Reinoud Oudshoorn (1953) employs perspective, drawn from the illusory language of painting, and incorporates it into his sculptures. In this way, he aims to bridge the gap between the spatial illusion of the two-dimensional plane and the tangible reality of three-dimensional imagery. Oudshoorn’s sculptures originate from staring and gazing at a blank white surface, which gradually transforms into a space. It is from this process that his drawings emerge.
The choice of material is determined by the selected drawing and its technical possibilities: iron alludes to graphite, while wood is intriguing due to the lines of the grain, and matte glass adds depth.
A painting is too much of an illusion for him and a three-dimensional sculpture is too much reality. He has found an intermediary form in sculptures that create space, sometimes on a wall, and sometimes on the floor.
The vanishing point, which is present in almost all of his larger works, is located at eye level, specifically at 1 m 65, creating a palpable horizon at every exhibition.
www.ftn-books.com has several Oudshoorn publications now available.
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