In November and December 2018 I had a residency of six weeks in Beirut, organized by the Beirut Art Residency (B.A.R.). I proposed an art project in public space and traveled to Beirut to research the city and to further shape the project. 

The outcome of the project is a series of proposals for interventions in public space. The project ‘ I love Beirut’ reaction on the city itself, where the scars of the war are visible and the peace balance is shaky. But at the same time there is a kindness and zest for life that typifies the inhabitants of Beirut. They love their city and they hate it at the same time.

See also the article in the Bk-informatie of February 2019.

ARTIST versus CONCRETE is a temporarely artwork / performance /intervention in public space in Rotterdam (2018/2019).

During the 6 months I tried to deconstruct a concrete wall with a drilling machine; a battle between artist and a concrete wall of 2 by 3 meter. A slow proces of deconstruction where patterns emerged and disappeared. The public could influence the outcome, by buying holes. The more holes were sold, the more I drilled.

The wall itself is, in this case, not a border, but it refers to the walls around us and what they stand for. The wall between me and my neigbours I find nessecary. It makes my space private and I feel safe. On the other hand the wall which is being built between Mexico and the VS, I don’t agree with.

For me the wall in which a drill also refers to the invisible walls we encounter in everyday live. You try and try, but no matter how hard you fight, you encounter a border. How are we supposed to handle those walls? You could accept it, climb over it, but straight through is also an option!

This project was organized by RoRo-buiten and sponsored by

De Borenshop , Laborholland, CBK-Rotterdam, Gemeente Rotterdam and private donators.

Time’s up, is a video animation made in 2018. At the same time the destroyed piece of the wall is cut out and shown as a left-over-object after the drilling-performance.

357 holes rectangle is a site- specific intervention in Bergen (2018). Showing the animation of the proces of deconstruction and the left-over wall as one piece. The piece was to be seen in the show ‘Bewarehouse of Art Rotterdam’ , during the Kunst 10-daagse Bergen.

Stopmotion video 1,20 min. + 2 x plasterboard and rockwool, 2018

‘225 holes square’ is made in an empty office building in Rotterdam. Artists had their temporarily studio’s in this building. Now the artists also moved out and the building will be taken down in the near future to make place for new housing complexes and offices.

 Trace:  Les Halles de la Fonderie

Place:  Carouge, Geneva, Switserland (2008)

The project consisted of sticker sheets. Each sticker is a photo of a detail from the walls of the exhibition space.The visitor was invited to take a sheet and stick the photo-stickers on the walls of the exhibition space, creating an active intervention and establishing a reflection about the given space. 

Site specific intervention at the Waalhaven Oostzijde 1, Rotterdam.

7 posters of details of brick walls, forming their own sign-language . This project was made for the art festival Charlois- speciaal (2018). And was hanging there for 8 months.

Installation  of photo's in lightboxes / Vijverhofstraat 25, Rotterdam / 2017 - ongoing

Cities are being built, old buildings are being renewed. This building will also be demolished in the near future. The work ‘There is a crack in everything that’s how the light gets in’, focusses on the quality of imperfections. It shows the beauty and uniqueness of broken window’s. because not everything has to be perfect. It is the imperfections that make live exciting and a city lively. 

In memoriam is an installation I've done in an abandoned ‘Nudlefabrik’ in Zeitz, Germany, during IPIHAN#7, 2017. (www.ipihan.com)

material: Brokenglass panels and light.

This installation is made in an abandoned ‘Nudlefabrik’ in Zeitz, Germany, during IPIHAN#7, 2017. (www.ipihan.com). The photo's were taken at the same building, where the installation is shown.

material: 6 lightboxes, photoprints, 130 cm x 80 cm

Cities are being built, old buildings are being renewed. Everything has to be perfect and thing’s that are broken are of no more value. The work ‘There is a crack in everything that’s how the light gets in’, focusses on the quality of imperfections. It shows the beauty and uniqueness of broken window’s, because not everything has to be perfect. It is the imperfections that make live exciting and a city lively. 

In Dresden ‘Places and Traces’ developed a typography out of existing details within the city; Creating signs out of ornaments, bricks and floortiles. These details are put back into the city, constructing alanguage out of forms, with the goal to outline the city.

