Art belongs to a nail
About one and a half year ago a post on Trendbeheer.com about Reijgers' work Negerin 2009 (a football made of pieces from a blow-up-doll) was copied by the renowned blog GeenStijl.nl. This resulted in an enormous respons. The content of these comments confronted Reijgers with the vast distance between GeenStijl-respondents and the art world.
In his latest work Reijgers confronts these respondents with 'the artist Sander Reijgers'. Like before when he managed to have Business and Religion or Sex and Islam visually communicate with each other, he searched for a way to evoke a visual debate between himself and the opinion of the majority. He found the key in a post on GeenStijl saying; 'Art belongs to a nail'.
Sander Reijgers (1977, NL) offers the spectator a different view on existing social and cultural rules and experiences. By combining conflicting subjects in a defined way, both a clash and synergy come into being. In his work design, art, fashion, sex, religion and politics come to a dramatic collision just as they, as dramatically, are wholly engrossed. He leads you but also leaves you room to formulate your own opinion. Reijgers let go of his painters background and crosses over to different discipline in a remarkable way. In his earlier work you literally see the transition from canvas to portable textile: he used pieces of love dolls in his work. In his newest creations all elements from former work are combined in non compos sculptural forms.
In his latest work Reijgers confronts these respondents with 'the artist Sander Reijgers'. Like before when he managed to have Business and Religion or Sex and Islam visually communicate with each other, he searched for a way to evoke a visual debate between himself and the opinion of the majority. He found the key in a post on GeenStijl saying; 'Art belongs to a nail'.
Sander Reijgers (1977, NL) offers the spectator a different view on existing social and cultural rules and experiences. By combining conflicting subjects in a defined way, both a clash and synergy come into being. In his work design, art, fashion, sex, religion and politics come to a dramatic collision just as they, as dramatically, are wholly engrossed. He leads you but also leaves you room to formulate your own opinion. Reijgers let go of his painters background and crosses over to different discipline in a remarkable way. In his earlier work you literally see the transition from canvas to portable textile: he used pieces of love dolls in his work. In his newest creations all elements from former work are combined in non compos sculptural forms.
