Working across different media- film, video, installation, photography, sculpture, sound and text, Heydt presents an abstract proposition for a world on the periphery of history, one that not only appears haunted by the ghosts of the past, but built on it.  Heydt’s layered imagery conflate time and place, colliding and merging generations of possibilities, and disrupting logical relationships between occurrences.  Through her unique manner of expression, she presents a world exploited beyond use and increasingly reduced to a bottom line, one marked by mass extinction, product fetishism, diminishing resources, and patented seeds. The uncertainties and inevitabilities of which are drowned out by the the white noise of the media and the empty promises it proposes for the future it truncates. Combining images of destruction with portrayals of the virtues born from the American Dream, Heydt confronts the disillusionment of our time with the ecological and existential nightmare it is responsible for. 

Side Effects

Model : Elise Meunier

I think my images as fragments. I am trying to transmit with exactitude the memorization process and the destruction that is part of it and his ineffability. 

 I was always obsessed with the fear of time passing by me, not living the moments as we are supposed to. I always lived time as grief: the impossibility of proving the exactitude of memories made me doubt my own identity and of others.

My work is notably about the analogy of our neurologic memorization process and the way we treat our memories in the numeric era.

For this, I use in my images optical aberrations, refractions, metal, and glass. I play with analog and digital aberrations, using different processes said of “destruction”. I often scan, edit, capture, erase my images multiple times, like layers of new perceptions, reinterpretations. This way, I think my work as not reproducible and subject to randomness.

L'impératrice du parking

During Covid-19 I lost my usual work environment and many project opportunities. As a result, I have had to reduce my practice to a confined space. This obviously influenced my work as well. I often work with themes of interventions in space on a micro and macro scale and how these interventions change our perception and affect our environment. In this series, I focused on how confinement changes our feeling of time as well as space.  The formal language I use is taken from biological research of lifeforms, which exist under conditions unimaginable to humanity: underwater vents, brine pools, sulfur seas on a faraway moon, and bacteria in city sewage. The theme of the net is not only a manifestation of space but also of how time can bend space and create untouchable materiality. The paintings invert linear space and time towards a multitude of plains of existence. 

Painting the inverted space

"Night scene" is  a serie of photos depicting night life of Bangkok where I spent two years.

Night scene

In ‘La transmutación del último ente’ (The transmutation of the last being), Hoyos Freyre envisions the idea of an ending that, although terminal, it is not synonymous with closure or nothingness, but a transition, a change of such magnitude and nature that we will never comprehend; an episode to which neither the mind nor the human form will have access. A final breath of this universe which only explanation is that which is not given.

100x100cm Pigment ink print on Harman semi-matte photographic paper.

La transmutación del último ente (The transmutation of the last being)

In the painting there is an internalization of intimate conflict. I am looking for dialogue between icons which can be objects of desire or fear. The work also explores the obsession of posting on social media. How we want to capture moments. Even sharing the crisis and the ridicules 



AN INSTAGRAM MOMENT

This iteration of "Ain't I a Woman (?/!):Black August" is a 3-part compilation of street-interventions done at separate New York Black Lives Matter murals in order to celebrate the resilience and empowerment of Black August. 

Ain't I a Woman (?/!): Black August (Brooklyn)

In Nick Ervinck’s laboratory, a special concept of the human being has been prepared over the years, expressing itself along radical new artistic lines and using the most advanced technological 3D printing techniques. Moreover, his recent projects MASK MUTATION, PLANT MUTATION and SKIN MUTATION focus on a double-sided challenge raised by transhumanist philosophy.

On the one hand, Ervinck created a series of MASKS whose ungraspable energetic lines debouched into feelings of cosmic indeterminacy, overcoming human limitations and turning the human species into the magnified gods of the future. Here he touches upon the apparently unstoppable and thus eternal urge of man to feel immortal, to be more than his banal self and thus to wear the mask of the greatest possible cosmic omnipotence.
On the other hand, in the PLANT MUTATION series he used his 3D experimental style to explore ideas of both organic and genetically engineered life forms, launching a number of ethical questions that are not easy to resolve. When hybridization is carried out to the extreme, as in his Strawberry and Bell Pepper Series, an environmentalist concern covering major aspects of the survival of Gaia takes over, ending up in a waking up call to renew and reassume philosophical reflection.

As a multi-disciplinary project focusing on two dimensions, high esteem for technology and at the same time awe for some of its possible consequences, TechnoGaia (2020) invites the spectator to fully submerge in both the MASK and PLANT mutation series and experience ongoing metamorphoses presented in an installation that refers to old labyrinthine spirals. As the history of Europe at many occasions revealed, the descent into Gaia’s spiritual caves, be it the physicality of Lascaux or the allegorical refinement of Plato’s cave, proved to be excellent occasions to express current anxieties and desires.