2016

Place: Gallery NL=US, Rotterdam

Trace: ceiling of the gallery NL=US

6 Photo's on forex 20x27cm, 2016

Poster intervention on the facade of the Goethe Institut, Westersingel 9, Rotterdam. / 2017

Place: Teilingerstraat 120, Rotterdam

Photo on a billboard during the Photo weekend Duesseldorf 2018 / One minute ago

This photo comes out of a series of photo’s, called ‘Blinds & shades’. A window marks the bounderies between privat and public. With this series I research this boundery. 

I zoom-in on different kind of shades, looking for a grafic coherence and showing personality of the person living there, or the lack of it. At the same time the window acts as a mirror, reflecting the oposite building showing us only what we see already.

2016 / interactive installation /

Material: plug, socket, wood, plexiglas, sound, light and meganical devices / 32x32x32cm

In this installation “connect-us’, an electricity socket en plug play the lead role. The onlooker is invited to connect the two. When so, the red light comes on and the sound of a conversation between a man and woman starts, leading to a climax.  

"It is a surprising and humoristic work and focuses on an everyday object"

Photo's on dibond 160x130cm.

These photo's were taken and exposed in an office environment.

This project i did during a period of Artist-in-residence at the Ampelhaus in Germany. I researched the existence of different sorts of hooks, like hooks you can find in the kitchen, bathroom or coat-hanger. I collected hooks and treated them as archeological findings, by treating them as artifact. The choice to research hooks was based on the wide range of hooks existing in Oranienbaum and the fact that it is an unimportant object, easily overlooked.

I took photo’s of hooks at peoples homes. The photo’s are taken from an other perspective than we would normally perceive a hook. Which causes an estrangement from reality. The hook becomes an object worth looking at and plays the lead-role in a desolate landscape. The choice to make photo’s at peoples private homes, was a logical and important step in the research. It made the inhabitant more involved in the project and feel more related to the art place ‘Ampelhaus’. Also the inhabitant was directly confronted with an other view on a simple object.
 

Trace: Château de Kerguéhennec

Place: Bretagne, France 

Date: 2006

Trace: Galeries en musea 

Place: Rotterdam

Event: Museumnacht 2014

Met het project Trace Cards (2014), laat Judy van Luyk een spoor achter bij  verschillende galeries en musea. Trace Cards zijn ansichtkaarten met daarop een detail van de ruimte. Elke locatie heeft zijn eigen kaart en elke kaart heeft een relatie met zijn omgeving. De afbeelding is een detail, iets waar we normaal overheen zouden kijken. Nu wordt de aandacht erop gevestigd en gaat het een eigen leven leiden. De bezoeker kon gratis een ansichtkaart meenemen als aandenken aan de galerie of museum.

Tracecard locations: roodkapje.org, www.goethe.de, www.tentrotterdam.nl, www.wdw.nl, www.joeyramone.nl, www.franktaal.nl, ,www.ababa.nl, www.ram-art.nl, www.chabotmuseum.nl, www.nederlandsfotomuseum.nl

Photo' s (black&white) / different sizes

The project 'Landscapes' is a series of table-top photo's. The models were built from paper, sand and other materials. The photograph of the model is the actual work. As a result, the photographed landscapes invite the viewer to look through the camera lens at an imaginary world referencing familiar realities.

Photo's (black & white)  80 cm x 120 cm

'Seascapes' is a project with table-top photography.   The models were buit from sand, paper and other materials. The photograph of the model is the actual work. The photo's show sea-landscapes.

Place: Chene Bougeries, Geneve

Event: Art-Chene, 2006

Trace: Codum Building, first floor, room 13

Place: Zomerhofstraat 71, Rotterdam

Event: Route du Nord 2013

'What you see is what you get' is an site specific installation, made for the 'Route du Nord 2013'  Art Event in Rotterdam. De given space was photographed and printed black and white in poster sizes. The room was redecorated with its copy of itself. The posters each on its own were for sale. Each time a poster was sold a 'hole' in the installation was created and the room itself became slowly visible and part of the installation. The goal of the project was to create an awareness of the space and its details. At the same time it raises the question if what you see is really what you get. 

Size/Material: Photo's 15cm x 15cm

Trace: La Ruine, Geneva, Switzerland 2006

Trace: Villa Nuts, Den Haag, The Netherlands 2007

Trace: Galerie Mirta Demare, Rotterdam, The Netherlands 2007

Project 'Hoeken en Gaten / Les Coins et Recoins' sets out to investigate details of given spaces. For each event or location there were photo's taken of details of the space. These details were shown in the same space again; confronting the visitor with the space itself and turned its defaults into details worth looking at.