We are pleased to present a solo project by Anneke Eussen consisting of 2 series of works. Her practice moves between architectural installations, objects and drawings. Reflecting on the connection between our human existence and our material environment, Eussen is fascinated by the changing value and nature of what surrounds us. Eussen wants to capture the complexity of the world she observes by using a wide array of materials and mediums. Impermanence, archetypes, revaluation, recycling, remembering, and emotional connections are leitmotifs throughout her work. She explores different definitions of beauty and how this changes depending on our perception and the influence of our judgement. According to Eussen, our systems of evaluation are always incomplete, since they are constantly changing depending on how we perceive and experience, a process in flux.
With ‘Raz de Marée' 2018, Eussen presents the dynamics of perception and revaluation by exploring an object with emotional value. The title, French for tidal wave, refers to a moment of interruption, to a change in perspective to create new meaning. The series consists of 4 individual drawings that capture an object wrapped in a satin sheet from different angels. The object appears to hold the embroidery of the artists’s mother. The emotional value that the artist attached to the embroidery felt as a burden, taking space both physically and emotionally. The connection to the object itself became so strong that it influenced logical thinking. By re-examining the object for what it is, charge transforms into attention, revealing new aspects. Suddenly the experience of the object moves from ‘what is’ to the possibilities it captures. A new mechanism of appreciation is instigated and the emotional charge dissapears. By turning the object over and over, the image changes and creates new viewpoints. Equal actions create different results. The drawings have been twisted and turned, creating a play with gravity and time. The initial connection to the object gets a new dynamic, just as the waves in a mother-child relationship.
Opposite to the drawings Eussen presents a series of glass works. They are made of car windows that have been stored for over 30 years. The recycling of materials into a new order is a common practice within Eussen’s work. Repurposing materials reshuffles their meaning, creating different angles to look through. Eussen considers the glass works as ‘Zeit- Zeichnungen’ (time drawings). The traces of humidity, rain, dust & rust create a unique appearance for every work. With few actions she brings a tension between materials, between controlled and uncontrolled action. Again we see a play with time and gravity, lifting the original materials to a whole new dimension. The medium of drawing gets extended towards a spatial, sculptural and architectural experience. This sculptural way of working in drawing is essential within Eussen’s practice.
Anneke Eussen (1978, NL) lives and works in Vaals (NL). Recent solo exhibitions are ‘Vertical Horizon’, Tatjana Pieters, Ghent (BE), ‘Circle lines’, Cruise&Callas, Berlin (DE), ‘As it is’, Tatjana Pieters, Ghent (BE), ‘NEUBAU Stuck’, LSD Gallery, Berlin (DE) and ‘Close to what’s real’, Highlight Gallery, San Francisco (USA). She took part in multiple group exhibitions like ‘Listen to the Stones, Think like a Mountain’, curator Evelien Bracke, Tatjana Pieters, BORG2014, a biennale for contemporary art in Antwerp (BE), LSD Gallery during Gallery Weekend Berlin (DE), Jan van Eyck Academie, Maastricht (NL), CC De Bond, Bruges (BE), The Wand, Berlin (DE) and Ainsi Building, Maastricht (NL). Eussens work is part of multiple private collections throughout Europe.