Vincent Knopper

Vincent Knopper works as a visual artist. His sculptures and installations reflect on the proces of making, mass-design, value and materiality. The sculptures are in constant dialogue with their surroundings. Space and context play a substantial role in the constitution of meaning and representation. A specific architectural element as well as historical or social structures can be instigators of a new object or project.

list of exhibitions and projects

brinkmolyn brinkmolyn brinkmolyn

zonder titel (BrinkMolyn series)
2018

brinkmolyn brinkmolyn brinkmolyn

zonder titel (BrinkMolyn series)
2018

brinkmolyn brinkmolyn

zonder titel (BrinkMolyn series)
2018

brinkmolyn brinkmolyn

zonder titel (BrinkMolyn series)
2018

multiplex multiplex multiplex

Multiplex
installation, 2018

interventie

Interventie
spreekgestoelte, 2017

exhibited at Kunstfort bij Vijfhuizen

interventie interventie
dependance

Dependance
installation, 2016

exhibited at Onzijn: curated by Jurgen Bey in WOW Amsterdam
with the generous support of Van Hoecke B.V

dependance dependance dependance dependance dependance dependance
spaan-kant-plaat spaan-kant-plaat

Spaankantplaat
folding screen, 2016

Spaankantplaat is a new developed material. By reworking particleboard a new fragile material is discovered. The material is put on display in a folding screen to emphasise the characteristics of the material such as transperancy.

Composiet Composiet Composiet Composiet

Composiet
Composiet is a library of objects, materials and techniques and is an ode to standardized materials. The works hint play functionality, and as well propose new applications, logics and concepts.

In the mid twentieth century standardized materials have been engineered to answer the demand of our consumer society. These materials communicated prosperity and economic esthetics. Companies and designers achieved to bring qualitative and affordable designed furniture into everyone’s life. The current design climate demands “honest and durable materials”. In this new trend the standardized materials are rejected for their reference to mass-production and consumerism. While less than a half-century ago standardized material connected the greater audience to design; now these materials are rejected. Their engineered ‘designs’ are associated as commutable representations of wood. This discrepancy became an interesting confusion: standardized materials are compared equally to solid timber. This confusing tension finds its origin in perception: the IKEA ‘Billy’ is compared to a handcrafted oak cabinet.

The material library Composiet plays with this perception. The works contrast standardized materials to high quality materials.
It reinterprets these concepts through material exchange or alternations of existing techniques. The works propose new applications and materials; but most important is that they tend to change the perception towards our once idealized standard world. Composiet embraces the value of our low-valued materials.

Composiet Composiet Composiet Composiet
testing testing testing testing testing

Everything you need to bring bathrooms to a shine
exhibition view: Deborah Bowmann, Brussels 2015

Everything you need to bring bathrooms to a shine focuses on the ascendancy of and our fascination with industrial production and how it affects our consciousness and our relation to the world in the domestic sphere, in both practical and symbolic ways. Since the dawning of the Industrial Revolution 200 years ago, modern man has been accustomed to seeing, desiring, buying and consuming products, which are a direct issue of machines. The characteristics of these cutting edge technologies are almost always identical and on a huge scale.The enormous change that this has brought about in terms of our relation to objects and images is still difficult to gauge.
- Deborah Bowmann

testing

triple-shouldered through tenon
through tenon with diagonal “foxtail” wedge
tusk tenon reinforced with embedded perpendicular key
double-shouldered blind dovetail tenon with two-sided miter
double-shouldered stub tenon with additional sloped shoulder
angled housed half -dovetail cross-lap
oblique tabled corner lap
rabbeted corner with offset dowels

installation, 2015

Joinery: the respresentation of a mechanism that functions in an unambiguous way is the appartent absence in this exhibition.
- Marieke Coppens

Two cabinets and a sculpture
exhibition view: Sandberg graduation show, 2015

'Two cabinets and a sculpture' is the outcome of Vincent Knopper’s research of the disciplines of art, design and furniture making. His installation is a series of autonomous cabinets and sculptures. While each work defines itself as furniture or artwork, Knoppers’s practice is stated in the grey area where the making functions as a conductor of artistic research.

A billboard a plasterboard a surfboard a motherboard
An exhibition with Vincent Knopper & Abel Minnée
Amstel 41, 2013

“...landscape painter as a worker in the fields shares something of the peasant's life outdoors...”
- Meyer Schapiro, “The Still Life as a Personal Object”

A pretty model is looking at the camera, her tooth slightly crooked; a red dot glows on her neck. An insufficient wall profile is extending in both directions; it turns two corners somewhere in the middle. Either way, the pendulum of looking oscillates rapidly between navel-gazing and intensive, regular gazing: pedestals become towering forms, forms are re-imagined, draped in latex and cast in concrete. The photograph of the model becomes the outtake of an ad or just a photograph of a girl; or both at the same time and also nothing at all. The gaze sharpens the ordinary young pine forest or it softens the edges of a radiator. Walls carry images and wooden structures don't carry their walls. It is a confined space but it is hollow, all at once.

To imagine a golden mountain is to know the entities gold and mountain. But to make something new, one has to sort of let go of both. And that is to look without mimetic attention, to just look, and start deducting until it seems like there was nothing to begin with, that it all came to being out of nothing. A sculptor is staring at his medium and practice when he is staring at any old form, and sculpting already when he's only imagining. A photographer is at work when he is looking, a view-finder is often optional.

William Faulkner said that “the aim of every artist is to arrest motion, which is life, by artificial means and hold it fixed so that a hundred years later, when a stranger looks at it, it moves again since it is life”. Under the precision of architecture and forms, or the beauty of the sitter and the youthfulness of the pine forest, there is the scrutiny of time. Silicone leaks into the wood, the clay crumbles. And it is in this context that the image is animated: a giraffe makes the circle, the sitter gets old and the forest grows thick.

A billboard a plasterboard a surfboard a motherboard brings together the works of two young artists, Vincent Knopper and Abel Minnée, whose practices are self-referential towards their mediums while also successfully carrying a non-cogitative approach to making images and objects. Sometimes these two aspects are simultaneously present. Sometimes the viewer has to machete through the seemingly arbitrary to see the gold mountain, that is neither a mountain nor is it made of gold.

- text by Artun Alaska Arasli

Vincent Knopper

Vincent Knopper works as a visual artist. His sculptures and installations reflect on the proces of making, mass-design, value and materiality. The sculptures are in constant dialogue with their surroundings. Space and context play a substantial role in the constitution of meaning and representation. A specific architectural element as well as historical or social structures can be instigators of a new object or project.

exhibitions and projects

info[at]vincentknopper.nl


brinkmolyn brinkmolyn brinkmolyn brinkmolyn brinkmolyn multiplex multiplex pilot pilot dependance dependance dependance testing