• Monument Valley, Arizona

  • Devils Tower, Wyoming

< 0/0 >

OSTOR, 2003
wood, ceramic, styrofoam, plaster, plastic chalk, gauze, polyester
40 x 140 x 30 cm
15.7 x 55.1 x 11.8 inches


In his early works, Nick Ervinck questions the use and the perception of constructive elements such as material, proportions, space, colour and volume. He endeavours to trigger interaction between virtual constructions and hand-made sculptures. Polymorphic, synthetic forms are found in the 'seemingly' authentic rooms, racks and platforms and are brought to life as mutated molecules by means of an artistic computer simulation. In Ervinck's conception wood is flexible, objects appear from the ground up, rooms are multi-directional: everything is in disorder. The world in which the artist operates is a digitally fictionalized one, constructed and deconstructed by an omniscient creator and without any limitations. OSTOR is made of a Styrofoam packing. While the horizontal planes are white, the vertical ones are made black. The backpart of OSTOR is a fragment of a ceramic work, Ervinck has made in high school. With OSTOR, Ervinck 'acts without history' (see: Frank vande Veire, De geplooide voorstelling): sculpting is not about the prepared or the made-up, but about the acting-thinking without preconceived goals, without justification or statement. Ervinck's research on the characteristics of the sculpture thus result in pure poetry.

2009   GNI-RI jan2009, Kunstverein Ahlen - Ahlen, DE
2003   Utopie van de Periferie, - Aalst , BE
GNI-RI aug2003, CC De Beuk - Kortemark, BE
Wel klaar nog lang niet af, afstudeerprojecten Mixed Media, Academie - Gent, BE
Provinciale prijs voor beeldende kunst, CC Scharpoord - Knokke, BE