André Kruysen’s production consists of relational sculptures: site-specific, large-scale
and temporary works embedded in a given space, as well as separate sculptures that
are made in the studio.
His site-specific interventions reflect the architectural structure and its distribution of
the incoming daylight. The interventions alter these aspects. These sculptural works
originate in bodily experience. Here a paradox is at work. Central to these disruptive
structures is the search for stillness. The sculptures create new pathways for the
daylight and its infinitesimal reflections: the sacral quality of light. The search for
stillness is also a returning feature in Kruysen’s separate, small-scale sculptures.
There is a personal element to this quest.
Kruysen speaks about his strong connection to the modernist movement of the first
half of the 20th century. Especially Schwitters’s ‘anti-art’ on the one hand, as well as
Le Corbusier’s and Boccioni’s belief in progress and optimism about the future, have
his continued interest. Through the radicality of its ideas, the modernist movement
brought about positive change. However, its dark and authoritarian aspect has also
had disastrous effects on society and the natural environment – as we see today.
This rise and fall of modernism echoes in Kruysen’s work. His search for balance is,
at the core, a negotiation between constructive and destructive forces. In his art this
results in moments of clarity and stillness: ephemeral allure.