jan duerinck

selected work
2018 – 2020

Hitch pin clip (hairpin cotter pin)
acrylic, spray paint
on canvas
184 x 250 cm
Trolleys are good
for heavy tiles

<< 12 >>
slate tiles
mineral oil
120 x 112 x 43 cm
Anti bird spikes
acrylic, spray paint
on canvas
160 x 200 cm
PNG Handcuffs
acrylic, spray paint
on canvas
130 x 150 cm
no title << 123 >>
(Catch Me series)
spray paint on wood
81 x 122 cm
no title << 123 >>
(90 Degrees, working title)
polycarbonate sheet
no title << 12 >>
(Catch Me series)
spray paint
on canvas
130 x 150 cm
werk in plastic zakken
painting on wood
plastic bags
chalk spray paint
122 x 81 cm
galvanized steel
400 x 200 x 400 cm
no title << 12 >>
acrylic on canvas
90 x 80 cm
no title
acrylic on wood
91 x 87 cm
210 x 75 x 40 cm
no title << 12 >>
acrylic on canvas
150 x 140 cm
werken in plastic zakken
inkjet prints
plastic bags
IKEA frames
91 x 61 cm

Jan Duerinck
born in Belgium, 1991
© all rights reserved

text 1 by Gerlinde Van Puymbroeck

Dear Jan,

As I look at your practice through pictures on the world wide web, the thoughts that I can form on it remain unclear. Not because your work might be unnoticeable, but because it seems never to wait for someone to look at it. It moves, as if every work is still tangibly tied to the process, the dynamics that have created it. What do you think it is that makes it difficult to grasp, to pin down into interpretations and explanations?
And at the same time, it feels layered. It feels as if your work opens dialogues on its own. It emits different conversations that unfold in a polyphonic entirety, that float, as I can float on their unstable rhythm. I could ask it, you, many questions. But maybe your work itself asks more questions than it could ever answer?
Maybe it keeps the answers within it? In the process that produces it? The materials that carry it? The space it resides in?
Maybe its answers remain always unclear, leaving me with more questions. Maybe it resides in limbo, between photography, sculpture and installation?


text 2 by Gerlinde Van Puymbroeck

Dear Jan,

We saw each other at your studio, and agreed that your work really needs but few words, that questions communicate enough. I agree with you. Its movement may be arrested when fixated in answers. So I am hesitant to write you again.
Yet the work I saw in your studio clings to me. I have quite an unclear picture of what was said that evening. Sentences moving like your practice – ‘focus shifts all the time’, you said –, impossible to finish one before another comes to mind. But your images and objects do persist in my mind.
What universe will your works create, what space within the exhibition space? Will they draw lines right through it, allying disparate objects, subtly but surely, as they have in my thoughts?
Is it contradictory that I think about your work as creating a universe, shaping a space, drawing lines of alliance, while the word ‘fragmented’ was omnipresent in our conversation?
‘Fragmented’, ‘broken’: poignant characterizations of that conversation. And of your work’s materiality. For however a space is shaped – or however shape exists in space – what can we see of its material dimension but fragments?
Is more information, then, simultaneously more fragmentation, more movement, multiplying lines of alliance? Will looking at the photographs you made, choreographing and signifying your objects, further blur any possible sentences about them?
Now caught up in the polyphonic movement of your practice – the movement that before I was merely observing – what I can clearly and unambiguously understand is its relation to our Zeitgeist. Or maybe it is a paradox, this unambiguous understanding. For is not our Zeitgeist essentially ambiguous? Polyphonic, fragmented, and shaped by a an ever growing multiplicity of transforming lines of alliance?