As an experimental event sharing ecological and ideological positions, TechnoGaia aims at stirring up human consciousness by developing sensitivities that might guide us in the human quest for a posthuman cosmic position. It is here that the artist meets the technician in their common desire to fully understand and exploit fluctuations and mutations of energy that might help man to enter into a more encompassing noosphere.
However, the beginning of 2020 will be known as the era in man’s history that focused the opposition between Techno and Gaia. A pandemic catastrophe often was part of the better SF genre until now, but could never affect man's firm belief in himself. It is therefore quite staggering to recall Ervinck's NOITATUM series (from 2013 on) and to refer to his aestheticization of processes of mutation and manipulation. Created in times when the anthropocene was considered iconic, his strawberry sculptures, blue in leaf, yellow in fruit, barely had the strenght to send their loud screams out into the world.

His SKIN mutations had already shown how skin and pelt spanned shrinking bodies and were caught in rhythmically severely disturbed respirations. In hindsight, you can say that the whole NOITEM series that arose then was the perfect form to represent the fear and panic that is now shared worldwide. The alienation and untouchability of the special Rorschach spots and the spatial cobwebs they created, perfect in symmetry, untouched in their appearance, now, a little less than a decade later, seem to have assumed prophetic forms to evoke the unknown global enemy. How deeply this cosmically powerful attacker will touch us is difficult to estimate at present, but fascinating and tremendous he surely is, and so is the whole NOITEM imagination.

In his quest for an aesthetics and tragedy that probe our era in depth, right down to the fibres of the SKIN products that we are all ourselves, the double world that Ervinck has invariably explored can provide a handhold for us all to feel included in his recent project TechnoGaia. His philosophical questioning and artistic design in any case force us to seek a new kind of consciousness that we can and must share with the entire world population, in an attempt to survive ourselves and life better than before.

TANATIRIUB

Title: Oer (2020)
Description: Oer means primal, and expresses the point of origin both organically and inorganic and its consequent process of life deterioration. Chromatic footprints represent organic and geometric expressions represent inorganic matter. 
Materials: Fabrics dyed by contact with oxidized metals, heat-manipulated silk and felt fibers, hand-held monoprint fabrics, crayon embroidery threads, metal embroidery threads, treated oxidized metals, high-density polyethylene spun with flash as a back support and manually manipulated to heat.
Techniques: Free moving machine embroidery; manual embroidery; contact printing with metal; steam contact printing with plants; manual monotypic printing with acrylics; heat handling of fibers, organic and synthetic fabrics; hand paint on fabric; selected metals and treated with "Oxid-oil"


Pareidolia is a psychological phenomenon where the human mind perceives meaningful shapes like faces of human characteristics in random, vague data. Like the very title suggests, these pieces comprise some of the initial experiments undertaken as a part of my undergraduate research on Pareidolic ambiguity in visual art mostly focusing on facial features.

Later, during the lockdown induced by the pandemic, I tried making handmade papers by recycling the newspapers at home. Created a piece essentially based on this tendency titled, ‘Pareidolic Persona’. Here I attempted to recreate my experiences of ‘seeing’ faces of peculiar characters on the stony wall texture of my bathroom tiles, using the paper pulp. The faces hint the nature of possibilities while experiencing this phenomenon.

In this work, I intend to create a personality of a pareidolic person, who keeps spotting facial features at random places. The head is composed of many such ‘faces’ or ‘patterns’, which emerge and dissolve with every perception viewer. The forms pasted in the background symbolize some of many instances where I keep ‘seeing’ faces/human characteristics. The forms also hint the viewer to deduce meaningful shapes out of their randomness. I intend to emphasize the seemingly vague character of natural patterns, in this case, the stony surface of the horizontal-plan view of the human brain. As a part of my dissertation, this work plays an important role in highlighting the pareidolic tendency. This is the final piece out of the whole process. More glimpses from the research can found on the web address mentioned below. 

Pareidolic Persona

Solo show at NAC gallery, Santiago, Chile.
"Balance" deepens and explores the Materia. The steel sheets become the center of the investigation, a basic and essential element present on my baggage as an architect, that becomes the starting point for the development of pieces that share a language in common; the equilibrium.

