This January, instead of at my studio, I’ll be working at a gallery called EXboot. A space which was formerly a prostitution room. For three weeks I’m exploring whether art and commerce can be combined. I will document this performance in a show called Exposure.
Exposure starts on the premise that exploitation can be a form of art. Art, producing unrestraint manifestations of the artist’s soul, versus commerce, where merchandise is dictated by consumers choice.
The contemporary artist is an independent entrepreneur. Wether or not this artist is perceived as a professional seems to be determined by the saleability of the produced works. This raises questions.
Is an artist without sales merely a hobbyist? Does a self-respecting artist adapt his work to the market? Or does an artist have to stay loyal to his original motives? Is commercial work still art? Should art not occasionally provoke: show what nobody wants to see? Shouldn’t art have the potential to be undesirable?
I’ll work on a growing project where not every unique part, but the sum of all parts is the final artwork, including the simultaneous sale of these parts. By involving the spectator as a customer, buying and selling becomes part of the artwork.
I love my hobby
This exhibition shows the contrast between art and merchandise. I’ve made some disturbing pieces inspired by the former function of the location, prostitution. These form the backdrop of the performance.
The performance itself consist of me working on a new piece that as a whole might be impossible to sell. It will however, not quite unlike a mosaic, be built of little desirable elements: Roses.
I hope to entice you to buy a rose. As this is a piece of exploitation-art you, as my costumer, automatically become a part of the artwork.
Gea van Eck was born in 1974 in Leiden, a city in the Netherlands. She grew up next to her grandfather’s scrap company. This terrain full of old cars and iron objects was her playground. There were screws, bolts, iron wires and a lot of junk to play with. She still loves the smell and texture of rust and she still has a predilection for old materials. She discovered that you can always make something special out of nothing. The smallest things can be treasures. She also loved the fact that nature seemed to win from granddad. Oil didn’t stop plants from growing.
In 1997 Gea graduated from the Utrecht School of the Arts (HKU), Autonomous design, painting. Since a few years she has moved away from working on a flat surface to making spatial objects out of wool. Gea looks with her hands. She touches and feels and translates all the information into an image. Her objects are both soft and cuddly and confrontational. Influences from painting play a role with regard to the skin of her objects.
Her ideas stem from observing the world around her. Noticing the beauty and the resilience, but also the contradictions and the injustice. The contrast. Astonishment about man, behaviour, interaction. About people and their relationship to the world and each other.
Because this is a piece of exploitation-art it’s of the utmost importance that you participate! 🙂
No exploitation without sales.
your name on view
I can show your logo or artwortk
Go fund me
Donate 15 euro’s and get a little lightweight rose. It’s 15 for my international funders because of the shipping costs.
Buy an original
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& please contact me if you have any questions
Yesss sarah, I can't wait!