in studio # print on a circle linoleum on Zerkal paper, size 42 1/1

Transcription

1 # print on a circle linoleum on Zerkal paper, size 42 1/1

2 Details, handmade frame en packadge

3 # Utop with its cassing trompe l oeil stainless steal powder coated, 1/1 dimension within 1000 / 1200 / 3

4 Serie utop a x 1000 x 3 ST37.2 a Part 1171x 698 mm kg mm² a Part 1110x 626 mm kg mm² a Part 1042x 615 mm kg mm² a Part 1164x 754 mm kg mm² a Part 1037x 760 mm kg mm² a Part 988x 820 mm kg mm² a Part 1147x 817 mm kg mm² a Part 1074x 837 mm kg mm² a Part 1116x 861 mm kg mm²

5 Fitted for safety From the same slap of metal out of which a piece is cut a minature piece is cut aswell. That will function as a thumbprint to identify the genuity of a piece when it leaves the studio. THe accuratie of lasser cutting is impossible to reproduce. Creating this control function supports iconical value of each piece. Technic These pieces that play with the power of a mark can be turned and flipped towards the direction one wants to lay upon a situation. To achif this freedom with a sculpture the use the strong neodymium magnets was applied. Providing a technic of hanging that the power of the forme to the hands of the weelder. This is the utopia behind these sculptures or any other symbolic suggestion to give the overtoning direction.

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7 works in atelier # Utop trompe l oeil A stainless steal powder coated, 1/1 dimension within 3000 x 1500 x 3

8 Serie utop A x 1000 x 3 ST37.2 A Part 1328x 2834 mm kg mm² A Part 1147x 2817 mm kg mm² A Part 1388x 2615 mm kg mm² A Part 1314x 2645 mm kg mm² A Part 1417x 2961 mm kg mm² A Part 1344x 2920 mm kg mm²

9 # prints scolars 2014 Image in serie, 1/1 40 x 54 cm

10 # vectoral scolars 2015 Image in serie, 1/1 varnish on stainless steel

11 Tim Segers work is an on-going investigation. To understand the path he follows, one must trace his career back to its early beginnings when his vision first began to take shape. EDUCATION In his early twenties, Tim has a revelation which signifies the true starting point of his oeuvre. During a tour in Greece where he is impregnated with the ancient school of art, the young artist discovers a culture regulated by myths. He believes the creators of these where focussed on their influence, on effecting a public motion. Tim wonders what would happen when one intervenes in such ideological construct. After his return to Belgium, Tim meets Bernd Lohaus, student of Joseph Beuys and the Dusseldorf school and co-founder of the Wide White Space Gallery. Guided by this man, Tim realizes another way of making art is possible: it should have impact, influence, starlike airs. Inspired by Lohaus guidance and the poetry he stood for, Tim is able to rethink his approach to art and free himself of what he considers to be the ignorance and lack of vision of the Academy of Antwerp at the time. Nonetheless, Tim graduates as a master of sculpture & sitespecific art, as laureate of the price of Belgian acadamies. He further obtains post-master degree in scenography and performance, and a bachelor degree in product design. Throughout the following years, Lohaus keeps stimulating Tim s work in the professional visual arts as well as the academic world. The focal point is always the cretion of a scenographic, dramaturgic scheme, from the manipulation of myths with Passoa bells to perfomances and happenings or a study of the masses to examine possibilities of intervention (bastard bindings, SOI). Tim obtains several awards and commissions from Solvay, Exxon Mobil, the Antwerp modernist theatre building desingel, and takes part in renowned expositions, e.g. Biennale Venice, Beaufort03 and Small Stuff III. In the meantime, the path which grows in Tim took clearer shape.

12 It is high time to get screwed over. We have got a string theory now. But who pulls the strings? The devil comes in many forms. Tim Segers ( Edegem 1983) is an investigator of matter; of power, as a matter of fact. Working for years with his hands manipulating all kinds of materials, Tim began to suspect the existence of a deep language. His goal is to describe a basic grammar of the powers regula- ting any interaction. Power is an illusion, which can be manipulated by appealing to people s desires. It is the fabric of any situation. Power is symbolic, ornamental. Therefore, it can be given or taken. A Porsche being once driven by James Dean is an unreal or- nament to the man claiming its possession. When one is able to use lies, untruths and truths to suggest or deny ornaments, one can create or deprive power. This practice implies power in a leapfrogging way. Thus, the workings of society (as an ensemble of interactions) can be overruled. The added value of the cars being once driven by James Dean is art. According to Tim, art as a symbol without the detour of ideology is art in its purest form. It implies a critique of ideology. In order to be able to exert power one must be devoid of ideology. Ideology weakens its followers: a creator does not adhere to an ideology but implies one within his creations. Since all that exists will naturally gather energy, there is no room for ideological slowdown. Art does not better the world. It can have a function within its environment, yes, like a chair or a table. Art, for instance, creates power: think fascist art without the fascist ideology. It regulates situations. Take following example of Tim s more recent work. Imagine sitting at a desk, opposite a man. The wall behind him seems tilted as if it were going to fall over. You are anxious: the man intimidates you. One of Segers two-dimensional metal sculptures (UTOP) changing the wall s perspective ornaments the man: non-ideo- logical power is given to him. Tim is the author of an oeuvre. His works are steps towards a deeper understanding. In order to grasp his endeavour, one must follow him on a path strewn with trials.

13 design A steal powder coated, 1/1 dimension within 3000 / 1500 / 3 contact info@timsegers.com +32 (0) Belgium Everaertstraat Antwerp