Gadani

index of sculptures 1988 to 2024

Gadani

2024
Bas-relief in salvaged wood, #146, 174 x 130 x 14cm
Private collection, Netherlands.








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Dürerhaus

index of sculptures 1988 to 2024

Dürerhaus

2024
Bas-relief in salvaged wood, #145, 157 x 113 x 11cm
Collection Albrecht-Dürer-Haus Museum, Nuremberg, Germany.








Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.


Available Work

index of sculptures 1988 to 2024

Available work in chronological order.
Feel free to contact me with questions: ron@artbbq.nl
Or reach out to the gallery: mail@ronmandos.nl








Sol Invictus

index of sculptures 1988 to 2024

Sol Invictus

2024
Bas-relief in salvaged wood, 61 x 61 x 9cm

‘Unconquered Sun’ was a title used for some of the emperors of Rome. Sol Invictus depicts a section of the surface of the sun showing a large sunspot. This surface is also a landscape but one so severe we could never visit it as it is around 5,600 degrees Celsius. Earth happens to sit at exactly the right distance to it for life to be possible but the balance is precarious.


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

T-bone (Still Life 3)

index of sculptures 1988 to 2024

T-bone (Still Life 3)

2024
Bas-relief in salvaged wood, 176 x 155 x 18cm

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Studio Visit – 25 March 2024
just had a visit from butcher Chiel Neef. He came by to check what I’d done with his T-bone steak. A while ago I had asked at Sligro wholesale, a bit down the street from us, for the the Ultimate T-bone steak. I explained that it was for an art project. This made Chiel rather curious. He gave me the steak for free on the condition that he could come to see the end result. I’m glad he was very satisfied with it. All the details had the correct appearance; like the way the bone looks and the black flakiness of the dried edge. He was also glad that the meat had the correct ratio, with a relatively small tenderloin. But of course that was his own contribution, after all I had asked him for the ultimate cut!


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

1953 4

index of sculptures 1988 to 2024

1953 4 (Wantij)

2023
Bas-relief in salvaged wood, 60 x 60 x 9cm

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Het dichten van de dijkdoorbraak van het Wantij 1953

Foto’s: Regionaal Archief Dordrecht
https://beeldbank.regionaalarchiefdordrecht.nl/


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

1953 3

index of sculptures 1988 to 2024

1953 3 (Wantij)

2023
Bas-relief in salvaged wood, 60 x 60 x 9cm

Wantij1800
Wantij2800
Wantij3800
Wantij4800
Wantij5800

Het dichten van de dijkdoorbraak van het Wantij 1953

Foto’s: Regionaal Archief Dordrecht
https://beeldbank.regionaalarchiefdordrecht.nl/


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

1953 2

index of sculptures 1988 to 2024

1953 2 (Ouderkerk)

2023
Bas-relief in salvaged wood, 60 x 60 x 9cm


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

1953 1

index of sculptures 1988 to 2024

1953 1 (Papendrecht)

2023
Bas-relief in salvaged wood, 60 x 60 x 9cm


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

Nebraska

index of sculptures 1988 to 2024

Nebraska

2023
Bas-relief in salvaged wood, 117 x 180 x 16cm

Three examples of nineteenth century stereo cards

Stereoscopic photo-prints were very popular around the turn of the century. Before mass tourism they were a way for people to connect to famous landmarks and sites all around the world. You can still find them and use them as a portal to a world that is long gone. The Nebraska relief is based on a stereoscopic card from 1908 depicting the “Platte Canon, South Park and Alpine Pass”. The name of the Platte river is a French translation of the original name the local Otoe people had for it. Nebraska means “flat water”. A narrow train track looks overwhelmed by the menacing rock faces beside it. You can only see a short distance ahead. Nobody knows what is waiting around the corner.


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

SASH

index of sculptures 1988 to 2024

SASH

Bas-relief in salvaged wood #136, 9,5 x 1 x 17m.
Made from local poplar trees.
Built on assignment for BKOR Rotterdam (on permanent display opposite Voorschoterlaan subway station, Rotterdam).
photo by Bob Goedewaagen.

Watch a film about the construction process of SASH made by Ron with his daughter Mila van der Ende
(Dutch with English subtitles):


Some examples of work done on commission:


Progress

index of sculptures 1988 to 2024

Progress (Maaskant poortgebouw)

2022
Bas-relief in salvaged wood, 164 x 131 x 15cm.
Collection of VORM, Rotterdam, Netherlands.


Work linked to the city of Rotterdam:


Val Tremola

index of sculptures 1988 to 2024

Val Tremola

2021
Bas-relief in salvaged wood #133, 182 diameter x 14cm.
Private collection, Barcelona, Spain.

Val Tremola shows the hairpin bends of the Tremola Valley that are part of the old Gotthard Pass route. One of the highest paved roads in Europe, it used to be a busy connection until the Gotthard Road Tunnel opened in 1980. It is preserved as a monument appearing today as it was in 1951.
The Val Tremola relief was based on vintage postcards and constructed using salvaged wood, utilizing the worn and weathered character of the surfaces to emulate the terrain.

Postcards of the Tremola Valley and the Saint Gotthard Pass.


Landwasser

index of sculptures 1988 to 2024

Landwasser

2020
Bas-relief in salvaged wood #130, 182 diameter x 14cm.
Collection Roberto Sassmannshausen, Rotterdam, Netherlands.

Postcards showing the Landwasser Viaduct.


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

Jericho

index of sculptures 1988 to 2024

Jericho

2020
Bas-relief in salvaged wood #129, 184 x 153 x 15cm.

Jericho is the second bas-relief based on photo’s of a tree stump in the Yosemite valley in California. The first one, made in 2013, was titled Holocene. Such a cross section forms a record of time, while it also demonstrates our brutal relationship with nature. Jericho was made in 2020. This time the decaying chunk of wood is rendered in red, white and blue, a color scheme familiar from many national flags. The title references the tower of Jericho which today itself rather resembles a fossilized tree trunk. That tower is one of the oldest monumental structures, built around 10.000 years ago at the dawn of the agricultural revolution. It is located in the Palestinian West Bank, today an area in crisis.

View of the tower from the east showing both openings.
Image source: http://antiquity.ac.uk/projgall/barkai327/


Part of the Alluvial Plain exhibition at Ron Mandos gallery, Amsterdam in December 2024.

Mod

index of sculptures 1988 to 2024

Mod

2020
Bas-relief in salvaged wood #128, 110 x 110 x 11cm.
Collection Meta Goossen and Olphaert den Otter, Rotterdam, Netherlands.

Mod emerged from a plunge into the world of high end turntable cartridges.
(example: https://www.vinylengine.com)

Shure V15-III phono cartridge.


Some examples of work done on commission:


Lambchop

index of sculptures 1988 to 2024

Lambchop (Still Life 2)

2019
Bas-relief in salvaged wood #127, 189 x 112 x 14cm.
Collection Museum LAM, Lisse, Netherlands.

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Team Mandos installing the Markers exhibition.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Mediator

index of sculptures 1988 to 2024

Mediator

2019
Bas-relief in salvaged wood #126, 99 x 212 x 13cm.

In March 2019 Van der Ende paid a visit to artist Diet Wiegman in his Schiedam studio. He knew Wiegman to possess a collection of masks from around the globe, collected through the decades on auctions and flea-markets. The visit resulted in a series of photos of the back of these masks.
“I chose an African tribal mask as a starting point for the Mediator sculpture because it had an interesting shape and appearance. In all probability, it came from the Senufo culture in the region of Southern Mali, Northern Ivory Coast en Western Burkina Faso. Wiegman had bought this mask in an auction some 35 years ago, without any documentation. To try and reconnect it to its place of origin I collected street photos from the region and incorporated those into the work. The mosaic is executed in the strict color scheme of the local Bògòlanfini or ‘mudcloth’ technique, with dirty whites, red and yellow earth tones and black.”

The title Mediator comes from a quote from Pablo Picasso about his visit to the Trocadéro ethnographic museum in Paris in 1907, an occasion Picasso sees as the birth of modern art.

“When I went to the old Trocadéro, it was disgusting. The Flea Market. The smell. I was all alone. I wanted to get away. But I didn’t leave. I stayed. I stayed. I understood that it was very important: something was happening to me, right?
The masks weren’t just like any other pieces of sculpture. Not at all. They were magic things. But why weren’t the Egyptian pieces or the Chaldean? We hadn’t realized it. Those were primitives, not magic things. The Negro pieces were intercesseurs, mediators; ever since then I’ve known the word in French. They were against everything—against unknown, threatening spirits. I always looked at fetishes. I understood; I too am against everything. I too believe that everything is unknown, that everything is an enemy! Everything! “
(Picasso’s Mask, André Malraux, New York, 1976, p10-11)


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Truck Wash

index of sculptures 1988 to 2024

Truck Wash

2019
Bas-relief in salvaged wood #125, 182 x 146 x 14cm.
Private collection, Rotterdam, Netherlands.

Truck Wash on the workbench in 2019.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Canyon

index of sculptures 1988 to 2024

Grand Canyon

2013-2019
Bas-relief in salvaged wood #124, 149 x 183 x 11cm.
Private collection, Delft, Netherlands.

The cover of Arizona Highways magazine of February 1938 was the model for the Grand Canyon bas relief. The photo shows Emery Falls on Lake Mead in Arizona. Today Lake Mead is many miles away. The lake is manmade and formed after the completion of the Hoover Dam in 1935. Because of drought and increased demand for water the lake has been shrinking for decades. It is currently at less than 40% capacity.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Gletsjer

index of sculptures 1988 to 2024

Unterer Grindelwaldgletsjer

2013-2019
Bas-relief in salvaged wood #123, 149 x 183 x 11cm.
Private collection, Grindelwald, Switserland.

The Unterer Grindelwaldgletsjer bas relief was based on postcards of this glacier in the Swiss Alps from around 1900. The Lower Grindelwald Glacier covered more than 20 km2 fifty years ago but today it is retreating rapidly.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Floe

index of sculptures 1988 to 2024

Floe (Transition 5)

2018
Bas-relief in salvaged wood #122, 170 x 85 x 12cm.

Floe is the last in a series of five reliefs based on local archeological finds representing pots, dishes, and bottles.

Floe is based on an iridescent (wine or water) bottle from the second half of the eighteenth century. The word ‘floe’ is used for floating ice sheets in the polar regions.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


The Blimp

index of sculptures 1988 to 2024

The Blimp (Transition 4)

2018
Bas-relief in salvaged wood #121, 174 x 161 x 15cm


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


KIT

index of sculptures 1988 to 2024

KIT

2018
Bas-relief in salvaged wood, 460 x 460 x 32cm.
Made on commission for Erasmus MC, Rotterdam, Netherlands.
Photo’s: Bob Goedewaagen.

This work is on permanent 24 hour a day display in the main entrance of the Erasmus MC hospital in Rotterdam.

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Some Erasmus M.C. video clips from the project (Dutch):


Some examples of work done on commission:


Euromast 3

index of sculptures 1988 to 2024

Euromast 3

2018
Bas-relief in salvaged wood #119, 210 x 184 x 18cm.
Made on commission for Euromast Vastgoed BV, Rotterdam, Netherlands.
Private collection Rotterdam, Netherlands.

This work was on display at the Euromast observation tower 2018 through 2020.


Work linked to the city of Rotterdam:


Flux

index of sculptures 1988 to 2024

Flux (Transition 3)

2017
Bas-relief in salvaged wood #118, 173 x 107 x 11cm

Flux is based on a ‘starling pot’, a nesting pot, estimated to be from the 17th or 18th century. The color scheme revolves around oxblood red, pinks and greys.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Superlotado

index of sculptures 1988 to 2024

Superlotado (Transition 2)

2017
Bas-relief in salvaged wood #117, 124 x 145 x 17cm.
Private collection, Berlin, Germany.

Superlotado is a word from the Portuguese language meaning ‘full to the brim’.
It signifies affluence and superabundance.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Reverb-Decay

index of sculptures 1988 to 2024

Reverb/Decay (Transition 1)

2017
Bas-relief in salvaged wood #116, 119 x 218 x 13cm.
Concordia Collection, Rotterdam, Netherlands.

Reverb/Decay

Reverb/Decay is the first in a series of five reliefs based on archeological finds from the soil in and around the city of Rotterdam. They represent pots, dishes, and bottles that have been discarded throughout the history of human settlement in the area. All the original specimens come from the collection of Museum Rotterdam.
The works in the series are numbered Transition 1 through 5. The term Transition refers to their regular shapes, which are mathematically defined by a transition that is relative to a single axis.

The Reverb/Decay bas-relief is based on an albarello, an ointment jar, that dates from the sixteenth century. The glazed jar decorated with stripes and leaves was used as a starting point for intense experimentation with color and texture intended to make the work visually vibrate. The name is in reference to synthesizer equipment where the term can be found next to the buttons that regulate audio loops. “Reverb” regulates repetition within the loop and “Decay” regulates decline.


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


De Noord

index of sculptures 1988 to 2024

De Noord

2017
Bas-relief in salvaged wood #115, 94 x 234 x 16cm.

De Noord was a windmill on the Oostplein square in Rotterdam that was origianlly built in 1562 and later rebuilt and adapted several times. 14 years after it miraculous survival of the town fire of 1940 the mill caught fire and was demolished.
The bas-relief shows the tipical elongated shape of De Noord without the blades and other consctructions, the shape it had after the fire, but with the spectacular commercial signs that the mill had been know for since the early twentieth century.
(source: https://nl.wikipedia.org/wiki/De_Noord_(Rotterdam))


Part of the Markers exhibition at Ron Mandos gallery, Amsterdam in 2020.


