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