Dutch artist Mark Manders (*1968) has developed installative sculptural works since the late 1980s that are laid out as fragments of a self-portrait in the form of imaginary rooms. His has emerged as one of the most distinctive and independent positions within the international sculptural practice of the present day. Starting off from the model-like paradigmatic piece Self-Portrait as a Building, which was already made in 1986, his entire oeuvre can be understood as a large-scale attempt to translate his own existence, his own biographical development into wordless, associative memory spaces. Patterning the Ego as architecture, as buildings, leads to an artistic practice that comprehends sculpture as the spatial materialization of abstract and very personal thoughts, feelings, and emotions. Chimneys, brick walls, oversized modeled rats, tables, chairs, newspapers as well as a wide range of small personal objects are grouped together like surreal three-dimensional images to form timeless "still lives with broken moments".
"synopsis" may belong to another edition of this title.
Dutch artist Mark Manders, born in 1968, has been devising sculptural installations since the late 1980s and exhibiting them as a fragmented self-portrait in the form of imaginary rooms. A veteran of solo exhibitions at such respected American venues as The Drawing Center in New York, the Berkeley Art Museum and The Art Institute of Chicago, he has established himself as one of the most distinctive and independent artists on today's international sculpture scene. Beginning with the exemplary piece "Self-Portrait as a Building," created in 1986, Manders' entire oeuvre can be understood as a large-scale attempt to translate his own existence and development into wordless, associative memory spaces. Chimneys, brick walls, oversized model rats, tables, chairs, newspapers and a plethora of small, personal objects are tweaked in scale and amassed as "still lives with broken moments." This is the most significant appraisal of his work to date.
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