Jacht

index of sculptures 1988 to 2024

Jacht (Yacht)

2017
Bas-relief in salvaged wood #114, 270 x 178 x 24cm.
Private collection, Hoorn, Netherlands.


Some examples of work done on commission:


DINO 246 GT

index of sculptures 1988 to 2024

DINO 246 GT (1973)

2017
Bas-relief in salvaged wood #113, 222 x 98 x 15cm.
Private collection, Plakias, Crete, Greece.

The Ferrari Dino was named after Alfredo “Dino” Ferrari (son of Enzo Ferrari) who died in 1956 from Duchenne Muscular Dystrophy aged only 24. Today, 60 years later, there is still no cure for this disease. A few years ago a 1973 Ferrari Dino 246 GT-Euro was found in a barn in California. It is currently being restored in a project to raise awareness about the disease and money to fight it. The Dino bas-relief depicts this car mid-reconstruction.

Donate money and read about Duchennes at:
The Dino Ferrari Project: http://dinoferrariproject.com
Duchenne Parent Project: https://duchenne.nl


Some examples of work done on commission:


Industrie gebouw

index of sculptures 1988 to 2024

Industriegebouw

2017
Bas-relief in salvaged wood #112, 139 x 196 x 14cm.
Private collection, Rotterdam, Netherlands.

Industriegebouw Goudsesingel.

Het Industriegebouw is a building in Rotterdam designed by H.A. Maaskant, W. van Tijen and E. Groosman. In typology, function and appearance it became a powerful symbol of the Wederopbouw, the post war rebuilding policy of Rotterdam. The building was completed in 1952 and over the past few years it has been revived as an important cultural hub. 


Some examples of work done on commission:


Hatchet Job

index of sculptures 1988 to 2024

Hatchet Job

2016
Bas-relief in salvaged wood #111, 239 x 148 x 16cm.
Private collection, London, United Kingdom.

Hatchet Job on the studio wall in 2016.

Preliminary sketch for Hatchet Job.


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


Oracle

index of sculptures 1988 to 2024

Oracle

2016
Bas-relief in salvaged wood #110, 190 x 122 x 12cm.
Private collection, Rotterdam, Netherlands.

This bas relief was based on a window frame that is part of the Oracle assemblage by Robert Rauschenberg from 1965 that is in the collection of the Centre Pompidou in Paris.


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


Salvage

index of sculptures 1988 to 2024

Salvage (Baltic Ace)

2016
Bas-relief in salvaged wood #109, 162 x 213 x 15cm.
Corporate collection, Rotterdam, Netherlands.

Baltic Ace was a roll-on/roll-off car carrier that sank in the North Sea on 5th December 2012 after a collision with a container ship. It sank within 15 minutes in shallow waters. Only 13 of the crew of 24 were rescued. The wreck was lifted in chunks in 2015 and transported to Waalhaven in Rotterdam where the photo was taken that was the basis for the bas-relief.
(source: en.wikipedia.org/wiki/MV_Baltic_Ace)


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


Cog

index of sculptures 1988 to 2024

Cog

2016
Bas-relief in salvaged wood #108, 170 x 124 x 12cm.
Private collection, Moscow, Russian Federatian.


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


Europa

index of sculptures 1988 to 2024

Europa

2015
Bas-relief in salvaged wood #107, 168 x 168 x 14cm.
Private collection, Rotterdam, Netherlands.

Europa is one of the moons of Jupiter and it was discovered in 1610 by Galileo Galilei. It is slightly smaller than the Moon, and has a water-ice crust striated by cracks and streaks. It has the smoothest surface of any known solid object in the Solar System which led to the hypothesis that a water ocean exists beneath it, which could conceivably serve as an abode for extra-terrestrial life – a prospect that has made Europa a candidate for a future visit by probe.
(source: en.wikipedia.org/wiki/Europa_(moon))


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


#9532

index of sculptures 1988 to 2024

#9532 (The Whale)

2015
Bas-relief in salvaged wood #106, 190 x 136 x 12cm.
Collection of Frits van Dongen, Amsterdam, Netherlands.


Some examples of work done on commission:


Body Buck

index of sculptures 1988 to 2024

Body Buck

2014
Bas-relief in salvaged wood #105, 322 x 116 x 15cm.
Private collection, Rotterdam, Netherlands.

A body-buck or hammer-form is a sturdy wooden structure used in producing one-off metal panels for coachwork. It is used for prototypes, concept cars and restoration projects. This bas-relief is a rendition of the body buck for the Bizzarrini Manta Concept by Ital Design in 1969.

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Photo’s of the construction process of the original car.
Thanks to Jack Koobs de Hartog for most of these images.


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


380HP

index of sculptures 1988 to 2024

380HP

2015
Bas-relief in salvaged wood #104, 194 x 164 x 12cm.
Collection of Staalduinen Logistics. Maasdijk, Netherlands.
Made for Hofman Bouwbedrijf, Maasdijk.


Some examples of work done on commission:


Wedges

index of sculptures 1988 to 2024

Wedges

2014
Group of bas-reliefs in salvaged wood #103, size ca. 2 x 2m.


Made for the The factory Set retrospective at the Kunsthal in Rotterdam 2014/15. A total of 37 bas reliefs were shown. Most of them on loan.


Black Ark

index of sculptures 1988 to 2024

Black Ark

2014
Bas-relief in salvaged wood #102, engraved 310 x 105 x 16 cm.
Private collection, Berlin, Germany.

Black Ark fuses worlds that are far apart. The shape of the work is based on a boulder from the D20 ‘hunebed’ (dolmen) in Drenthe, NL. The wood covering Black Ark has black paint over a green base. It is engraved with copies of contemporary shamanic drawings by Lee Perry at his Black Ark studio in Jamaica.
(source for the Lee Perry drawings: afflictedyard.com/scratchark)


All the works that were part of the Bare Bones exhibition at Ron Mandos Gallery in Amsterdam in 2016.


Barn Raising

index of sculptures 1988 to 2024

Barn Raising

2014
Bas-relief in salvaged wood #101, 410 x 327 x 22cm.

A ‘barn raising’ is a collective action by a community to build a barn for one of its members. Barn raising was particularly common in 18th and 19th century rural North America. The tradition continues in some Amish and Old Order Mennonite communities, particularly in Ohio, Indiana, Pennsylvania, and some rural parts of Canada.
(source: wikipedia.org/wiki/Barn_raising) 


Made for the The factory Set retrospective at the Kunsthal in Rotterdam 2014/15. A total of 37 bas reliefs were shown. Most of them on loan.


Veneer Theory

index of sculptures 1988 to 2024

Veneer Theory

2014
Bas-relief in salvaged wood #100, 152 x 154 x 16cm.
Private collection, Osaka, Japan.

Veneer theory is a term coined by Dutch primatologist Frans de Waal to designate a certain view of human morality which he criticizes in his book ‘Primates and Philosophers: How Morality Evolved’. De Waal rejects the idea that human morality is ‘a cultural overlay, a thin veneer hiding an otherwise selfish and brutish nature’. He instead sees our morality as a direct outgrowth of the social instincts that human beings share with other animals.
(source: wikipedia.org/wiki/Veneer_theory) 


Made for the The factory Set retrospective at the Kunsthal in Rotterdam 2014/15. A total of 37 bas reliefs were shown. Most of them on loan.


Holocene

index of sculptures 1988 to 2024

Holocene

2013
Bas-relief in salvaged wood #99, 160 x 168 x 16cm.
Private collection, Rotterdam, Netherlands.

The Holocene is a geological epoch which began at the end of the Pleistocene some 12,000 years ago, coinciding with the earliest signs of the Neolithic Revolution (the change from hunting and gathering to agriculture). It continues to the present. The Holocene has been identified with the current warm period, and can be considered an interglacial in the current ice age. The Holocene also encompasses the expansion of the human population and its impact on the world environment, and is therefore sometimes called the Anthropocene.
(source: wikipedia.org/wiki/Holocene)


Made for the The factory Set retrospective at the Kunsthal in Rotterdam 2014/15. A total of 37 bas reliefs were shown. Most of them on loan.


Fleet

index of sculptures 1988 to 2024

Fleet

2013
Bas-relief in salvaged wood #98, 168 x 168 x 16cm.
Private collection, Arnhem, Netherlands.


Made for the The factory Set retrospective at the Kunsthal in Rotterdam 2014/15. A total of 37 bas reliefs were shown. Most of them on loan.


Tingmissartoq

index of sculptures 1988 to 2024

Tingmissartoq

2013
Bas-relief in salvaged wood #97, 110 x 105 x 15cm.
Collection Verre Bergen, Rotterdam, Netherlands.

Tingmissartoq

In 1931 an Inuit boy in Gothaab, Greenland was confronted with a Lockheed Sirius Model 8 airplane, a monoplane outfitted with floats so it could land almost anywhere. He named it Tingmissartoq, ‘one who flies like a big bird’. The plane was piloted by Charles Lindbergh and his wife Anne Morrow Lindbergh.
It was only 4 years since Lindbergh had become famous for flying the Spirit of St. Louis non-stop from New York to Paris, but in the meantime aviation had made huge progress. It was now clear that the future lay in large scale passenger aviation, although political and industrial powers would have to be brought on board. Factories and airfields were needed and the maps of the world had to be redrawn to show flyable air routes and not only information for water and land navigation. In 1931 and 1933 Lindbergh and his wife took it upon themselves to connect the dots in two world tours, meeting the wealthy and powerful wherever they went and spreading the gospel.
(source: wikipedia.org/wiki/Tingmissartoq

Image 1 : The Tingmissartoq Name.
Photo by Eric Long, Smithsonian National Air and Space Museum, Smithsonian Institution
(source: pioneersofflight.si.edu)
Image 2 : Route map created by Charles and Anne Morrow Lindbergh after their flight.
(source: timeandnavigation.si.edu)
Image 3 : The Lindberghs take of for Geneva after a visit to Rotterdam Waalhaven [1933]
(source: Kees van Dongen Waalhavenverzameling)


The age of discovery:


Rounds

index of sculptures 1988 to 2024

Rounds

2013
Bas-relief in salvaged wood #96, 111 x 167 x 14cm.
Private collection, Delft, Netherlands.


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Type Stack

index of sculptures 1988 to 2024

Type Stack (BENWAY)

2013
Bas-relief in salvaged wood #95, 144 x 142 x 16cm.
Private collection, Rotterdam, Netherlands.


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Cyclotron

index of sculptures 1988 to 2024

Cyclotron

2013
Bas-relief in salvaged wood #94, 315 x 109 x 15cm in two parts.
Private collection, Agios Nikolaos, Crete, Greece.


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Watershed

index of sculptures 1988 to 2024

Watershed (Yosemite)

2013
Bas-relief in salvaged wood #93, 180 x 200 x 12cm.
Part of the Mirror Lake project, a large site specific installation on commission for The State of the Netherlands.

Yosemite Valley on June 11th 2013. For scale, El Capitan, the rock face on the left is well over two times the height of the Empire State Building.


Part of the Mirror Lake project; 2011-2013:


Fm3m

index of sculptures 1988 to 2024

Fm3m/Salt

2013
Bas-relief in salvaged wood #92, 191 x 170 x 15cm.
Private collection, Madrid, Spain.

Crystals of common salt (also known as rock salt, halite or sodium chloride) are cuboid in shape. In other words they are made up of rectangular slabs with right-angled corners. The shape arises because, at a molecular level, the sodium and chlorine ions are spaced on a regular cubic grid or ‘lattice’. The crystals belong to the cubic system (one of 7 main crystal systems), and more specifically to a symmetry class identified by the international symbol Fm3m (one of over 200 possible space groups).
(source: wikipedia.org/wiki/Cubic_crystal_system) 


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Cold Storage

index of sculptures 1988 to 2024

Cold Storage

2013
Bas-relief in salvaged wood #91, 194 x 132 x 15cm.
Corporate collection, Houston, Texas, United States.

PHASMID

The Phasmid or Phasmatodea are an order of insects commonly known as stick insects. The name is derived from the Ancient Greek phasma, meaning an apparition or phantom.


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Brimstone

index of sculptures 1988 to 2024

Brimstone

2012
Bas-relief in salvaged wood #90, 79 x 85 x 10cm.
Private collection, Boston, Massachusetts, United States.

Fire and Brimstone is an idiomatic expression of signs of God’s wrath in the Bible. It can also refer to a style of Christian preaching that uses vivid descriptions of judgment and eternal damnation to encourage repentance. Brimstone is another name for sulphur.
(source: wikipedia.org/wiki/Fire_and_brimstone) 


The volcano and the sulfur crystal were made for the Ambach & Rice presentation at NADA art fair, Miami Beach, FL, USA in 2012.


Yaw

index of sculptures 1988 to 2024

Yaw (from the Svabhāva subset: Pitch/Roll/Yaw)

2012
Bas-relief in salvaged wood #89, 160 x 165 x 12cm.
Private collection, Rotterdam, Netherlands.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Roll

index of sculptures 1988 to 2024

Roll (from the Svabhāva subset: Pitch/Roll/Yaw)

2012
Bas-relief in salvaged wood #88, 127 x 174 x 10cm.
Private collection, Rotterdam, Netherlands.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Volcano

index of sculptures 1988 to 2024

Volcano (Moses and Geology)

2012
Bas-relief in salvaged wood #87, 229 x 152 x 12cm.
Private collection, Lee Bay, United Kingdom.

The Volcano  relief is based on an illustration of the workings of a volcano taken from the book ‘Moses and Geology’. The book, published in 1883, was an attempt to explain the physical workings of our planet in the light of the Bible and so to counter the great advances in science that had been made earlier that century.