Balance

SKIN MUTATIONS
BETWEEN THE EROTIC AND THE DECAY OF THE BODY
Stagnation and movement, tradition and future, handicrafts and digital technologies. They seem to be some of the most obvious contradictions. Yet, without a mutual destruction, they meet in the skin series of Nick Ervinck's oeuvre. The SKIN MUTATIONS fit perfectly within the tradition of pushing anatomical structures to the surface. The artist combines Henry Moore’s idea 'the power of the bone under the flesh' with Francis Bacon's vision 'never forget that meat is meat': bones, knuckles and vertebrae form the supporting construction for the flesh cover in which they are encapsulated.
Organic forms are never a purely human creation. That is why Ervinck points to the great influence that nature exerts on him. Although the series of sculptures must represent creatures of flesh and blood, we encounter a clear visual resemblance to the Gonshi rocks. To acquire an insight into the organic laws of form and rhythm, Nick Ervinck manipulated their erratic forms into a personal creation. Nevertheless, these limestone rocks, similar to lifeless rocky landscapes, are not deserted from life: according to the ancient Chinese faith they harbor immortal beings. In other words, they form memories from other worlds.
Ervinck considers his SKIN MUTATIONS, his man-made fossils, as similar creatures from an unknown universe. By means of an alienating skeleton dance and restrained by their prison of flesh, they seem to be on the lookout for a place of their own in the current time and space. The struggle between dynamism and the static pose is a theme that the artist likes to explore on many occasions. Not unlike Eadweard Muybridge did with his zoopraxiscope (an early film projector), Nick Ervinck tried to capture motion in a still image. From hundreds of preliminary studies, he selects specific details that are used as an alphabet to tell a new story. That story of complex and almost violent forms, filled with movement, is obtained by a puzzle of different parts in different proportions and forms that contrasts sharply with the refined and smooth surfaces of his earlier blob series.
At first sight, the futuristic figures do not look like sculptures, but more like creations of flesh and blood. The skin, unashamedly stretched over the internal skeleton, mirrors the battle between tradition and modernity, between notions of intentional and unintentional physical evolution. Just like in his earlier work Ervinck exhibits the poetry of the imperfections of the skin. Spots, scars, wrinkles and cellulite are an inherent part of the development of skin and other organic tissues.
In addition to sculpture and nature, references to painting also appear in the work of Nick Ervinck. He deconstructs the rich but rough brushstrokes with which Lucian Freud realized the nearly literal incarnation of his paintings. Afterwards, Ervinck uses them in a digital context for his meticulous visualisations that sparkle with vitality.
The skin mutations shock their spectator with a strong expressiveness. The overwhelmingly powerful colours influence the perception to the extent that the forms can no longer be interpreted within a contemporary framework.
 
 

NOITEROS

We are Claire and Muriel McIntyre. A sister duo working collectively in challenging normativety and conformism, through a visual diary of daily accounts and conversations. 
We are currently working on a publication comprising the thread of our thoughts and happenings alongside curating an exhibition on how the cultural sector is affected by the pandemic, under the name of Marie Jayne Chanel. 

Correspondence relates to us in the way that we are siblings. Not only do we share blood, we also relate through a visual belief in both our independent and collaborative artwork. Indeed, having grown up in a shared house, under the same rules, values and visual space, we have evolved as individual artists, yet some aspects of our minds echo each other in fascinating ways: through language, as well as our thought process.We have always shared a insight of our life through image based messages and snapshots of ‘the now’. 
Marie Jayne Chanel is an exploration of this relationships, beyond physical distance and proximity.



PEAU 1

Safety pins are commonly used to fasten pieces of fabric or clothing together. As a tool, the safety pin’s design has remained largely unchanged for millennia, while metal pins have always been an expensive item. In the 19th century, mechanization made safety pins easier to produce and really affordable. Safety pin made its way to popularity during the punk rock era of the 1970s, as a symbol of opposition. As an everyday object in our life the safety pin has a lot of different symbolic meanings; the pin is protecting unborn child from loss and diseases in Mexico, in the Philippines it is used to pin charms or amulets on a baby’s clothing to protect against the bad, or it is attached to the inside of children’s clothes to ward off evil spirits in Ukraine. In our jewelry collection – the ordinary object is made from silver, brought to the surface of human body and so we can wear and enjoy it in our everyday lives. Stay safe!  

stay safe

Our memories are fading away, and getting blurry, just like these burning, melted sheet film negatives. Sometimes we can pick up the pieces easily, sometimes we can't remember anything, just some small details or blurry, vanishing pictures, doesn't matter how hard we try it. With this installation I wanted to create something what recalls these feelings.

Memories

This neon sign was appropriate from a nightclub of the same name that existed on Copacabana beach. Today, in its place, there is a museum that was never opened.

Help

Compulsion

For this series I found my inspiration in Leonardo da Vinci's painting Salvator Mundi. Elio got married to his husband last August, but due to Covid-19, the circumstances of this wedding were far from what he had wished for.In this series I portray him as the saddened bride that tries to come to grips with the situation. As Elio spreads the word for a gender free world, he is also a Salvator.

The Bride

5/5

The object of becoming a fetishism does not depend on the object's characteristics but relies on the amount of energy of the subject's projection.

Likewise, the appearance is unconsciously collaged by own fragments.

Fetishistic collage becomes a cycle of worshiping myself…



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