RossoCinabro | Biography | Kees Woestenenk
Contemporary Art in Rome
      

Kees Woestenenk

Bio

Born 1938. My engineering education I followed in the sixties at the former Higher Technical School in ’s Hertogenbosch, followed by a study at the Academy of Architecture in Amsterdam, and combined with an employment at architect Zanstra’s office, first as architectural draftsman and finally as cooperative architect. In 1975 we moved to Apeldoorn where started in 1976 my one man architectural office. Another activity was Kawecon, a consultancy where I developed computer software for the construction industry. From 1981 until 2003 I was employed at the STABU Foundation in Ede, where I developed the STABU specification system. At STABU I also developed a more comprehensive information system for the construcvtion industry, called LexiCon. After leaving STABU I further developed in Kawecon that system as Semantic Concepts which was handed over to the Dutch Concepts Library (CB-NL), which now is in control of our National BIM-Platform. The system is not really elaborated, that is why I formalized the system further into an ontology, called Construction Concepts.

I am member of BNA, NABK en Sculpture Network. I also take part in the artists collective H10a.

 

Artist's statement

After a career of over 30 years as an architect and ict consultant, my time is now almost completely dedicated to sculpting. At home I have a small studio, but for larger sculptures I travelled to Pietrasanta, Italy, the Mecca for sculptors. There I can work at the studio of the Fondazione ARKAD, a former marble sawmill, a few kilometers from Pietrasanta. I work in stone and wood although stone is only an addition of the last few years. Marble is fantastic to work with, but I like to try all types of stone. My sculptures are made out of marble, alabaster, serpentine, springstone, soapstone, basalt, bluestone, granite, onyx, obsidian, selenite and olivine. Wood is also a great medium to work with. My oldest sculpture is made of an old, partly rotten piece of a wooden beam, that came from a restoration project on a canal house in Amsterdam. Other woods I have worked with are oak, beech, birch, lime, acacia, maple, cherry, pine and balsa. My work is both abstract and figurative. It is the shape I am after. That shape should be exciting and in harmony with the material it is made from. Sometimes I work from a form I have thought of before and tried out in clay, sometimes I search for the shape within the material itself. This is mostly the case with wood or uncut stone. My inspiration often comes from the human body, both male and female. The shapes of a body can create beautiful tense planes and curves that evoke – sometimes erotic – emotions for me. Emotions which I try to capture in the sculpture and so communicate via the sculpture to its spectator. Many of my sculptures are polished or finished smoothly, emphasizing the interaction between shape and material. Whenever possible I prefer to work naked, that way I feel most comfortable and connected to the piece.

If I try to tell something about my sculpturing it could be about the genesis, the process that occurs between me and the block stone or the piece of wood. For the first time we are on opposite sides to each other. The initiative is at my side, otherwise nothing happens. Sometimes there is a clue, a crack or another defect, an eye catching shape, mostly the clues are not sufficient and I just start cutting.

And then the dialogue starts, which will end, if the process runs well, in a shape that is ready. When trying to find that shape I have to continuously check whether my guide is my sense or if it is preoccupation, something unexpected might happen, a stone splits into halfs, the wood appears to have an unseen defect, knot or crack, the dialogue does not start or continue, or sometimes I didn't quit in time.

Finally there is a result, if it is good I will find the sense, the emotion back, if it is less good it sense and emotion are weakened or have disappeared.

I don't have a message, or it must be the message of beauty and emotion. I don't make pamphlets, my work is not a protest against abuses and not a call to save our damaged by us planet, not a protest against war or crime. Of course these things touch me, as they touch any sane person, but what thrives me is to create something that is allowed to be beautiful.

Kees Woestenenk - Pelican

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Enclosed space

pear wood carved and sanded

b 30 x h 48 x d 34 cm

2017

 

Available works

 

 

 

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