Excerpt from MOSES AND GEOLOGY: Or The Harmony Of The Bible With Sience by Samual Kinns

… ‘In the month of June, 1759, the cultivators of the farm began to be disturbed by strange subterranean noises of an alarming kind, accompanied by frequent shocks of earthquake, which continued for nearly a couple of months; but they afterwards entirely ceased, so that the inhabitants of the place were lulled into security. On the night between the 28th and 29th of September, however, the subterranean noises were renewed with greater loudness than before, and the ground shook awfully. The Indian servants living on the place started from their beds in terror, and fled to the neighbouring mountains. Thence gazing upon their master’s farm, they beheld it, along with a tract of ground measuring between three and four square miles, raised up, as if it had been inflated from beneath like a bladder. At the edges this tract was uplifted about thirty-nine feet above the original surface, but so great was its convexity that towards the middle it attained a height of no less than 524 feet.

The Indians who beheld this strange phenomenon declared that they saw flames issuing from several parts of this elevated tract, and that the entire surface became agitated like a stormy sea. Great clouds of ashes, illuminated by volcanic fires glowing beneath them, rose at several points, and white-hot stones were thrown to an immense height. Vast chasms at the same time opened in the ground, and into these the two small rivers above mentioned plunged. Their waters, instead of extinguishing the subterranean conflagration, appeared only to add to its intensity.
Quantities of mud enveloping balls of basalt were now thrown up, and the surface of the elevated ground became studded with small cones, from which volumes of dense vapour, chiefly steam, were emitted, some of the jets rising from twenty to thirty feet in height. These cones the Indians called ovens, and in many of them is heard even now a subterranean noise resembling that of water briskly boiling.
Out of a great chasm in the midst of these ovens there were thrown up six larger elevations, the highest being 1,600 feet above the level of the plain, and now constituting the principal volcano of Jorullo, which has a regular volcanic crater, whence have been thrown up great quantities of stones and lava containing fragments of older rocks. The ashes emitted from the volcano were thrown to an immense distance, some of them having fallen on the houses at Queretaro, 150 miles from Jorullo.

How privileged were the men who saw one of these upheavals of the Earth’s crust! And though but a small matter compared with the rising of mountain-chains, yet it must have been strikingly grand to see a mountain springing up from the level ground, with all the attendant phenomena; and if they were believers in Revelation, how it must have convinced them of the truthfulness of the Biblical story, and the great power of the Creator in ordaining laws which should bring about similar results to those related by Moses!’ …
(from: Moses and Geology, page 98)


The volcano and the sulfur crystal were made for the Ambach & Rice presentation at NADA art fair, Miami Beach, FL, USA in 2012.


Pitch

index of sculptures 1988 to 2024

Pitch (from the Svabhāva subset: Pitch/Roll/Yaw)

2012
Bas-relief in salvaged wood #86, 234 x 193 x 15cm.
Private collection, Leiden, Netherlands.

Svabhāva

The Sanskrit word Svabhava literally means ‘own-being’ or ‘own-becoming’. It is the intrinsic, essential nature or essence of living beings. The Buddhist symbol for Svabhāva is a wooden wheel.
(source: wikipedia.org/wiki/Svabhāva)

Line Shaft

A line shaft is a power driven rotating shaft for power transmission that was used extensively from the Industrial Revolution until the early 20th century. Before widespread use of electric motors small enough to be connected directly to each piece of machinery, line shafting was used to distribute power from a large central power source to machinery throughout a workshop or an industrial complex. The central power source could be a water wheel, turbine, windmill, animal power or steam engine. Power was distributed from the shaft to the machinery by a system of belts, pulleys and gears known as millwork. The pulleys were constructed of wood, iron or steel. Varying sizes of pulleys were used in conjunction to change the speed of rotation. Near the end of the 19th century, some factories had a mile or more of line shafts in a single building.
(source: wikipedia.org/wiki/Line_shaft)

Examples of wooden pulleys.
(source: stoommachine.info/drijfwerk) 


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


p4004

index of sculptures 1988 to 2024

p4004

2012
Bas-relief in salvaged wood #85, 196 x 156 x 15cm.
Private collection, Katwijk, Netherlands.

The Intel 4004 is a 4-bit central processing unit (CPU) released by Intel Corporation in November 1971 when, with the prophetic ad ‘Announcing a new era in integrated electronics’, the 4004 was made commercially available to the general market. The 4004 was history’s first monolithic CPU, fully integrated in one small chip.
(source: wikipedia.org/wiki/Intel_4004) 


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Yoshiwara

index of sculptures 1988 to 2024

Yoshiwara

2012
Bas-relief in salvaged wood #84, 120 x 245 x 12cm.
Private collection, Moscow, Russian Federation.

Yoshiwara was a famous yūkaku (pleasure district) in Edo, the precursor of present-day Tokyo, Japan. To confine and regulate prostitution in Japan in the early 17th century, it was restricted to designated city districts in Kyoto, Osaka and Edo in an attempt by the Tokugawa shogunate to prevent the nouveau riche chōnin (townsmen) from engaging in political intrigue. The Yoshiwara was created in the city of Edo in 1617, near what is today known as Nihonbashi. In 1656, due to the need for space as the city grew, the government decided to relocate Yoshiwara and plans were made to move the district to its present location north of Asakusa on the outskirts of the city.

The Yoshiwara was home to some 1,750 to 3,000 women during the 18th century. The area had over 9,000 women in 1893, many of whom suffered from syphilis. Girls were typically sent there by their parents between the ages of seven to twelve. When a girl was old enough and had completed her apprenticeship, she would become a courtesan and work her way up the ranks. Social classes were not strictly divided in Yoshiwara.
A commoner with enough money would be served as an equal to a samurai. Yoshiwara became a strong commercial area. The fashions in the town changed frequently, creating a great demand for merchants and artisans. Traditionally the prostitutes were supposed to wear only simple blue robes, but this was rarely enforced. The high-ranking ladies often dressed in the highest fashion of the time, with brightly colored silk kimonos and expensive, elaborate hair decorations. Fashion was so important in Yoshiwara that it frequently dictated the fashion trends for the rest of Japan. Yoshiwara remained in business until prostitution was made illegal in 1958.
(source: wikipedia.org/wiki/Yoshiwara)


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Tree/Bridge

index of sculptures 1988 to 2024

Tree/Bridge

2012
Bas-relief in salvaged wood #83, 305 x 100 x 12cm (made for a curved wall, radius 10m).
Part of the Mirror Lake project, a large site specific installation on commission for The State of the Netherlands.


Part of the Mirror Lake project; 2011-2013:


Section II

index of sculptures 1988 to 2024

Cross-Section II

2012
Bas-relief in salvaged wood #82, 220 x 122 x 12cm.
Part of the Mirror Lake project, a large site specific installation on commission for The State of the Netherlands.


Part of the Mirror Lake project; 2011-2013:


Airstream

index of sculptures 1988 to 2024

Airstream R.V.

2012
Bas-relief in salvaged wood #81, 305 x 135 x 12cm.
Part of the Mirror Lake project, a large site specific installation on commission for The State of the Netherlands.

Airstream R.V. 

Airstream is a brand of luxury travel trailers and motorhomes manufactured in Jackson Center, Ohio, USA. The company is the oldest in the industry. Airstream trailers are easily recognized by the distinctive rounded shape of their aluminum bodies. This shape dates back to the 1930s and is based on designs created by William Hawley Bowlus. Bowlus was also the chief designer of Charles Lindbergh’s aircraft, the ‘Spirit of St. Louis’.
(source: wikipedia.org/wiki/Airstream) 


‘Historical Airstream: Building Dreams is our Business’


Part of the Mirror Lake project; 2011-2013:


Section I

index of sculptures 1988 to 2024

Cross-Section I

2011
Bas-relief in salvaged wood #80, 189 x 113 x 12cm.
Part of the Mirror Lake project, a large site specific installation on commission for The State of the Netherlands.

A marker tracing from the construction process used as endpapers to the book the Factory Set.


Part of the Mirror Lake project; 2011-2013:


Node

index of sculptures 1988 to 2024

Node (Small Stellated Dodecahedron)

2012
Bas-relief in salvaged wood #79, 155 x 160 x 12cm.
Private collection, Rotterdam, Netherlands.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


T-80

index of sculptures 1988 to 2024

T-80

2011
Bas-relief in salvaged wood #78, 267 x 112 x 16cm.
Concordia Collection, Rotterdam, Netherlands.

World famous auto racer Hans Stuck persuaded Mercedes-Benz to build him a car for an attempt on the world land speed record. The project, officially sanctioned by Hitler himself, started in 1937. Designer Dr. Ferdinand Porsche targeted a speed of 465 mph. But the car was fated never to run at this velocity. And in fact no car with a conventional engine ever did. Hans Stuck would have driven the T80 over a special stretch of the Dessau Autobahn. The attempt was set for the January 1940 ‘Rekord Woche’, but the outbreak of WWII intervened; the event was cancelled and the T80 garaged. It took until 1964 for Art Alfons to surpass the T80’s target speed when he reached 544 mph in the turbojet-powered ‘Green Monster’. 
(source: wikipedia.org/wiki/Mercedes-Benz_T80) 


Space Probe

index of sculptures 1988 to 2024

Space Probe (Voyager 1)

2011
Bas-relief in salvaged wood #77, 750 x 240 x 16 cm.
Private collection, Rotterdam, Netherlands.

Voyager 1

Voyager 1 is a space probe launched by NASA on September 5th 1977 to study the outer Solar System. It has now been operating for over 38 years, communicating with the Deep Space Network to receive routine commands and return data. It is the furthest man made object from Earth. NASA announced on August 25th 2012 that Voyager 1 had crossed the heliopause and entered interstellar space. Its present velocity is about 520 million kilometers per year. Voyager 1 is expected to continue its mission until 2025 when its generators will no longer supply enough power for its instruments.
(source: wikipedia.org/wiki/Voyager_1

Top image: Interstellar Envelope. This gold aluminum cover was designed to protect the Voyager 1 and 2 “Sounds of Earth” gold-plated records from micrometeorite bombardment, but also serves a double purpose in providing the finder a key to playing the record. The explanatory diagram appears on both the inner and outer surfaces of the cover, as the outer diagram will be eroded in time.

Flying aboard Voyagers 1 and 2 are identical records, carrying the story of Earth far into deep space. The 12-inch gold-plated copper discs contain greetings in 60 languages, samples of music from different cultures and eras and natural and man-made sounds from Earth. They also contain electronic information that an advanced technological civilization could convert into diagrams and images.
(source: nasa.gov/…/image_feature_631)

Sounds of the Earth
(source: voyager.jpl.nasa.gov/spacecraft/sounds)

Music of The Spheres

Volcanoes, Earthquake, Thunder

Mud Pots

Wind, Rain, Surf

Crickets, Frogs

Birds, Hyena, Elephant

Chimpanzee

Wild Dog

Footsteps, Heartbeat, Laughter

Fire, Speech

The First Tools

Tame Dog

Herding Sheep, Blacksmith, Sawing

Tractor, Riveter

Morse Code, Ships

Horse and Cart

Train

Tractor, Bus, Auto

F-111 Flyby, Saturn 5 Lift-off

Kiss, Mother and Child

Life Signs, Pulsar

Raw Footage of Jupiter from Voyager 1 (1979).


More ‘space junk’:


Bulwark

index of sculptures 1988 to 2024

Bulwark

2011
Bas-relief in salvaged wood #76, 189 x 104 x 14 cm.
Collection of Charles Kitchings, White Salmon, WA, USA.


Part of the Phasmid exhibition in 2012 at Ambach & Rice gallery, Los Angeles, CA, USA:


Wrangler

index of sculptures 1988 to 2024

Wrangler (Compound of Five Octahedra)

2011
Bas-relief in salvaged wood #75, ca 200 x 200 x 16cm.
Collection Verre Bergen, Rotterdam, Netherlands.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Phoenix: Rise!

index of sculptures 1988 to 2024

Phoenix: Rise! (Pontiac Firebird Trans-Am)

2011
Bas-relief in salvaged wood #74, 260cm x 95cm x 18cm.
Private collection, Bosch en Duin, Netherlands.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Mum

index of sculptures 1988 to 2024

Mum (Grand Pianola Piece)

2011
Bas-relief in salvaged wood #73, 122 x 132 x 10cm.
Private collection, New York, NY, USA.


Part of the Perishables solo presentation at the Ambach & Rice booth, The Armory Show fair, New York, NY, USA in 2011.


Wood Stack

index of sculptures 1988 to 2024

s.t. (Wood Stack)

2011
Bas-relief in salvaged wood #72, 165 x 106 x 14cm.
Private collection, Telluride, Colorado, United States.


Part of the Perishables solo presentation at the Ambach & Rice booth, The Armory Show fair, New York, NY, USA in 2011.


Still Life

index of sculptures 1988 to 2024

Still Life

2010
Bas-relief in salvaged wood #71, 180 x 102 x 12cm.
Collection of Gennaro Picone & Susan Nestel, New York, NY, USA.

Some of the source material for Still Life.


Part of the Perishables solo presentation at the Ambach & Rice booth, The Armory Show fair, New York, NY, USA in 2011.


Drifting North

index of sculptures 1988 to 2024

Drifting North

2010
Bas-relief in salvaged wood #70, 242 x 108 x 16cm.
Private collection, New York, New York, United States.

Sketch for Drifting North.


Part of the Perishables solo presentation at the Ambach & Rice booth, The Armory Show fair, New York, NY, USA in 2011.


Voiture Balai

index of sculptures 1988 to 2024

Voiture Balai

2010
Bas-relief in salvaged wood #69, 225 x 112 x 10cm.
Collection of Jeroen Princen, Rotterdam Netherlands.

Studio view.

Source images.


