Caspar B.
As an artist I am indebted to the history of art. I see the Italian High Renaissance as a point of reference from which I stem. In recent years the focus of my work has shifted more expressly towards cultural, societal and political issues. I work full time on the basis of a working process that is labour intensive. For my final art works I use a variety of materials, like silicon, bronze, silver and sometimes even gold. And on top of this, I also use video and sound in my works. I like to host the Cultcheers events in my own atelier so you can experience the whole universe of making art.
La colección
3 temas
How I made a Self-portrait with my eyes closed.
Sculpture and the importance of the Self-portrait What is a self-portrait and why does the phenomenon play such an important role in art history? And why did it appear so much later in sculpture than in painting? I have used these questions as the starting point for a series of self-portraits. In this Cultcheers, I will take you on a tour of my research on physical identity and the phenomenon of personal space in the history of art. In my studio, I will present my self-portraits in different materials and show how I make them. I can invite you speaking English and/or Dutch. Picture: Narcissus / Self-portrait 15 (c).
Does art invite truly autonomous thinking?
How do I arrive at a genuinely individual position? In my current project, Universe, I compare the projection from our own world, our personal universe, with the phenomenon of a case (a fitted instrument case). Our suspicions as to the contents of the case give rise to speculation. It is this speculation that this Cultcheers explores. In my studio you will find yourself in the midst of an art installation. We can conjecture about the existence of worlds within them. What worlds? And as viewers do we dare to venture into the space between these closed worlds? I can invite you speaking English and/or Dutch. Picture: Let us make man (c).
My bones as a work of art: the paradox of a 3D print of m...
What is the relationship between an artwork and its viewer? How does it compare to the strength that a worshipper derives from a relic? For my project Skeleton (2012), I had a CT scan made of my body and became the first living person to have my entire skeleton reproduced using 3D printing techniques. This has enabled me to present a number of relics of myself. In several respects, this is paradoxical. The fact that I am still alive would suggest that they are not actually relics. But can we also conclude this from the perspective of art history? In this Cultcheers, the focus is on capturing and viewing valued relics in various precious metals. We explore the ideas of why we as viewers attribute intrinsic value to an object. Language English, Dutch Picture : Skeleton/Self-portrait 20 (c).