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Today
#pietmondriaan #theovandoesburg #joostbaljeu #gerritrietveld #bartvanderleck

Today
#pietmondriaan #theovandoesburg #joostbaljeu #gerritrietveld #bartvanderleck

Today
#pietmondriaan #theovandoesburg #joostbaljeu #gerritrietveld #bartvanderleck

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

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Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

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Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

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Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다.

_
Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again.

Image Courtesy of @deconstructie

Editor @haleenleestudio

#핸들매거진 #handlmag #errishuigens

The chalk painting I created, using chalk spray paint, on the beautifully eroded facade of @icoon_hoekvanholland is long gone by now. What is left is the documentation, like a faded memory. Everything fades.
First photo by @ropp_fragments, he sent about half a year after painting it.
–
#intervention #ephemeral #fading #memory #blackandwhite

The chalk painting I created, using chalk spray paint, on the beautifully eroded facade of @icoon_hoekvanholland is long gone by now. What is left is the documentation, like a faded memory. Everything fades.
First photo by @ropp_fragments, he sent about half a year after painting it.
–
#intervention #ephemeral #fading #memory #blackandwhite

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

White, material, shadow, light

Introducing Drusx, the new sonic identity of multi-disciplinary artist Cameron James McLaren, formerly known as Consequence.

Headsplat / Millenial Bug / Sadman Joy / Datamoss

Artist: Drusx
Cat Number: 90302
Label: CH903
Release date: 23_04_2026

Written and by Produced by Cameron James McLaren
Mastering by Beau Thomas at Ten Eight Seven @teneightsevenmastering
Artwork and Design: Erris Huigens and Tijl Schneider
@deconstructie @_tijl

Available from your favourite outlets or directly at ch903.com

Introducing Drusx, the new sonic identity of multi-disciplinary artist Cameron James McLaren, formerly known as Consequence.

Headsplat / Millenial Bug / Sadman Joy / Datamoss

Artist: Drusx
Cat Number: 90302
Label: CH903
Release date: 23_04_2026

Written and by Produced by Cameron James McLaren
Mastering by Beau Thomas at Ten Eight Seven @teneightsevenmastering
Artwork and Design: Erris Huigens and Tijl Schneider
@deconstructie @_tijl

Available from your favourite outlets or directly at ch903.com

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”
With @francesco_de_prezzo

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

Looking forward to meet you all at KunstRai 2026,
where OFF HOOK presents a group exhibition including this beautiful artwork by Erris Huigens (Deconstructie).

KunstRai 2026 takes place from 22-26 April in Amsterdam. Hope to see you there at our first Artfair! Booth 103!

Photo 1:
Erris Huigens (Deconstructie)
Sample Painting 04
Black spray paint and transparent gesso on rough Belgian linen
55 x 40 cm
2025

Photo 2:
Erris Huigens (Deconstructie)
Sample Object 04
Recycled Metal
50 x 7,2 cm
2025

@deconstructie

#artfair
#kunstrai
#abstractart
#artspace
#minimalandcontemporary

Looking forward to meet you all at KunstRai 2026,
where OFF HOOK presents a group exhibition including this beautiful artwork by Erris Huigens (Deconstructie).

KunstRai 2026 takes place from 22-26 April in Amsterdam. Hope to see you there at our first Artfair! Booth 103!

Photo 1:
Erris Huigens (Deconstructie)
Sample Painting 04
Black spray paint and transparent gesso on rough Belgian linen
55 x 40 cm
2025

Photo 2:
Erris Huigens (Deconstructie)
Sample Object 04
Recycled Metal
50 x 7,2 cm
2025

@deconstructie

#artfair
#kunstrai
#abstractart
#artspace
#minimalandcontemporary

Chalk line grid 55x40 02
Black pigment on reclaimed industrial fabric
55 cm x 40 cm
–
#frame #grid #drawing #chalklinetool #studiowork

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

“In Between-State”

We built this exhibition the way one assembles an oblique memory: through accumulation, drift, and echo. Not from a single point of origin, but by way of offsets, residues, and borrowings, from other exhibitions, other works, other contexts. It behaves like a sprawling group show, even though it stems from the encounter between only two practices.

The works on view do not assert a sealed authorship. Instead, they operate as porous surfaces, absorbing and refracting what came before them. Some read as citations, others as variations, others still as recontextualized remnants. In this sense, the exhibition is not a sum, but an ongoing negotiation among multiple presences, overlapping, interfering, at times contradicting one another.

The collective dimension, then, does not arise from the number of authors, but from the density of relations. Each work contains other works; each gesture gestures elsewhere; each form is already traversed by other forms. What appears as unity is, in fact, a montage.

This text follows the same logic as the exhibition, though in a more overt and unguarded way: what you are reading is a “Frankenstein” text, stitched together from fragments of the artists’ previous writings, extracted, spliced, and recomposed into a new, uneasy continuity. (...)

#exhibition #project #show #setup #form

Sunday looking back on this eraser drawing from about 5 years ago
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#eraser #dirt #tiles #intervention #minimalgraffiti

Sunday looking back on this eraser drawing from about 5 years ago
-
#eraser #dirt #tiles #intervention #minimalgraffiti

Sunday looking back on this eraser drawing from about 5 years ago
-
#eraser #dirt #tiles #intervention #minimalgraffiti