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Corsair

index of sculptures 1988 to 2024

Corsair

2010
Bas-relief in salvaged wood #68, 180 x 87 x 12cm.
Private collection, Delft, Netherlands.

The image applied to the rear of Corsair;
‘Controlled Burn June 9, Off the Louisiana Coast.
The Premiere Explorer of Venice, LA. stands by near a controlled burn of spilled oil from in the Deepwater Horizon/BP oil spill in the Gulf of Mexico June 9’. Coast Guard Photo by Petty Officer First Class John Masson.
(source: flickr.com/../deepwaterhorizonresponse/.. )


KO Valkyrie

index of sculptures 1988 to 2024

KO Valkyrie

2010
Bas-relief in salvaged wood #67, 212 x 130 x 15cm.
Collection Jos Dirkse, Rotterdam, Netherlands.

Ride of the Valkyrs. This Image was applied to the back of KO Valkyrie.
Image source: Myths of the Norsemen from the Eddas and Sagas 1909.
archive.org/details/mythsofthenorsem00gueruoft

Valkyrie

In Norse mythology, a valkyrie (from Old Norse valkyrja ‘chooser of the slain’) is one of a host of female figures who choose those who may die in battle and those who may live. The Valkyries bring their chosen warriors to the afterlife hall of the slain, Valhalla, ruled over by the god Odin.
(source: wikipedia.org/wiki/Valkyrie)

Transformers is an entertainment franchise co-produced by the Japanese Takara Tomy and the American Hasbro toy companies. Initially developed as a brand by Hasbro, and consisting of renamed, rebranded transforming toys from Takara’s Diaclone and Microman toylines, the franchise began in 1984 with the Transformer toys. The backstory centers around factions of transforming alien robots (often the Autobots and the Decepticons) in an endless struggle for dominance or eventual peace.
(source: wikipedia.org/wiki/Transformers)

Metrotitan.
One of many source images found on a blog specializing in cheap ripoff (Knock off = K.O.) Transformer figurines:  My KO Transformers & Etc


Part of the Edge of Space exhibition in 2012 at Ron Mandos gallery, Amsterdam.


Prairie Church

index of sculptures 1988 to 2024

Prairie Church

2010
Bas-relief in salvaged wood #66, 57 x 42 x 10 cm.
Collection of Charles Kitchings, Los Angeles, California, United States.

Web image applied to the back of Prairie Church :
“Inside the Abandoned St. Olaf Church in Williams County North Dakota”
(source: jpipsqueak.wordpress.com/2012/11/02/256 )


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


Trieste

index of sculptures 1988 to 2024

Bathyscaphe Trieste

2010
Bas-relief in salvaged wood #65, 110 x 84 x 12 cm.
Private collection, Rotterdam, Netherlands.

Trieste is a deep-diving research submersible designed by the Swiss scientist Auguste Piccard. It was originally built in Italy, and sold to the US Navy in 1958. Jacques Piccard (son of the boat’s designer) and US Navy Lieutenant Don Walsh reached a record maximum depth of about 10,911 metres (35,797 ft), in the deepest known part of the Earth’s oceans, the Challenger Deep, in the Mariana Trench near Guam in the Pacific, on 23 January 1960.
(source: wikipedia.org/wiki/Bathyscaphe_Trieste) 


The age of discovery:


Shotgun Shack Row

index of sculptures 1988 to 2024

Shotgun Shack Row

2010
Bas-relief in salvaged wood #64, 236 x 84 x 14 cm.
Private collection, Old Lyme, Connecticut, United States.

A ‘shotgun shack’ is a narrow home, usually no more than 3.5 m wide, with rooms arranged one behind the other, and doors at each end of the house, a design which assists ventilation. Shotgun houses were popular in the Southern United States from the end of the American Civil War until the late 1920s. Its origins were probably Haitian and African, and the style is most commonly associated with New Orleans; but they can be found as far away as Chicago, Key West and California. As a sign of its New Orleans heritage, the house is usually raised two to three feet off the ground.
(source: wikipedia.org/wiki/Shotgun_house) 

“Children’s bicycles and Mardi Gras beads remained from a oated away house at Deslonde Street in the Lower Ninth Ward in fog at morning. New Orleans, Louisiana, January 30, 2006”
(photo by Alexey Sergeev: asergeev.com)


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


On Re-Entry

index of sculptures 1988 to 2024

On Re-Entry (Burning Log)

2010
Bas-relief in salvaged wood #63, 262 x 87 x 12 cm.
Collection of Leslie and Dale Chihuly, Seattle, Washington, United States.

Sewer outlet on the river Ganga. The rear image of On Re-Entry . 


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


Taylor / Burton

index of sculptures 1988 to 2024

Taylor / Burton

2009
Bas-relief in salvaged wood #62, 165 x 95 x 11cm.
Private collection Bethesda, Maryland, United States.

Photograph of a diamond mine laborer placing explosive charges.
Copyright Uniepers. Image taken from the book ‘Vier Eeuwen Diamant’ (1986).
The image was applied to the back of the Taylor/Burton 

Taylor/Burton

The rough diamond, weighing 241 carats (48.2 g), was found in 1966 in the Premier Mine in South Africa and was cut by Harry Winston to 69.42 carats in a pear shape. It was bought in 1969 by Richard Burton and Liz Taylor for over a million dollars, creating great publicity. Burton and Taylor were top movie stars in those days and arguably the most famous couple in the world. Sale of the diamond conferred naming rights and they accordingly named it the Taylor- Burton Diamond. After their divorce in 1974, Taylor auctioned the diamond for $5 million. Its current owner is Robert Mouawad, a Lebanese diamond dealer and owner of many famous gems.
(source: wikipedia.org/wiki/Taylor-Burton_Diamond

Hand of Harry Winston filled with precious stones.

‘In this photo, Harry Winston holds some of his famous gems in the palm of his hand. The 125.35 carat emerald-cut Jonker diamond is center. Just under the Jonker is the 94.80 carat pear shaped Star of the East diamond. The 45.52 carat blue Hope diamond rests between his index and middle nger. The 337.10 carat Sapphire of Catherine the Great is next to his thumb, and the 70.21 carat Idol’s Eye diamond is just above the Jonker. A matched pair of pear shaped diamonds and a larger ruby are also shown.’ In his day Harry Winston (1896 -1978) was possibly the most famous jeweler in the world. His name is immortalized in Marily Monroe’s 1953 film version of the song Diamonds Are a Girl’s Best Friend: ‘Talk to me, Harry Winston, tell me all about it!’
(source: harrywinston.comwikipedia.org/wiki/ Harry_Winston)


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


Breaker

index of sculptures 1988 to 2024

Breaker

2009
Bas-relief in salvaged wood #61, 165 x 152 x 18cm.
Collection of Ieke Frankenmolen, Rotterdam, Netherlands.

Breaker boys, Woodward Coal Mines, Kingston, PA [ca 1900] photographer unknown. 
Copyright Detroit Publishing Co. Source: Library of Congress.

Breaker Boy

A breaker boy was a coal-mining worker, especially common in Pennsylvania, whose job was to separate impurities from coal by hand in a coal breaker. Most breaker boys were between 8 and 12 years old. The use of breaker boys began around 1866. For 10 hours a day, six days a week, breaker boys would sit on wooden seats, perched over the chutes and conveyor belts, picking slate and other impurities from the coal. A coal breaker breaks coal into pieces and sorts them into categories of roughly uniform size. Its second function is to remove impurities like rock, slate, sulphur, ash, clay, or soil. This became necessary when coal started being used in factories and iron works. The work of the breaker boys was hazardous. They had to work without gloves to better handle the slick coal, and their fingers were often cut by the sharp slate. Breaker boys could easily lose fingers, amputated by the rapidly moving conveyor belts, or even feet, hands, arms, or legs as they moved among the machinery and were caught under the conveyor belts or in gears. Many were crushed to death, and the supervisors would retrieve their bodies from the machinery only at the end of the working day. Because of the dust, breaker boys sometimes wore lamps on their heads to see, and asthma and black lung disease were common. When the coal was washed to remove impurities it would create sulfuric acid which burned the hands of the breaker boys. By the age of twelve the boys were considered old enough to start work in the mine itself. By then most of them were already hunchbacked like old men. Although the first laws to protect the breaker boys were enacted in 1885, the coal mines continued to employ them. Their numbers finally began to decline in the 1910s due to improvements in technology, stricter child labor laws, and the enactment of compulsory education.
Breaker boys were known for their fierce independence and their rejection of adult authority. They often formed and joined trade unions, and precipitated a number of important strikes in the anthracite coal fields of Pennsylvania. Among these were the strike which culminated in the Lattimer Massacre (19 unarmed strikers were shot dead by a posse of the Luzerne County sheriff) and the Coal Strike of 1902.
(source: wikipedia.org/wiki/Breaker_boy) 

Coal Breaker

Coal breakers were used primarily in the United States, especially at the anthracite coal mines of Pennsylvania. Their main function was to break coal into pieces and grade the lumps into six commercial sizes. Until about 1900, nearly all anthracite coal breakers were labor-intensive. Impurities were removed by hand, usually by young boys. Coal breakers were generally located as close to the anthracite mine entrance as possible, so as to minimize the distance the coal had to travel before processing; but this had its hazards. In the UK, the government enacted a law in the mid-19th century requiring that coal breakers be built away from mine entrances. But in the US, neither the federal government nor the states adopted regulation of coal breakers until after many lives had been lost. Two disasters prompted the adoption of legislation. The first occurred on September 6, 1869, when a small explosion at the Avondale mine in Plymouth, Pennsylvania, blew flames up the mine shaft. The wooden breaker built over the mine opening caught fire and collapsed, trapping and killing 110 workers in the mine below. No action was taken at that time. But in 1871, a fire destroyed the wooden breaker built over a mine opening in West Pittston, Pennsylvania, trapping and killing 24 miners. The state of Pennsylvania finally adopted a law in 1885 requiring that coal breakers be situated at least 200 feet from the opening of any mine.
(source: wikipedia.org/wiki/Coal_breaker)

Coal Breaker web-images.


NASCAR Charger

index of sculptures 1988 to 2024

NASCAR Charger

2009
Bas-relief in salvaged wood #60, three parts, total dim. 305 x 96 x 10cm.
Collection of Bram en Eva Fioole, Rotterdam, Netherlands.


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


Limo 1

index of sculptures 1988 to 2024

Limo 1

2009
Bas-relief in salvaged wood #59, 184 x 115 x 12cm.
Private collection Bassano Del Grappa, Italy.

Limo 1 is based on the Cadillac Fleetwood, state car to Ronald Reagan in the early eighties.

Ronald Reagan pointing a gun in defense of a boy.
Clipping of a movie poster pasted to the back of the Limo 1 relief.

The interior of Ronald Reagans presidential limousine.
(source)

Limo 1

The 1984 Cadillac Fleetwood Seventy Five was the Presidential Limousine used by President Ronald Reagan.

“After decades of Lincolns, Cadillac was finally given the chance to produce a limousine for the secret service in the early 1980s during the Reagan administration. Appearing in 1984 was a pair of 1983 Fleetwoods built by Hess & Eisenhardt. Since the coachbuilder started with production Fleetwood limousines, the cars were stretched only 17 inches and their roofs raised three inches. Power for both came from Cadillacs own massive 500 cubic-inch V8. Though awkward in appearance, the Fleetwoods provided excellent visibility for the president. Large greenhouses were made possible by the development of 2 3/8ths inch think bulletproof glass and powerful air conditioning systems that kept the cabin cool.” (source)


Part of the Shallow Wade exhibition in 2010 at OkOk gallery, in Seattle, WA, USA.


Boompjes

index of sculptures 1988 to 2024

Boompjes

2009
bas-relief in salvaged wood #58, 105 x 90 x 12 cm.
Collection of Marc Overman, Rotterdam, Netherlands.


Work linked to the city of Rotterdam:


Flagmans House

index of sculptures 1988 to 2024

Baanwachtershuis (Flagmans House)

2009
Bas-relief in salvaged wood #57, 90 x 80 x 10cm.
Private collection, Rotterdam, Netherlands.


Work about dioramas and model trains:


Engine House 5750

index of sculptures 1988 to 2024

Engine House 5750

2009
Bas-relief in salvaged wood #56, 185 x 122 x 16cm.
Private collection, Arnhem, Netherlands.


Work about dioramas and model trains:


Signal Box 2

index of sculptures 1988 to 2024

Blokpost 2 (Signal Box 2)

2008
Bas-relief in salvaged wood #56, 65 x 85 x 10cm.
Private collection Alicante, Spain.

Image glued to the rear of Blokpost 2, lifted from a Märklin catalog.


Work about dioramas and model trains:


Signal Box 1

index of sculptures 1988 to 2024

Blokpost 1 (Signal Box 1)

2009
Bas-relief in salvaged wood #54, 65 x 85 x 10cm.
Private collection, Rotterdam, Netherlands.

Image glued to the rear of Blokpost 1, lifted from a Faller catalog, showing their head office.


Work about dioramas and model trains:


Axonometric Array

index of sculptures 1988 to 2024

Axonometric Array

2008
Bas-relief in salvaged wood #53, size variable ca. 7m50 x 3m50 x 25cm.
Built on assignment for WORM alternative music and film venue in Rotterdam
(on permanent display).

This computer collage is the original design for Axonometric Array. It incorporated a cassette tape recorder but that was later omitted. Cassette tapes were chosen as a subject because of their d.i.y. aspect which perfectly fits the WORM venue: https://worm.org

An important source for the look of the tapes was  http://www.tapedeck.org/ 


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


Peekskill

index of sculptures 1988 to 2024

Peekskill

2008
Bas-relief in salvaged wood #52, 150 x 125 x 14cm + 20 x 15 x 15cm for the meteorite.
Collection of Ben Clapp, London, United Kingdom.

