Dennis Hambeukers  (1976)

Dennis Hambeukers

Lives and works in Maastricht (Netherlands)
1994-2002 MSc Technical University Delft (Systems engineering, Policy Analysis and Management)
2004-2008 Visual Arts Academy Maastricht (graphic design)
2001-2006 Academy of Visual Arts Maastricht (Autonomous Visual Arts)

Short statement
Art is the research of the unsayable. The artwork is the residue of a mental process.
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We, humans, are equipped with the consciousness that drives us to understand the world, but we don’t have the capacities to do so. This drive is the force behind all research: science, art and philosophy. Art has a special place within this trinity, because it works with a special kind of information, one that goes beyond the realm of words. It’s also unique because within art it is paramount that intuition and intellect co-operate. If you look for quality, this cooperation is necessary for every human activity. As Damien Hirst once said: “...artists do everything better, a good accountant is an artist”.
Because art is research, it should be analytical within its intuitiveness, reflective within its momentaryness, methodical in its openness and goal-oriented within its puposelessness. To be this art needs to transcend the borders between science, art and philosophy.
Research needs a subject. Trough the subject of space, I research the perception of the world and the place that art can occupy therein. Elements of the research are perspective, architecture, colour, composition, media, work method etc.
I work in 2D. The fascinating thing about two-dimensionality for me, is that it raises a fundamental question about the world it relates to: why is it that we perceive the world as three-dimensional while the projection of this world on our retina is two-dimensional? Immanuel Kant calls space (three-dimensionality) an a-priori thought: a hardwired piece of data in our system (“we cannot image that there is no space”), to me it as a piece of information I can play with through the use of line and colour.
Perspective makes a square look like a trapezium. In my paintings I look for the cutting edge of the plane as an autonomous figurative element in a(n abstract) image - painting - and the plane as a structural element in the construction of a (figurative) space - architecture. In this way the perspective provides both the shape of a plane and the depth of the space. Whilst perspective appeals more to the intellect, colour appeals more to the emotion, although it also plays a role in the spatial construction.
I don’t paint a space, but space. I don’t paint a perspective, but perspective. I don’t paint a colour, but colour. I don’t paint space, perspective and colour. I paint.

June 2006

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