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'The Matrix' or 'Monument for legs'.

In 2015 I started using more material and plastic media in my work again. Such as styrofoam, cardboard, glue, wood and tape. I hadn't been doing so for al long period of time while working on my digital collages. It felt liberating and gave me tremendous pleasure to saw, cut, glue, and lift. In other words, to use my hands in stead of just one finger for clicking a mouse. In using more plastic media, I suddenly felt awareness of my legs that had been supporting me in all my citywalks. I decided to honour them in this 'Monument for legs'.
'The Matrix' or 'Monument for legs'.

In 2015 I started using more material and plastic media in my work again. Such as styrofoam, cardboard, glue, wood and tape. I hadn't been doing so for al long period of time while working on my digital collages. It felt liberating and gave me tremendous pleasure to saw, cut, glue, and lift. In other words, to use my hands in stead of just one finger for clicking a mouse. In using more plastic media, I suddenly felt awareness of my legs that had been supporting me in all my citywalks. I decided to honour them in this 'Monument for legs'.
'The Matrix' or 'Monument for legs'.

In 2015 I started using more material and plastic media in my work again. Such as styrofoam, cardboard, glue, wood and tape. I hadn't been doing so for al long period of time while working on my digital collages. It felt liberating and gave me tremendous pleasure to saw, cut, glue, and lift. In other words, to use my hands in stead of just one finger for clicking a mouse. In using more plastic media, I suddenly felt awareness of my legs that had been supporting me in all my citywalks. I decided to honour them in this 'Monument for legs'.
'The Matrix' or 'Monument for legs'.

In 2015 I started using more material and plastic media in my work again. Such as styrofoam, cardboard, glue, wood and tape. I hadn't been doing so for al long period of time while working on my digital collages. It felt liberating and gave me tremendous pleasure to saw, cut, glue, and lift. In other words, to use my hands in stead of just one finger for clicking a mouse. In using more plastic media, I suddenly felt awareness of my legs that had been supporting me in all my citywalks. I decided to honour them in this 'Monument for legs'.
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Monument (The Matrix or Monument of legs)
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Monument (The Matrix or Monument of legs) Installation

Peter Spaans

Netherlands

Installation

Size: 129.9 W x 70.9 H x 9.4 D in

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About The Artwork

'The Matrix' or 'Monument for legs'. In 2015 I started using more material and plastic media in my work again. Such as styrofoam, cardboard, glue, wood and tape. I hadn't been doing so for al long period of time while working on my digital collages. It felt liberating and gave me tremendous pleasure to saw, cut, glue, and lift. In other words, to use my hands in stead of just one finger for clicking a mouse. In using more plastic media, I suddenly felt awareness of my legs that had been supporting me in all my citywalks. I decided to honour them in this 'Monument for legs'.

Details & Dimensions

Installation:Paper mache on Cardboard

Original:One-of-a-kind Artwork

Size:129.9 W x 70.9 H x 9.4 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

Peter Spaans (Weesp, 1953, based in Amsterdam). Photography, books, mixed media, installations. Visualization of my fragmented thinking through photography, mixed media, collages, books and installations. In his body of work Peter Spaans ignores obvious subject matter such as famous landmarks; he is more interested in the ordinary cityscapes, and spaces that are often ( or not ) photographed or videotaped by many different people. For Mr. Spaans, it is important to understand these common urban spaces and how they function, as he believes they are what influence our lives the most. These are the spaces we encounter each day; they are where we live our normal day to day livesInspired by the daily life on the streets in different cities, films and photographs (newspapers and magazines). Peter Spaans worked with such curators as Okwui Enwezor (The Second Johannesburg Biennial, the traveling exhibition 'Mirror's Edge' with its share 'The Unknown Cities' project! and the book 'Cream contemporary art in culture'); Hou Hanru (The exhibition 'Unlimited II ' at De Appel, Amsterdam); and Jan Hoet (Sonsbeek 9, with Hans Eijkelboom, Arnhem). Exhibited worldwide, including the USA, Canada, Germany, Italy, Denmark, South Africa, England, Scotland, and the Netherlands. Peter worked on assignments for the Rai and the Bijenkorf, Amsterdam, and collaborated with such artists as Hans Eijkelboom** and Bert Wils*. Peter Spaans is represented by Johan Deumens Gallery, Amsterdam, and by Harper's books, New York.

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