The Peekskill Meteorite Car

The Peekskill meteorite struck a parked 1980 red Chevy Malibu in Peekskill, New York in the early evening of October 9th, 1992. When it struck Earth, the meteorite weighed 26 pounds and measured a foot in diameter.
The event was witnessed by thousands across the East Coast. Because it was a Friday evening, its descent was captured on video by many high school football fans taping local games. The multiple perspectives gave scientists the ability to calculate the meteorite’s exact flight path to Earth.
(source: wikipedia.org/wiki/Peekskill_meteorite)


Peekskill Fireball.

Orbit of several Earth-crossing asteroids including the Peekskill meteorite’s parent body.


More ‘space junk’:


DS II (Pallas)

index of sculptures 1988 to 2024

DS II (Pallas)

2008
Bas-relief in salvaged wood #51, 100 x 61 x 10cm.
Collection of Robert Wise, London, United Kingdom.


Part of the Motor Memory presentation in 2008 at OkOk gallery in Seattle, WA, USA.


DS 1

index of sculptures 1988 to 2024

DS 1 (Snoek)

2008
Bas-relief in salvaged wood #50, 114 x 56 x 10cm.
Private collection, Seattle Washington, United States.


Part of the Motor Memory presentation in 2008 at OkOk gallery in Seattle, WA, USA.


727

index of sculptures 1988 to 2024

727

2008
Bas-relief in salvaged wood #49, 310 x 140 x 16cm.
West Collection, Oaks, Pennsylvania, United States.

The bas relief was based on a postcard showing a test flight of the Boeing 727.


Part of the Motor Memory presentation in 2008 at OkOk gallery in Seattle, WA, USA.


PC

index of sculptures 1988 to 2024

PC

2008
Bas-relief in salvaged wood #48, 245 x 75 x 16cm.
Private collection, Wassenaar Netherlands.

On August 12, 1981 IBM introduced its first personal computer called the IBM PC. The computer was equipped with an 8088 processor, 16 KB of memory expandable to 256 KB, and the MS-DOS operating system.
(source: wikipedia.org/wiki/IBM_PC)


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


Schooner

index of sculptures 1988 to 2024

Schooner (S.S. Roosevelt)

2007
Bas-relief in salvaged wood #47, 215 x 155 x 12cm.
West Collection, Oaks, Pennsylvania, United States.

The Roosevelt drying out her sails at Cape Sheridan, September, 1908. The Dark Spots on the Shore are the Supplies and Equipment of the Expedition.
(source: hellenicaworld.com/…/TheNorthPole)

Robert E. Peary’s Polar expeditions.

The schooner S.S. Roosevelt was a vessel built in 1905, designed by Robert Edwin Peary (1856-1920) to assist him in his ambition to be the first man at the North Pole.

Peary had made his first trip to the Arctic in 1886 through a donation of $500 from his mother. Accompanied by the Dane Christian Maigaard, he traveled from Godhavn, Greenland, nearly a 100 miles due east in the second-farthest penetration of Greenland’s ice sheet. In 1887 Peary met the 21-year old black sales clerk Matthew Hanson and after learning that Henson had six years of seagoing experience as a cabin boy, hired him as a personal valet. Peary returned to Greenland for a longer stay in 1891, familiarizing himself with the area and the Inuit people, studying their survival techniques, adopting their fur dress and learning how to build igloos. He hired Inuit as hunters and dog-drivers and, in May 1892, reached the 1000 meter Navy Cliff overlooking Independence Fjord. Here Peary concluded – for the first time – that Greenland was an island.

With the recognition from his successful expeditions, Peary eventually gained the support of a wealthy backer and was able to buy his own ship, the S.S. Roosevelt. During its first voyage in 1906, the Roosevelt made its way through the ice between Greenland and Ellesmere Island, establishing a ‘farthest north
by ship’ for the American hemisphere. With the vessel as a base, they ventured out onto the ice for an attempt at the North Pole. The dogsled parties made well under 10 miles a day until they became separated by a storm. Peary travelled on without a companion trained in navigation, and it is from this point that his claims begin to arouse suspicions. Upon returning, having barely escaped with his life off the melting ice, he asserted to have achieved a ‘farthest north’ record at 87°06’ and returned to 86°30’ without camping, implying a round trip of no less than 72 miles in two days.

For his final assault on the Pole, Peary set off from New York City on July 6th 1908 under great public interest. His expedition wintered near Cape Sheridan on Ellesmere Island, and departed for the Pole on February 28th 1909. Peary set out on the last stretch with five assistants, none of whom were capable of making navigational observations. They were Matthew Henson and four Inuit: Ootah, Egigingwah, Seegloo and Ooqueah. On April 6, 1909, he established ‘Camp Jesup’ allegedly within 5 miles of the pole after which they proceeded to plant a flag. Here Peary wrote his famous journal entry ‘The Pole at last!’ For this to have been true however meant that they must have covered over three times their usual daily distance. This later shed doubt on Peary’s claim, especially because Matthew Henson’s account speaks of tortuous detours to avoid pressure ridges, often several meters high, and leads of open water.
Upon returning to civilization, Peary learned that Dr. Frederick A. Cook claimed to have been first to reach the North Pole in 1908. But a Danish panel of explorers and navigation experts scrutinized Cook’s reports and rejected his claim. After this Peary decided not to submit his evidence for independent review but instead have his claim certified by the National Geographic Society, a major sponsor of his expedition. The first undisputed visit to the North Pole would not take place until sixty years later, by Wally Herbert in 1969.

Peary’s ship S.S. Roosevelt spent her latter days working as a towboat in the Puget Sound. Later, in 1937, after becoming totally disabled in an accident, she was laid up in the Panama Canal. Her crew, who had not been paid, sold off her equipment. Finally, the once famed Arctic exploration ship was left to rot away.
(source: wikipedia.org/wiki/Robert_Peary,
saltwaterpeoplehistoricalsociety.blogspot.nl

Matthew Henson [1910] unknown photographer – US library of congress.

Matthew Alexander Henson (1866 – 1955), the first African-American Arctic explorer, was an associate of Robert Peary on seven voyages over a period of nearly 23 years. They made six voyages and spent a total of 18 years together on expeditions. Henson served as a carpenter, mechanic and dog driver, traded with Inuit and learned their language, and was known as Peary’s ‘first man’ in their attempts to reach the geographic North Pole. (source)

Peary in arctic furs, c.1909 (source)


Part of the Motor Memory presentation in 2008 at OkOk gallery in Seattle, WA, USA.


Foremost

index of sculptures 1988 to 2024

Sea Ice Runway Fire-Engine (Foremost)

2007
Bas-relief in salvaged wood #45, 135 x 72 x 10cm.
Collection of Marius Kraamwinkel, Rotterdam, Netherlands.


The age of discovery:


Ørnen

index of sculptures 1988 to 2024

Ørnen (The Eagle)

2007
Bas-relief in salvaged wood #44, 120 x 170 x 16cm.
Collection of Van Der Ende Steel Protection Innovators, Barendrecht, Netherlands.

Ørnen was a hydrogen balloon used in S. A. Andrée’s ill fated Arctic Expedition of 1897

S. A. Andrée and Knut Frænkel with the crashed balloon on the pack ice, photographed by the third expedition member, Nils Strindberg. The exposed film for this photograph and others from the failed 1897 expedition was recovered in 1930.
(source: wikipedia.org/… Expedition_of_1897)

Ørnen (The Eagle)

The Ørnen was a hydrogen balloon built for S.A. Andrée’s Arctic balloon expedition of 1897, which aimed to be the first to visit the North Pole. Although balloon technology was already a hundred years old it was still largely experimental.
The three-layer silk balloon 20.5 meters in diameter was built by Henri Lachambre in Paris, then known as the ‘world capital of ballooning’. It was fitted with a sail which, combined with drag ropes, Andrée claimed would make the balloon steerable. This technique had never been proved in practice and, like the many questionable assumptions of the expedition, was only accepted by dint of Andrée’s copious enthusiasm and eloquence. The hope of the expedition was to restore Sweden’s reputation as a leading player in Arctic exploration, no matter what.

Support was abundant with money pouring in from the Royal Swedish Academy of Sciences, King Oscar II and Alfred Nobel. Andrée had sold the press rights to the Aftonbladet newspaper, and it was later said that the funding that Andrée had received made it harder for him to take a realistic stance towards the ill-conceived aspects of his expedition. The expedition’s balloon hangar and hydrogen production plant were installed on the island of Svalbard in 1896, but unfavorable winds prevented them from undertaking a first attempt that year. Nils Gustaf Ekholm, the only expedition member with any real Arctic experience, left the crew because he calculated that Ørnen would not stay airborne long enough to carry them to the North Pole and then on to ‘the safety of Canada, Alaska or Russia’. Andrée’s self-deception became clear when, on the boat back from Svalbard, Ekholm learned from the chief engineer of the hydrogen plant that Andrée had from time to time covertly topped up the hydrogen while they were testing the balloon for leakage.

The success or failure of Arctic exploration had always depended greatly on using proven survival methods of the indigenous peoples of the Polar regions. But Andrée, a devout believer in ‘scientific superiority’, would have none of this and set out with clothing and sledges of his own – untested – designs.
Nils Strindberg, Knut Frænkel and S.A. Andrée arrived on Svalbard in the summer of 1897 and proceeded to prepare their balloon, loading it with scientific equipment, advanced cameras for aerial photography, provisions for four months, and ballast bringing the total weight to about 3,000 kg. The sleeping berths for the crew were fitted to the floor of the basket. The highly flammable hydrogen meant that cooking could not be done in the basket itself; instead, a modified primus stove was dangled 8m below the basket and lit remotely with the aid of an angled mirror.
On July 11 1897, in a steady wind from the south-west, the roof of the plank-built hangar was dismantled and the three explorers climbed into the basket. Andrée dictated a last-minute telegram to King Oscar and another to Aftonbladet. The mooring ropes were cut and the balloon rose slowly from the hangar and out towards the sea. The drag ropes, several hundred meters long, once wet, pulled the balloon down with a risk of crashing into the sea. After an initial dip the ropes became detached leaving the balloon without its experimental steering provision. The crew had meanwhile thrown out some ballast which, together with the loss of the heavy ropes, reduced the balloon’s weight by about 740 kg. They now rose to a height of 700 m where the lesser air pressure only accelerated the leakage of hydrogen. But they were on their way, and the baffled ground crew and assembled press watched the Ørnen drift slowly out of sight.

Nothing more was heard of the expedition, and their fate remained a matter of speculation and legend until 33 years later when their remains were discovered on Kvitøya Island. The truth of what had happened emerged from their journals and from undeveloped photographs that were found. The balloon had crashed on the pack ice after only two days. The explorers were uninjured but faced a grueling homeward trek south across the drifting ice. They set out on their long, arduous march, only to realize weeks later that the ice had been moving so quickly in the opposite direction that they had in effect traveled backwards. Inadequately clothed and equipped, inexperienced, daunted by the difficulty of the terrain, and with the Arctic winter closing in on them, the group finally washed up on the deserted island of Kvitøya in October and perished there.
(source: wikipedia.org/… Andrée)

Henri Lachambre’s balloon workshop in Paris.
(source)

The station at Spitsbergen, from a photochrom print at the end of the 19th century.
(source)

The Eagle sailing North.


The age of discovery:


Space Ops

index of sculptures 1988 to 2024

Space Ops (McMurdo)

2007
Bas-relief in salvaged wood #43, 115 x 85 x 12cm.
Collection of ABN-AMRO bank, Netherlands.

The Joint Space Operations Center (JSOC) opened in the McMurdo Antarctic station in January 2005. The building’s purpose is to unite the station’s computer and telephone systems into one dedicated hub. It houses the station’s computer data center and telephone network. NASA uses it to track polar-orbiting scientific satellites and to operate weather satellite equipment for the U.S. Air Force. This type of computer data center generates so much heat that the building needs to be cooled down despite its Arctic location.
(source: The Antarctic Sun)


The age of discovery:


Grytviken

index of sculptures 1988 to 2024

Grytviken (Whalers Lodge)

2007
Bas-relief in salvaged wood #42, 150 x 95 x 12cm.
Collection of Taco Verplanke, Barendrecht, Netherlands.

This house on the South Georgia Islands saw both the start and end of Ernest Shackletons Imperial Trans-Antarctic Expedition of 1914–17

Whaling station on Grytviken, South Georgia. 1989.
Photographer: Hannes Grobe, Alfred Wegener Institute for Polar and Marine Research, Bremerhaven, Germany.

The Imperial Trans-Antarctic Expedition

By the early twentieth century the Heroic Age of Antarctic Exploration was rapidly drawing to a close. The American Robert Peary had (disputedly) attained the North Pole on April 6th 1909; Norwegian Roald Amundsen had discovered the South Pole on December 14th 1911. Robert Falcon Scott’s ‘Terra Nova’ Expedition had arrived at the South Pole on 17 January 1912 only to find Amundsen had beaten them to it. Demoralized and in deteriorating condition, they attempted the journey home but lost their way in snowstorms; all of them perished. Undeterred by this tragedy, Sir Ernest Henry Shackleton stated that there remained ‘one great main object of Antarctic journeyings’: the first land crossing of the Antarctic continent. Shackleton set out on his Imperial Trans-Antarctic Expedition at the dawn of the Great War.

Having secured the funds he needed from the British Government and wealthy backers, he had by June 1914 bought the 300-ton barquentine Polaris which was to take them to Vahsel Bay. The ship, built for the Belgian explorer Adrien de Gerlache, was renamed Endurance after the Shackleton family motto. He also bought the ship Aurora. This second ship, under command of Aeneas Mackintosh, was supposed to meet them at the Ross Sea on the other side of the continent and lay in provisions for the last part of the crossing.

