The idea to approach the art of drawing or the drawing itself in a spatial manner is often recurring in the work of Dirk Zoete:
“every spatial work - whether it is a model, a sculpture or an installation - is an extension of the drawing.”
This absurd convoy presents a range of mobile "scenes", and functions both as a parade and an exodus, an escape without return, a new form of Danse Macabre.
The Big Convoy entertains the "imaginary" audience with theatrical scenes and decors, set up in an associative way using small sculptures, decorative elements,
edited photos and drawings.
The images present an absurd theatre of (human) life with scenes of human actions and work.
Dirk Zoete presents also a series of pencil drawings with titles such as "The Wild Bunch", "Waiting (Mexican)", "Walk the line ...",
made in the last two years referring to the theme of "The Big Convoy" and "Façade Parade".
Much like these installations, the drawings present scenes that usually take place on stage, in which a variety of things such as utensils,
human and animal figures, (western) landscapes, and buildings act as protagonists.
Dirk Zoete's new installations and drawings are an exciting continuation on the "Flemish Voodoo" (2007) and "Cold Winter Poetry" (2010) series of works.Dirk Zoete:
I am a draughtsman above all.
Everything I do, stems from drawing. To my mind, there isn’t that big a difference between a drawing and, say, an installation.
Fundamentally, they’re the same. The differences between my drawings, models and installations lie elsewhere: in their execution.
I like to use various stylistic modi operandi, as to reflect the schizoid nature of my praxis.
This approach usually results in series of works, with titles such as ‘Flemish Voodoo’, ‘Collected Courage’ or ‘Cold Winter Poetry’.
Some are cerebral and lean to the investigative and probing, as is the case for ‘Wonen in een hoofd’ (‘Living inside a head’) from 2002.
Other series embrace chaos and the inherent erratic nature of human emotion.
In my most recent work, a series of large-scale graphite drawings, I investigate both the formal and the emotional relationships between
a varied selection of objects and utensils.
To this end, I let them ‘interact’ on a small custom-built stage, as if I were testing a hypothesis, employing a hybrid shamanistic-scientific approach.
The drawings themselves reflect this, as they are, at the same time, artefacts and ‘data’ culled via the ‘experiment’.
Sint Amandsberg, 2011
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