Tag: Available work

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.

1953 4

index of sculptures 1988 to 2024

1953 4 (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 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.

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.

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.

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.

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.

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.

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.

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.