Endurance left Plymouth on August 8th 1914, just four days before the first skirmish of WWI, sailing via Buenos Aires and arriving in South Georgia on November 5th. After a month-long halt at the Grytviken whaling station, Endurance departed for the Antarctic. Soon they encountered pack ice which slowed down their progress and occasionally halted them altogether. On the 22nd the ice abated and they were able to enter deep into the Weddell Sea. On January 15th 1915 bad weather forced the ship to shelter in the lee of a stranded iceberg and the next day they were stopped by the surrounding ice at a position of 76°34 s, 31°30 w. On February 14th, after making little further progress, the men stepped on to the ice with ice-chisels, prickers, saws and picks to break the ship free, but their efforts were in vain and they now had to face the ‘possibility of having to spend a winter in the inhospitable arms of the pack’. Endurance, still caught in the ice, began drifting North with the pack. The ship’s routine was abandoned in expectation of a long stay. The dogs were housed on the ice and the ship’s interior made suitable for winter quarters. Shackleton hoped he could attempt a return to Vahsel Bay next spring, but on April 14th Shackleton observed the nearby pack ‘piling and rafting against the masses of ice’. If this happened near Endurance ‘she would be crushed like an eggshell’.
Some signs of the ice disintegrating occurred on July 22nd and a week later a storm caused the ice floe to start breaking up all around the ship. Masses of ice forced under the keel made the ship list heavily to port. ‘The effects of the pressure around us was awe-inspiring. Mighty blocks of ice (…) rose slowly till they jumped like cherry-stones gripped between thumb and finger’. On October 24th 1915, they were forced against a large floe and the ship’s hull began to give way. With loud noises it began to bend and splinter, and water from below the ice poured into the ship. The order to abandon ship was given three days later. Supplies and lifeboats were transferred to the ice. Frank Hurley was able to retrieve his camera and 550 glass plates of which he selected 150 and smashed the rest. On October 30th they started to march west in the hope of reaching Paulet Island but the route over the ice was impossibly rugged. Hauling the heavy supplies and lifeboats on sledges, they had only progressed a few miles in three days when they decided to pitch camp on a large ice shelf. From ‘Ocean Camp’ they could still revisit the wreck of the Endurance until, on November 21st, it finally slipped under the ice. They attempted a second march on December 23rd, but higher temperatures had only made conditions worse, with men sinking to their knees in soft snow as they hauled the boats over the ice ridges. Morale was getting dangerously low. They made only a little over a mile of progress daily, and after seven days Shackleton called a halt: ‘It would take us over three hundred days to reach the land’. They erected ‘Patience Camp’, their home for the next three months. Dwindling food supplies forced them to shift their diet to seal meat and to shoot and eat all but two teams of the dogs. On the evening of April 8th the floe suddenly split and they hastily readied the lifeboats. From then on the water would repeatedly open up and close again, forcing the men to pull the boats onto the ice and wait for conditions to improve. The physical strain and the lack of food were wearing the men down, so Shackleton decided to try for the uninhabited and rarely visited Elephant Island. They reached it on April 14th and managed to find a safe place to land and camp the following day. Their only prospect of rescue was to prepare one of the lifeboats for an 800 mile voyage across the Southern Ocean, back to South Georgia.

The ship’s carpenter McNish set about the task of improvising tools and materials. Shackleton and five other men took to the Ocean on April 24th 1916 in the 6,85 meter lifeboat ‘James Caird’, named after one of the expedition sponsors. Twenty-two men were left behind on Elephant Island with instructions to make for Deception Island the following spring, should Shackleton not return. The voyage to South Georgia hinged on pinpoint accuracy of navigation under the most unfavorable of conditions. Everything was soon encrusted in ice. The boat rode sluggishly and after some days they faced waves which Shackleton described as the largest he had seen in 26 years at sea. But on May 8th they sighted South Georgia. They washed up on the shore at King Haakon Bay on the uninhabited south side of the island. Another sea journey was out of the question, so a hike through the mountainous, uncharted interior of South Georgia seemed the only viable option. After some rest Shackleton, Frank Worsley and Tom Crean set out for Stromness on May 19th. Shackleton wrote afterwards: ‘I have no doubt that Providence guided us … I know that during that long and racking march of thirty-six hours over the unnamed mountains and glaciers it seemed to me often that we were four, not three’. (T. S. Eliot later borrowed this image for his poem ‘The Waste Land’).

By the evening of May 21st all six of the James Caird party were safe. Ice conditions prevented ships from reaching Elephant Island and it was only at the fourth attempt on August 30th that the Chilean vessel Yelcho was able to save the remaining men. They had survived the winter by improvising a shelter made from the remaining lifeboats, but some were in a bad state. All 28 of Shackleton’s party survived earning him respect and admiration. But this did not apply to the other half of the expedition. On the opposite side of Antarctica, Aeneas Mackintosh had risked everything to lay the depots of supplies for the expedition, unaware of the futility of their efforts. Three of their party perished in the snow.

Shackleton’s group, having been out of touch with civilization since 1914, returned to a world immersed in war. Many of them immediately took up military service and many died or were wounded. Seven years later, Shackleton organized another Antarctic expedition taking him back to South Georgia, where he died of a heart attack on January 5th 1922. It would be fifty more years before the Antarctic continent was first crossed.
(source: wikipedia.org/wiki/Imperial_Trans-Antarctic_ Expedition)

Whaling Station Grytviken on South Georgia Islands.

Stove in the makeshift galley [1915] This photo was taken in the Weddell Sea during Ernest Shackleton’s Imperial Trans- Antarctic Expedition of 1914-1916.
Photo from glass negative taken in 1915 by Frank Hurley.
Copyright: Scott Polar Research Institute.

‘Photograph showing the stove suspended by ropes from spars in the makeshift galley (kitchen). The galley which was erected on the ice was made of sails and spars and battens of wood from the ship. The stove appears to have been made from metal cylinders (ship’s funnel?). Pots and pans and other cooking equipment are on the stove and shelves on the wall behind.’
(source: spri.cam.ac.uk/…/p66.19.x41)


The age of discovery:


Town Bus

index of sculptures 1988 to 2024

Stadsbus (Town Bus)

2007
Bas-relief in salvaged wood #39, 183 x 112 x 14cm.
Museum Rotterdam, Netherlands.


Work linked to the city of Rotterdam:


JBL

index of sculptures 1988 to 2024

JBL Speaker

2006
Bas-relief in salvaged wood #38, 95 x 105 x 10cm.
Collection Ron Mandos, Amsterdam, Netherlands.


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


KEF Speakers

index of sculptures 1988 to 2024

KEF Speakers

2006
Bas-relief in salvaged wood #37, 143x105x10cm and 124x84x10cm. total dim. variable.
Private collection Schiedam, Netherlands.


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


Akai-VT100

index of sculptures 1988 to 2024

Akai-VT100 (open reel portable video recorder)

Bas-relief in salvaged wood #36, 145 x 175 x 12cm.
Private collection, Amsterdam, Netherlands.


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


VO-1810

index of sculptures 1988 to 2024

VO-1810 (Sony U-Matic)

2006
Bas-relief in salvaged wood #35, 175 x 110 x 14cm.
Collection of the City of Amsterdam, Netherlands.


Part of an ongoing series of HiFi themed objects. The first set of 4 was a solo show at Delta gallery Rotterdam in 2006.


Endeavor

index of sculptures 1988 to 2024

Endeavor (Apollo15)

2006
Bas-relief in salvaged wood #34, 70 x 185 x 14cm.
Private collection, Rotterdam, Netherlands.


More ‘space junk’:


Vostok

Vostok

2006
Bas-relief in salvaged wood #33, 130 x 130 x 14cm.
Private collection, Wassenaar, Netherlands.

About Vostok

Vostok / Восток was a series of space craft built by the Soviet Union. Cosmonaut Yuri Gagarin became the first man in space on April 12th 1961 in Vostok-1. The Vostok program carried eight men into space until it was replaced in the late sixties by Soyuz. Amazingly, Soyuz spacecraft are still in use today 45 years later.
(source: http://wikipedia.org/wiki/Vostok_1 )

Юрий Гагарин/ Первый из первых ч 1


More ‘space junk’:


Sputnik

index of sculptures 1988 to 2024

Sputnik

2006
Bas-relief in salvaged wood #32, 230 x 200 x 18cm.
Concordia Collection, Rotterdam, Netherlands.

Laika / Лайка (1969)

About Sputnik

Sputnik-1 / Спу́тник-1 was the first man made satellite. The 58 cm (23”) diameter polished metal sphere beset with four external antennas was launched into orbit on October 4th 1957. It could be seen and its radio pulses could be heard all over the world. The Russians’ unexpected space-tech savvy triggered the Space Race and set in motion a whole range of technological and scientific development. Traveling at over 8 kilometers a second, Sputnik-1 took 96.2 minutes for each orbit. It continued to transmit its bleep-bleep signal until its batteries ran out on October 26th. By the time it fell from orbit three months after launch, it had traveled about 70 million kilometers.
(source: wikipedia.org/wiki/Sputnik)

The first living creature to orbit the Earth was a stray dog from the streets of Moscow named Laika. The mongrel was trained with two other dogs, and was eventually selected to occupy the Soviet spacecraft Sputnik 2 that was launched into space on November 3, 1957. There was no chance of surviving the trip because the technology to de-orbit had not been developed yet. The purpose of the experiment was to see if humans could possibly endure the extreme force of being shot into space and if they could function in weightlessness.
(source: wikipedia.org/wiki/Laika

Спутник-2. Лайка.


More ‘space junk’:


Lunar Orbiter

index of sculptures 1988 to 2024

Lunar Orbiter

2006
Bas-relief in salvaged wood #31, 120 x 121 x 12cm.
Collection of Jeroen Princen, Rotterdam, Netherlands.

Apollo 11 bootprint (1969). photo by NASA.
‘One of the first steps taken on the Moon, this is an image of Buzz Aldrin’s bootprint from the Apollo 11 mission. Neil Armstrong and Buzz Aldrin walked on the Moon on July 20, 1969.’
(source: grin.hq.nasa.gov/…GPN-2001-000014)

About Apollo 11

Buzz Aldrin and Neil Armstrong became the first humans to walk on the Moon in 1969. Much of the mission was broadcast live on television and was followed by millions at home. Apollo 11 launched from Cape Kennedy at 13:32:00 ut on July 16, 1969 and left Earth orbit after 2 hr and 33 minutes. They reached lunar orbit at 75 hr 50 minutes Ground-Elapsed-Time (GET). At 80:12 get, the service module propulsion system was fired to correct the orbit, each orbit now taking two hours. At 100:14 GET the Lunar Module was undocked after a full systems check. They fired the Lunar Module descent engine at 101:36 get and the ‘Eagle’ landed at 102:45 get.
The first action on landing was to prepare the Lunar Module for launch. They had a meal, but a scheduled nap was postponed at the astronauts’ request. At 109:24:19 GET Neil Armstrong took his first step on the moon. The astronauts then carried out their planned program of activities. They deployed the Solar-Wind- Composition experiment and collected a huge amount of lunar material. They took panoramic photographs of the region and closeups of lunar surface material. They deployed the Laser-Ranging-Retroreflector and the Passive-Seismic-Experiment-Package and collected two core-tube samples of the lunar surface. After about 2h 15mins of lunar surface activities the astronauts reentered the Lunar Module and took some sleep.
Ascent began at 124:22 GET after which they re-docked with the command spacecraft Columbia, which was piloted by the third member of the mission Michael Collins. Trans-earth coast needed only one of four planned midcourse corrections. The Command Module reentered the Earth’s atmosphere at a velocity of 36,194 feet per second (11,032 meters per second) and landed in the Pacific Ocean, where the astronauts were picked up by the recovery ship USS Hornet.
(source: NASA SP-214, Preliminary Science Report

Apollo 11 Saturn V Launch Camera E-8


Apollo11: Lunar Landing July 20, 1969


More ‘space junk’:


Pod

index of sculptures 1988 to 2024

Pod (Apollo space capsule)

2005
Bas-relief in salvaged wood #30, 105 x 100 x 10cm.
Concordia Collection, Rotterdam, Netherlands.


More ‘space junk’:


Tin Can

index of sculptures 1988 to 2024

Tin Can (Friendship7)

2005
Bas-relief in salvaged wood #29, 110 x 70 x 10cm.
Concordia Collection, Rotterdam, Netherlands.

Tin Can was the first space themed bas-relief and the first relief to be fitted with a large image on the back. The reason for this was that the work was intended for ‘de Aanschouw’ gallery, a display built into the facade of the Aanschouw cafe in Rotterdam that had hosted more then a thousand mini exhibitions until it closed in 2023 . The image on the rear of Tin Can was a NASA photo of astronaut John Glenn.

Astronaut John H. Glenn Jr. dons his silver Mercury pressure suit in preparation for launch of Mercury Atlas 6 (MA-6) rocket. Januari 20, 1962. Photo: NASA.

