no title Sculpture

The sculptures of Coen Vernooij a description of his work, its sources and relation to duality description Coen Vernooij creates two types of sculpture: wall sculptures and standing sculptures. What these have in common are the fact that they are open constructions, made of thin metal bars. The wall sculptures are treated with iron oxide paint, the standing sculptures are white coated. The wall sculptures never exceed forty centimeters in length and width and there is about ten centimeters of space between the sculpture and the wall. The viewer relates to these images like watching a puppet theatre; as if you were drawn into a small world that expands inside your head. The standing sculptures are just over the average human height. The viewer relates to these sculptures with the entire body; walking around the sculptures and the changing perspective this creates are essential for the works. Within the standing sculptures there are three which change extremely in this matter, and others that do so less. Vernooij's sculptures are line sculptures, that is, they are three-dimensional drawings of metal bars in space. The lines define a space, "a specific fillable place", as Vernooij puts it. When the sculpture is moved, it takes up a different space within its contours. The artworks of Coen Vernooij seem quite fragile and vulnerable at first glance. At the same time they are very powerful sculptures because they have been brought back to their essence. The sculptures look like clear, linear constructions. This is caused by the white color - in the standing sculptures - that has a suggestion of "˜clean, simple and abstract'. This clarity is merely one pole of the work. It is also complex and raises many questions while the spectator is watching it. Is it about inside or outside? Is it a drawing of a shadow or a definition of space? sources In relation to his art, Coen Vernooij regards himself as a "˜Romantic' as well as a "˜Buddhist'. Statements which initially appear to be diametrically opposed, because in the life of the Romantic, the longing (for far away) is central, while the Buddhist tries to be free of all longing and desire. Still, these statements characterize Coen Vernooij and his work. Sometimes people are misguided when looking at Vernooij's sculptures. They look like abstract, constructivist works. But Vernooij never works with a strict, rational method like those used by formalistic artists.