λ BOUKE DE VRIES (DUTCH B. 1960) DEAD NATURE 19
λ BOUKE DE VRIES (DUTCH B. 1960)
DEAD NATURE 19, 2019
18th century porcelain basket, dried fruit and leaves, and butterflies, in a Perspex, gilt metal and marble case
17.5cm high, 30cm wide, 30cm deep
Catalogue Note: Born in Utrecht, The Netherlands, Bouke de Vries studied at the Design Academy, Eindhoven, and at Central St Martin's, London. After working with John Galliano, Stephen Jones and Zandra Rhodes he switched careers and studied ceramics conservation and restoration at West Dean College. Every day in his practice as a private conservator he was faced with issues and contradictions around perfection and worth: 'The Venus de Milo' is venerated despite losing her arms, but when a Meissen muse loses a finger, she is rendered virtually worthless.'
Using his skills as a restorer his 'exploded' artworks reclaim broken pots after their accidental trauma. He has called it 'the beauty of destruction'. Instead of reconstructing them, he deconstructs them. Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he emphasises their new status, instilling new virtues, new values, and moving their stories forward.
Condition Report:
A few pieces have become loose otherwise as the artist intended
Condition Report Disclaimer
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λ BOUKE DE VRIES (DUTCH B. 1960)
DEAD NATURE 19, 2019
18th century porcelain basket, dried fruit and leaves, and butterflies, in a Perspex, gilt metal and marble case
17.5cm high, 30cm wide, 30cm deep
Catalogue Note: Born in Utrecht, The Netherlands, Bouke de Vries studied at the Design Academy, Eindhoven, and at Central St Martin's, London. After working with John Galliano, Stephen Jones and Zandra Rhodes he switched careers and studied ceramics conservation and restoration at West Dean College. Every day in his practice as a private conservator he was faced with issues and contradictions around perfection and worth: 'The Venus de Milo' is venerated despite losing her arms, but when a Meissen muse loses a finger, she is rendered virtually worthless.'
Using his skills as a restorer his 'exploded' artworks reclaim broken pots after their accidental trauma. He has called it 'the beauty of destruction'. Instead of reconstructing them, he deconstructs them. Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he emphasises their new status, instilling new virtues, new values, and moving their stories forward.
Condition Report:
A few pieces have become loose otherwise as the artist intended
Condition Report Disclaimer