About Friendship 7 and Mercury-Atlas 6

The Mercury-Atlas 6 mission, conducted by NASA on February 20 1962, was piloted by astronaut John Glenn, who performed three orbits of the Earth, making him the first U.S. astronaut to orbit the Earth. It reestablished NASA and the US as strong contenders in the space race with the Soviet Union. The USSR had launched Sputnik, the first spacecraft, in 1957, and Yuri Gagarin was the first human in space in 1961. After Glenn’s flight the space race shifted its focus towards the Moon.
(source: wikipedia.org/wiki/Friendship_7)

Image above: Glenn Suits-Up for Launch [1962]
photo by NASA. ‘Astronaut John H. Glenn Jr. dons his silver Mercury pressure suit in preparation for launch. On February 20, 1962 Glenn lifted off into space aboard his Mercury Atlas (MA-6) rocket and became the first American to orbit the Earth. After orbiting the Earth 3 times, Friendship 7 landed in the Atlantic Ocean 4 hours, 55 minutes and 23 seconds later, just East of Grand Turk Island in the Bahamas. Glenn and his capsule were recovered by the Navy Destroyer Noa,
21 minutes after splashdown.’
(source NASA: grin.hq.nasa.gov/…GPN-2000-001027)

Video: Friendship 7, Full Mission, over 5 hours worth of original video and audio.
Credit: Lunarmodule5


More ‘space junk’:


Euromast 2

index of sculptures 1988 to 2024

Euromast 2

2005
Bas-relief in salvaged wood #28, 205 x 175 x 16cm.
Private collection, Rotterdam, Netherlands.


Work linked to the city of Rotterdam:


Euromast 1

index of sculptures 1988 to 2024

Euromast 1

2005
Bas-relief in salvaged wood #27, 205 x 182 x 16cm.
Collection Museum Rotterdam, Netherlands.

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Construction of the Euromast bas relief.

Euromast

The Euromast observation tower was designed by Hugh Maaskant and built in 1958-1960 to a height of 101 meters. A further 85 meters were added in 1970 so that it would remain the tallest built structure in Rotterdam. Originally intended for the Floriade event in 1960 in Rotterdam, it has since come to symbolize the spirit of post World War II reconstruction.


Remarkable Rotterdam. A New High in the Lowlands.
Video by Pim Korver for ©PKFV. 1970.


Work linked to the city of Rotterdam:


Kassa 3

index of sculptures 1988 to 2024

Kassa 3 (Checkout 3)

Bas-relief in salvaged wood #25, 189 x 106 x 14cm.
LAM, Lisser Art Museum, Lisse, Netherlands.


Part of a set of three checkout counters which were exhibited together on the Art Rotterdam art fair in 2005 by galerie Delta.


Kassa 2

index of sculptures 1988 to 2024

Kassa 2 (Checkout 2)

2004
Bas-relief in salvaged wood #24, 187 x 112 x 14cm.
Collection of Felix Claus, Amsterdam, Netherlands.


Part of a set of three checkout counters which were exhibited together on the Art Rotterdam art fair in 2005 by galerie Delta.


Kassa 1

index of sculptures 1988 to 2024

Kassa 1 (Checkout 1)

2004
Bas-relief in salvaged wood #23, 173 x 115 x 14cm.
Private collection Rotterdam, Netherlands.


Part of a set of three checkout counters which were exhibited together on the Art Rotterdam art fair in 2005 by galerie Delta.


Shipsection

index of sculptures 1988 to 2024

Shipsection [2003]

2003
Bas-relief in salvaged wood #19, 185 x 195 x 16cm.
Private collection Rotterdam, Netherlands.

The Shipsection bas-relief was based on the Costa Classica ship section. Follow this link to learn about its role in the demise of Camell Laird shipyard in Liverpool and about how it ended up in Rotterdam.:

The Costa Classica ship section

In 2002 Cammel Laird Shipyard in Birkenhead near Liverpool was building a 14 storey ship section to upgrade the Costa Classica cruise ship owned by Italian Costa Cruises. The almost 200 year old shipyard was famous in the seventies and eighties for building nuclear submarines. Contracts had dried up with the end of the Cold War, and they were looking for a way into the civilian market. This assignment looked like a promising start. When the Costa Classica was already on its way to Birkenhead to be cut in half, Costa Cruises was taken over by Carnival Cruises, an American firm. Carnival doesn’t do ship extensions, they just replace outdated ships. News reached the shipyard that the Costa Classica had made a U-turn and was now steaming back to Italy. The new owners said they had reports of faults in the section. Within months the shipyard was declared bankrupt and its workers were laid off.
www.telegraph.co.uk/…/The-straw-that-broke-Cammell.html

“The 14 storeys high section was bought by a consortium of Dutch investors. It was scrapped in Heijsehaven harbour in Rotterdam, just opposite my studio. My bas-relief was constructed while the original section was being dismantled. I even got to visit the section before they started. The only way in was to be hoisted on top of it by a tall crane. The upper decks were nearly finished, with spaces fitted as restaurants, a discotheque and a swimming pool. Lower down were hundreds of cabins and a fully equipped engine room – all brand new. It was an eerie experience.”

Image top: photo of the original section in the Heijsehaven by Ron van der Ende.

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Photos taken during our visit to the section by Peter Breevoort.


These works were part of the Mobility exhibition at gallery Delta in 2003:


Dreadnought

index of sculptures 1988 to 2024

Dreadnought

2003
Bas-relief in salvaged wood #18, 195 x 165 x 15cm.
Collection Frits van Dongen, Amsterdam, Netherlands.


These works were part of the Mobility exhibition at gallery Delta in 2003:


Kruising

index of sculptures 1988 to 2024

Kruising (Crossing)

2002
Bas-relief in salvaged wood #17, ca 180cm wide.
Private collection. Location unknown.


These works were part of the Mobility exhibition at gallery Delta in 2003:


Fly Over

index of sculptures 1988 to 2024

Fly Over

2002
Bas-relief in salvaged wood #16, 350 x 210 x 20cm.
Built for Hogeschool Rotterdam (Rotterdam University), Netherlands.

Fly Over was the first bas-relief that was made on commission. It was constructed especially for the auditorium of the new Economic Faculty (H.E.S.) in Rotterdam, part of Rotterdam University. The auditorium is a large space with dark grey walls and bright red linoleum floors. The colour of the floors is incorporated in the work as a red haze. The relief itself was based on photo’s of Kleinpolderplein, a large and complex stacked interchange built in Rotterdam from 1958 onwards.

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View of Mobility at gallery Delta. Hans Sonnenberg is seen seated at his desk.
Fly Over was temporarily installed at the gallery for the occasion of this show..


These works were part of the Mobility exhibition at gallery Delta in 2003:


Parkflat

index of sculptures 1988 to 2024

Parkflat

2002
Bas-relief in salvaged wood #15, 135 x 165 x 14.
Collection of Museum Rotterdam, Rotterdam, Netherlands.
Photo: Theo van Pinxteren, Museum Rotterdam.

The Parkflat under construction, 12 August 1957.
Photo by Herbert Behrens © Nationaal Archief.

Parkflat, Rotterdam

The Parkflat apartment block is situated on the corner of Westzeedijk and Kievitslaan in Rotterdam, overlooking the park. Designed by E.F. Groosman, it was built between 1948 and 1958 as the first large residential building of Rotterdam’s postwar reconstruction period. The Parkflat contains 50 relatively luxurious apartments, even though the tower block was constructed in a modified version of the MUWI concrete panel system.
This building system was widely used for mass housing construction all around the Netherlands until it fell out of favour in the early 1970s.
(source: rotterdamwoont.nl/…/Parkflat)
(source: bestaandewoningbouw.nl/muwi)


Work linked to the city of Rotterdam:


Catalina

index of sculptures 1988 to 2024

Catalina (Flying Boat)

2002
Bas-relief in salvaged wood #13, 370 x 92 x 20cm.
Private collection, Wassenaar, Netherlands.

Hans Sonnenberg taking notes. Delta Booth, Art Rotterdam, 2005.


These works were part of the Mobility exhibition at gallery Delta in 2003:


Pontiac

index of sculptures 1988 to 2024

Pontiac Bonneville 1963

2001
Bas-relief in salvaged wood #12, 185 x 95 x 16cm.
Collection of Taco Verplanke, Barendrecht, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Chevy Impala

index of sculptures 1988 to 2024

Chevrolet Impala 1959

2001
Bas-relief in salvaged wood #11, 175 x 92 x 16cm.
Collection Artotheek Oost, Amsterdam, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Styleline

index of sculptures 1988 to 2024

Chevrolet Styleline 1951

2001
Bas-relief in salvaged wood #10, 195 x 100 x 16cm.
Collection of C.G. Ramselaar, Driebergen, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Chevy Caprice

index of sculptures 1988 to 2024

Chevrolet Caprice 1967

2001
Bas-relief in salvaged wood #9, 235 x 92 x 16cm.
Collection of Marc Overman, Rotterdam, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Crashed Toyota

index of sculptures 1988 to 2024

Crashed Toyota

2001
Bas-relief in salvaged wood #8, 305 x 92 x 16cm.
Private collection, Rotterdam, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Charger x 2

index of sculptures 1988 to 2024

Dodge Charger x 2

2000
Bas-relief in salvaged wood #7, 305 x 92 x 16cm.
Private collection, Rotterdam, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Ferrari 500TRC

index of sculptures 1988 to 2024

Ferrari 500TRC 1957

2000
Bas-relief in salvaged wood #6, 246 x 115 x 16cm.
Private collection, The Hague, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Chrysler

index of sculptures 1988 to 2024

Chrysler Town & Country 1973

2000
Bas-relief in salvaged wood #5, 204 x 82 x 16cm.
Collection Dirk Berghout, Dordrecht, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Volga

index of sculptures 1988 to 2024

G.A.Z.21 Volga 1962

2000
Bas-relief in salvaged wood #4, 190 x 110 x 16cm.
Alexander Ramselaar Collection, Rotterdam, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Pontiac Police

index of sculptures 1988 to 2024

Pontiac Police 1975

2000
Bas-relief in salvaged wood #3, 245 x 105 x 16cm.
Bouwfonds collection, Hoevelaken, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Plymouth

index of sculptures 1988 to 2024

Plymouth Custom Suburban 1969

2000
Bas-relief in salvaged wood #2, 205 x 95 x 16cm.
Collection of Van der Ende Steel Protection Innovators, Barendrecht, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Chevelle

index of sculptures 1988 to 2024

Chevrolet Chevelle 1965

2000
Bas-relief in salvaged wood #1, 245 x 75 x 16cm.
Collection of Museum Voorlinden. Wassenaar, Netherlands.
Photo: Bob Goedewaagen.


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


About the first reliefs

index of sculptures 1988 to 2024

Chevrolet Chevelle 1965 was the first bas relief, introducing a whole new take on the age old bas-relief format. This invention did not come out of nowhere.

How the first bas-reliefs came about,

After opting to work exclusively in used timbers in 1996 the boat models were an instant succes. But it proved hard to move beyond and break new territory:
“The Kadett and Globe sculptures were my final attempts to make the full 3d modelling technique work for a wider range of subjects and on a more monumental scale. Although successful in themselves, the sculptures did not seem to point a way forward. The Doelen project had left me with a taste for innovation and for working on a larger scale, and the smaller models now felt too limited.”: “… I needed an approach for my bread-and-butter artwork that would offer prospects for further artistic development and would at the same time be suitable for commissioned projects.
Then one day the solution arose: the bas-relief! In retrospect I wonder why it took me so long to arrive at it. It is really only a small step from a ship half-hull model to a bas-relief. Some people even confuse the two.”

Image: A computer sketch to assess colour application for the Chevelle bas-relief. Note the schematic approach at this stage. Although the next reliefs revealed the possibilities of incorporated shadows and reflections the ‘flat’ approach returns in the Ferrari 500TRC and later works.

Images: Studio view Lekhaven.

Image top: A selection of tiny jpeg’s from the Gillys Car Wreckers website collected in 2000. Gillys.com was one of the many excellent image sources in the early days of the internet. Most disappeared quite quickly, a victim of their own success. Bandwidth was expensive back then.

More photo’s and sketches from this period:


The first series of bas reliefs was made in 2000 and 2001. All of them were cars:


Mimic Diagram

Before the bas-reliefs: 1988 to 2000

Mimic Diagram

1999
A design of 240 m colored neon lines placed over a milled drawing in light blue Trespa sheets installed in the ceiling of the central reception hall of the Doelen in Rotterdam. (part of the ‘makeover’ project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, NL. Mimic Diagram was taken down in 2009).
photo Bob Goedewaagen 1999.


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De dirigenten (The Conductors)

1999
8 archive photos from the history of the Rotterdam Philharmonic Orchestra and the Doelen institute printed on transparencies and applied to large sheets of safety glass. The images merge with the ‘brutalist’ rough concrete pillars of the reception hall of the Doelen aided by specially installed lights (part of the ‘makeover’ project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, Netherlands)


Kamerschermen (Room Dividers)

2000
100 metres of folding room dividers for the Doelen. Honeycomb panels, wood, Formica, aluminium.
(part of the ‘makeover’ project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, Netherlands)


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Doelen Receptie Meubels

1999
2 Wardrobe units of 27,5 meters each. Granite, Plywood, Formica, Flightcase materials.
18 Rolling Reception Desks. Plywood, Formica, Flightcase materials.
(part of the ‘makeover’ project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, Netherlands).


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Winkel meubels.

2000
Rolling shopping units for the Rotterdam Philharmonic Orchestra and the Doelen.
Glass, stainless steel, wood, formica, lighting, etc. 2 x 1 x 1m.
(part of the ‘makeover’ project for the central reception hall of the Concert & Congress Centre De Doelen, Rotterdam, Netherlands).


Vuurtoren

Before the bas-reliefs: 1988 to 2000

Vuurtoren (Lighthouse)

1997/98. With Expo HenK Artists Collective.
Concrete, bricks, mortar, steel, glass, revolving light, polyester boat. Total height: 9 meters.
Built on assignment for the municipality of Zoetermeer for a new pool complex. Demolished in 2015 when the pool was repurposed. The photo above was taken just before demolition.

Vuurtoren was the last large Expo HenK Artists Collective project.

Ron van der Ende, Arjo Rozendaal, Peter Breevoort and Don van Basten during construction of Vuurtoren.


