Artist Statement

As an artist, I am engaged in the concept of communication, because I feel that communication is the primary medium of the artist. Every work of art seeks some kind of interaction with the audience on a non-physical level. Art may tell us something about the outside world, or the artist. But it may also work in a Socratic way, presenting the audience with “food for thought”. What interests me most is not the idea that is being communicated, but the matter of communication itself. Communication requires a medium, which in our physical world always comes with a form of noise. This barrier reduces the clarity of the information between artist and audience, therefore leaving room for interpretations, and thus occasional misconceptions.

Man is fundamentally alone, unable to think, act or communicate beyond his own physical limitations. Disregarding mans existential limitations, some limits of communication aren’t as impossible to overcome. The introduction of cross-medial concepts, and synesthesia could provide the artist with the possibilities of either choosing a neutral position concerning his concept, or guide the viewer towards his own more subjective position.

In my work I apply concepts and practices inherent to specific media to other media in order to break down these boundaries. The application of musical theory on color, for example, allows me to translate a really specific feeling into a pallet. In this way, I combine personal expression with a pseudo-scientific approach, exploring the possibilities of cross-medial concepts and man’s synesthetic abilities.

Most standards found in one particular discipline of art are applicable to others. The term tonality, for example, references both the pitch of notes played on an instrument, and the colors in a painting. Others, such as volume, (re-)fraction, rhythm, composition, etc… are clear standards used in music, but also sculpture and painting. In my work process I try to stay aware of the similarities between these disciplines, without hesitating to freely interpret those ideas. A composition may reference the structure of sequences in a piece of music, and a rhythm may just as well be an expression of the artist as a calculated re-occurrence of elements.

In my art-practice, I have never had the urge to condemn any limitations in art or communication itself. My focus has primarily been on exploiting man’s synesthetic abilities, in any quality possible, in order to examine their psychological outcomes and communicative potential. In that way, pure expression is readable to beings capable of self-expression, making emotion visible to the viewer through a physical medium.

Glenn Van Acker – 2015


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