Spits

Before the bas-reliefs: 1988 to 2000

Spits 1

1998
Salvaged wood, length 230 cm.
Collection of Barney Agerbeek, Leerdam, Netherlands.


Spits 2

1998
Salvaged wood, length 230 cm.
Location unknown.


Spits 3

1998
Salvaged wood, length 175 cm
Caldic Collection/Museum Voorlinden, Wassenaar, Netherlands.


Spits 4

1998
Salvaged wood, length 185 cm.
Location unknown.


Duikboot

Before the bas-reliefs: 1988 to 2000

Duikboot 1

1997
Submarine 1 Salvaged wood, length 170 cm.
Caldic Collection/Museum Voorlinden Wassenaar, Netherlands.


Duikboot 2

1997
Salvaged wood, length 170 cm.
Caldic Collection/Museum Voorlinden Wassenaar, Netherlands.


Duikboot 3

1997
Salvaged wood, length 170 cm.
Caldic Collection/Museum Voorlinden Wassenaar, Netherlands.

Duikboot 4

1997
Salvaged wood, length 170 cm.
Caldic Collection/Museum Voorlinden Wassenaar, Netherlands.


Duikboot 5

1997
Salvaged wood, length 170 cm.
Bouwfonds Collection, Hoevelaken, Netherlands.


Duikboot 6

1997
Salvaged wood, length 170 cm.
Location unknown.


Duikboot 7

1997
Salvaged wood, length 170 cm.
Location unknown.


Duikboot 8

1997
Salvaged wood, length 170 cm.
Private collection, Rotterdam, Netherlands.


Duikboot 9

2002
Salvaged wood, length 170 cm.
Private collection, Rotterdam, Netherlands.


Loodsjes

Before the bas-reliefs: 1988 to 2000

Loodsjes (Warehouses)

1993-1997. Part of Industrieel Landschap project with Freek Drent.
Salvaged wood, steel planning boards. 90 x90 x150cm.
Collection of CBK Rotterdam.



Fabriek

Before the bas-reliefs: 1988 to 2000

Fabriek (Factory)

1993-1997. Part of Industrieel Landschap project Freek Drent.
Wood, steel and electrical parts. 170 x 60 x 80cm.

Industrieel Landschap at CBK, Rotterdam.



Details

Watertoren

Before the bas-reliefs: 1988 to 2000

Watertoren (Water Tower)

1993-1997. Part of Industrieel Landschap project with Freek Drent.
Wood, steel and brooms. 150 x 40 x 40cm.
Collection of the artist.

After working together on collages for the Expo HenK paper invitations, in 1993 Freek Drent and Ron van der Ende decided to start a large collaborative project. An idea to design chess pieces grew into a collection of ultimately 16 sculptures. The project called Industrial Landscape ran from 1993 to 1997. It focussed on industrial and utilitarian architecture. The artists visited many industrial sites, most notably in Romania during a three week trip.
The project was exhibited in its entirety on two occasions, once at CBK in Rotterdam, and once at Gothaer Kunstforum in Köln, Germany.
Industrial Landscape was also the title of a publication dedicated to the project.

Industrieel Landschap at Gothaer Kunstforum in Köln, Germany.



E

Before the bas-reliefs: 1988 to 2000

E

1996

Wood, glass, light. Dimensions 120 x 140 x 60cm.
Part of Sign (Large), a collaboration for an ExpoHenK logo.
Mixed media,Total size ca 900 x 140 x 50cm.
Collection of the artist.


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Sign (Small)

1996. A collaboration for an ExpoHenK logo.
Mixed media, ca 230 x 230 x 20cm.


Boot

Before the bas-reliefs: 1988 to 2000

Boot (Boat)

1996 With Expo Henk Artists Collective.
PVC inflatable. Length: 17,5m
Boot was a semi permanent installation in the Kunsthal, Rotterdam, Netherlands.

Preliminary sketch of Boot by Ron van der Ende).


Sleepboot

Before the bas-reliefs: 1988 to 2000

Sleepboot 1

1996
Salvaged wood, length 120 cm.
Bouwfonds Collection, Hoevelaken, Netherlands.


Sleepboot 2

1996
Salvaged wood, length 120 cm
Private collection Rotterdam, Netherlands.
Formerly in the collection of Johan de Bliek, Antwerp, Belgium.


Sleepboot 3

1996
Salvaged wood, length 120 cm
Concordia Collection, Rotterdam, Netherlands.
Formerly in the collection of cafe Melief Bender, Rotterdam, Netherlands.


Sleepschip

Before the bas-reliefs: 1988 to 2000

Sleepschip 1

1996
Towed Barge 1 Salvaged wood, length 135 cm.
Private collection, Delft, Netherlands.


Sleepschip 2

1996
Towed Barge 2 Salvaged wood, length 135 cm.
Private collection, Rotterdam, Netherlands.


Sloep

1996
Longboat Salvaged wood, length 60 cm.
Private collection, Rotterdam, Netherlands.


Collages

Before the bas-reliefs: 1988 to 2000

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Collages

1993/84
Paper collage studies.
Collection of the artist.


Tunnel

Before the bas-reliefs: 1988 to 2000

Tunnel

1996. with Freek Drent.
For The Happy Room group exhibition in the Expo HenK exhibition space.
Salvaged wood, wallpaper, used geographic maps, miniature train set, dim: 4 x 5 x 3m. For the exhibition we rented rented a ‘kiddy-ride’ train track that ran through the exhibition and the tunnel.
Temporary project.

Ron van der Ende testing Jan Neggers airplane for safety.
Installation of the Happy Room exhibition at Expo HenK.
Left: Freek Drent. Front: Jos van der Meulen testing the train ride.


Bar

Before the bas-reliefs: 1988 to 2000

Bar

1995. with Expo HenK.
Large collaborative installation by Expo HenK Collective. Salvaged materials, shelving units, fridge, toilet, a cabinet made of beeswax, a large mirror, lights, moving parts and sound, etc. dim: 7 x 4 x 3m.
Collection of Groninger Museum, Groningen, Netherlands.
Photo: Hans Wilschut.

This was possibly the largest, most complicated and most absorbing of the ExpoHenK collaborative projects. It took three months to construct. Through the mediation of Wim van Krimpen, the installation was acquired for The Groninger Museum by Frans Haks, its director. The Groninger Museum had only recently opened its striking new pavilions, whose construction Haks had championed.
The backbone of Bar was an industrial pallet rack that allowed the eight artists to add parts and respond to each other’s work.
Note, in the upper left corner, Van der Ende added a model of a wooden boat. This was a rough prototype for the subsequent wooden boat series.


Huis

Before the bas-reliefs: 1988 to 2000

Huis

1993. with Expo HenK Artists Collective.
Salvaged wood and window panes, old steel shelving units, etc. Height: 7m.
Caldic Art Collection / Museum Voorlinde, Wassenaar, Netherlands.

A large sculpture made for Kunstrai 1994. The ExpoHenK group at the time of construction consisted of Don van Basten, Peter Breevoort, Freek Drent, Hans Eijkenboom, Ron van der Ende, Roel Meelkop, Arjo Roosendaal and
Joop Witteveen. During the Kunstrai art fair, the sculpture was accessible to the public. It provided a platform overlooking the exposition thereby divulging the art fair’s resemblance to a cube farm.

Huis was purchased by Joop van Caldenborgh / Caldic Collectie. The work was adapted for outdoor placement in the woods at Van Caldenborgh’s estate near Wassenaar, Netherlands. The sculpture exhibition on the estate includes many important works and is open to the public by appointment. The photo was taken in 2006, 12 years after construction, when we were about to do some renovation work. In 2023 the construction is still standing and open for the public to enter.

The mitered fish ExpoHenk logo designed by Freek Drent.
The design was used on publications and applied on t-shirts.


Vrachtwagen

Before the bas-reliefs: 1988 to 2000

Vrachtwagen

1993. with Expo HenK.
Modified truck, integrated flight simulator, aquarium integrated in front windscreen containing live fish, working industrial ventilator and soundhorn, etc. Temporary project.
Exhibited at Galerie ’93 Kunsthal, Rotterdam, Netherlands.

Expo HenK started out in 1988 as an artist run space housed in De Fabriek in Delfshaven. From 1993 the Expo HenK group (Don van Basten, Peter Breevoort, Freek Drent, Ron van der Ende, Hans Eijkenboom, Roel Meelkop, Arjo Rozendaal and Joop Witteveen) produced a number of large installation type artworks in collaboration.

The name Expo HenK is an abbreviation of Expositieruimte Hakken en Kwasten (Exhibition Space Hacking and Dobbing)


RIV 3

Before the bas-reliefs: 1988 to 2000

Rapid Intervention Vehicle 3 (Dynatrac Low Profile Tractor)

1992
Wood, HPL, rubber, steel and light, 95 x 45 x 20cm.
Originally in the collection of Hans Sonnenberg, Rotterdam, Netherlands.
Current location unknown.
Photo: Mark Weemen.

The Rapid Intervention Vehicle series was based on Jane’s Airport Equipment 1985-86. A catalog for specialized products.



RIV 2

Before the bas-reliefs: 1988 to 2000

Rapid Intervention Vehicle 2 (Fresia Tow Tractor)

1992
Wood, HPL, active synthesizer components, light, moving parts, 100 x 45 x 50cm.
Collection of the artist.
Photo: Marc Weemen.



RIV 1

Before the bas-reliefs: 1988 to 2000

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Rapid Intervention Vehicle 1

1992
Wood, steel, HPL, aluminum and rubber, 140 x 60 x 80cm.
Photo: Mark Weemen.



Knikkerbaan

Before the bas-reliefs: 1988 to 2000

Knikkerbaan (Marble Track)

1990
Functioning marble track made from steel, aluminum, rubber, electric motors and lights placed in a wooden box.

Made for the Hotel Fantasia project. 44 boxes boxes were fitted into an architectural cabinet that was shown at the Dionysus Gallery artists collective.


Aircraft Engines of the World

Before the bas-reliefs: 1988 to 2000

Aircraft Engines of the World

1991
9 paintings, oil on canvas, unframed, in different sizes.
The images were derived from the library book Aircraft Engines of the World.
Bouwfonds Kunstcollectie, Hoevelaken, NL, Artoteek Rotterdam, NL, private collection, Aalst, BE.
Photos: Mark Weemen

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Ruimteschip 2

Before the bas-reliefs: 1988 to 2000

Ruimteschip 2 (Spaceship 2)

1990
wood, steel, lightbulbs and fluorescent tubes, hair dryers, organ pipe whistles 1.6 x 1.7 x 0.9 m. plus wooden case.
Private collection, Oosterhout, Netherlands.

Publicity photo for Poliset, Gallery Givichi d’Arte Moderna, Ferrara, Italy.



Constructie Schets

Before the bas-reliefs: 1988 to 2000

Constructie Schets (Construction Sketch)

1989
Fineliner pen on paper, 40x30cm.
Collection of the artist.

This was the last of three proposals for a large improvisation with scaffolding materials. The structure was supposed to contain a suspended theatre space, shaped like a spaceship hull. It was not realized.
These were the first proposals that would require execution by a team of builders rather than by a single artist.


Auto

Before the bas-reliefs: 1988 to 2000

Auto (Constructie 1 / Hispano Suiza)

1988
Canadian Ceder and Limewood structure on a steel frame, 4.8 m x 1.7 m x 1 m.
Formerly in the collection of Hans Sonnenberg, Rotterdam, Netherlands.
Collection of Ron Mandos, Amsterdam, Netherlands.
Photo: Hans Wilschut, 1988. Taken during the ‘It’s Boring But It’s True’ Exhibition at Dionysus Gallery in Rotterdam.

Portrait with Auto in the ExpoHenK exhibition space in Delfshaven Rotterdam.
photo by Mark Weemen, 1988.

Hispano Suiza

The Hispano-Suiza h6c Targa Florio speedster with tulipwood bodywork
was designed by Marc Birkigt for André Dubonnet, an accomplished aviator and racing driver, in 1924. A wooden frame and veneers fastened with brass rivets resulted in a lightweight body suitable for racing and touring.
(source: wikipedia.org/wiki/Hispano-Suiza_H6)

Auto was the first project after art school and the first occurence of the Car theme. This object marked the start of a fruitful, decades-long cooperation with Hans Sonnenberg of Delta Gallery, Rotterdam. 

First solo show of Ron van der Ende at galerie Delta, Oude Binnenweg 111.

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Body and wheel-wells of Auto/Hispano Suiza under construction.


Wand

Before the bas-reliefs: 1988 to 2000

Wand (Wall/Installatie II)

1988
Mixed media (wood, steel, neon etc.), 6 parts, total dimensions 10 x 2,1 x 1,5m.
Temporary project.

Wall / Installation 2 : a 10 m long by 2.1 m tall row of six evenly spaced objects: a letter E, a section of a wooden lifeboat, a billboard with neon lettering, an ‘abstract piece of art’, a window (glassless but with a working ventilation fan), and a cupboard with wire-suspended shelves. They were all made from scavenged materials except the window, which was ordered from Hofman Maasdijk carpentry factory (where father Van der Ende works). The aim in this project was to probe the idea of ‘typologies’ within sculpture.
The installation was based on an extensive series of sketches which addressed the question: what could be 1m20 wide and 2m10 high and stand up by itself? From the hundreds of resulting options, six were selected on the criteria of visual quality, presence, diversity, appeal and challenge. The selected objects were placed close together in a row to form a wall-like obstruction which effectively cut the room in half.
The WdKA Maaskant Prize jury report states that this project was a decisive factor in awarding Ron van der Ende the prize in 1990.

Graduation exhibition at the art academy in 1998.

1988RonvanderEndeInstallation2FSa
1988RonvanderEndeInstallation2FSb
1988RonvanderEndeInstallation2FSc
1988RonvanderEndeInstallation2FSd
1988RonvanderEndeInstallation2FSe
1988RonvanderEndeInstallation2FSf
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Early Work

index of sculptures 1988 to 2024

Before the bas-reliefs: 1988 to 2000: