EVERY THING IS WAVE
Photos, Sculptures, Installation, Projection, Text, Take Away Ephemeron
Every thing is wave presents a group of conceptual works including photographs, sculptures, projections, text and take-a-way ephemera. Kruithof’s works predominantly generate in her observations of an outside world that she tries to penetrate by the means of photography. She frequently uses the internet as a source for primary research, to then engage with public interventions. While staging conversations with strangers, Kruithof strategically uses the camera to get closer to people and create a connection. Subsequently, Kruithof uses the photos as the basis of her final works, in which the images interact and establish a relationship with other, specifically chosen materials.
These materials are often industrial, yet ordinary – such as the BlinQ powersponges – and allow Kruithof to engage with their physicality and explore their poetic meanings beyond the objects’ common functional use. Within these particular works, Kruithof examines her observations and impressions of New York City, where she resided for extended periods within the last two years. For her, movement, positive and negative, predominantly characterizes the city’s psycho-social and cultural state. Productivity, creative freedom and ambition are counteracted by stress, drive, competitive power dynamics and the risk of failure. These simultaneous and contradictory realities, as well as the grey areas between them fascinate Kruithof. By challenging the means of image-making, she meditates upon the city’s phenomena providing new perspectives of this state of constant movement.
(powersponge) Brick is sculpture that Kruithof created out of approximately 1000 BlinQ powersponges. The work is accompanied by a projection of a laptop with an Apple screensaver spectrum, which was mounted on wall with a Security Camera wall mounting bracket arm. At first glance, the gigantic wall appears solid, recalling neatly ordered, cemented brick stones. This image of stability, however, slowly turns into something more fragile and ambivalent, the longer one observes it. The projection light enfolds the sponge-wall and its surroundings with a continuously moving wave of changing pastel colors, which causes a soothing dreamlike atmosphere. The light also produces a shadow on the background wall, recalling a skyscraper – a symbol and fundament of modern capitalism. The lightness of the sponge-material questions the sculpture’s stability. Could this giant brick, this wall, actually stand and persist, or is stability just an illusion?
Sculpture out of approximately 1000 BlinQ powersponges and projection of laptop with Apple screensaver spectrum and projector mounted on wall with Security Camera wall mounting bracket arm, wood, sponges, glue
214 x 53 x 111 cm
(powersponge) Brick is sculpture that Kruithof created out of approximately 1000 BlinQ powersponges. The work is accompanied by a projection of a laptop with an Apple screensaver spectrum, which was mounted on wall with a Security Camera wall mounting bracket arm.
For this work, Kruithof went to New York’s financial district and asked people wearing headphones to dance for her. She documented this publically exhibited moment of intimacy by photographing the shadows that appeared on the granite surfaces of the surrounding buildings.
With irony and humor Kruithof manages to shift perspectives actually and metaphorically, and reveals the delicate, often disregarded nuances of what it means to watch, observe and being looked at.
Installation out of sticker photo 180 x 120 cm directly applied on wall, Polystyreen base 24 x 100 x 50 cm with photo sticker 100-70 cm sealed with cellophane, 30-40 cm framed photo (aluminium frame and blue glass) and one 1 photo: 20-30 cm Ultrachrome print with diasec 180 x 170 x 75 cm
Driving Hazy is a photographic installation consisting of a photographic print directly applied to the wall, a framed photograph and a polystyrene block wrapped with a photo sticker and cellophane foil.
Plexiglas box and 100 crumbled colour copies (20x28 cm) with photos of 100 different security cameras out of the financial district in New York
50 x 24 x12 cm
100 % Security is a sculpture made of a Plexiglas box that is mounted on bracket arm in order to resemble a security camera.
Kruithof filled the transparent box with 100 photographs of actual security cameras taken throughout the financial district of New York City.
The pictures themselves were previously crumbled and are therefore secluded from any possibility to be looked at. With this sculpture Kruithof not only addresses the ever-present surveillance of post 9/11 New York City, but also comments on the increasingly unbalanced relationship between the public and the private realms of our contemporary society.
Sweaty Sculptures & Sweat-stress
Stress – with its positive and negative effects on the human mind, as well as its physical and chemical residues inside and outside of the human body – is a phenomenon that Kruithof has been interested in for a while. The most immediate physical stress residue is sweat. Kruithof is particularly interested in sweaty armpits, which she perceives as wet circles that equalize aesthetic scars of nervousness and universal discomfort.
However, sweaty armpits are often understood as a persistent ‘enemy,’ overshadowing one’s ambitions and provoking the feeling of embarrassment. Within a group of works – Sweaty Sculpture (spectrum and slide) and her series of color photographs entitled Sweat-stress, all of which were part of her solo exhibition “Ever thing is wave” – she explores and celebrates human sweat (and stress), as well as its often disregarded aesthetic and emotional manifestations.
The Sweaty Sculptures and the Sweat-stress series present the colorful outcome of a collective performance. Kruithof organized a sweat-workshop to which she invited 25 people to do an extensive work-out in the empty gallery space.
Throughout the workshop, Kruithof asked the participants to stop for a moment, so that she could photograph the developing sweat on their clothes. These images of fragmented, emphasized body parts, whether they are presented individually or in form of a sculpture of morphing images, do not only present a new, humorous take on the indexical character that photography has been assigned ever since; they also question the status of the fixed photographic image.
Installation of 14 framed photos and 1 empty frame of 30 x 40 cm with projection of slide-show loop
Ultrachrome prints on Hahnemühle photorag paper 308 gr. 1 frame has blue glass. edition of 4 + AP 180 x 230 x 300 cm
For Push-up, an installation of 14 photographs and one slideshow-projection, Kruithof asked business people to perform as many push-ups as they could at the entrance of large corporation buildings in New York. She continued to photograph them, until security guards told her to leave for liability reasons. Push-up is not the only work in which Kruithof explores New York City’s business world and its people. However, it is the first piece to address the complex, multi-layered notions of power in an explicit, yet symbolic, and particularly playful way.
Who are the one actually in charge - the artist directing her participants, the participants themselves while performing their acts of strength in front of the companies they work for, the security guards who ultimately determine the end of the performance, the corporations? This circular power-movement of seeing and being seen is reflected in the installation’s presentation.
Kruithof perceives her circle-, or even clock-like arrangement of 14 images of men in different suits and different stages of push-up movements, as a repetitive chain within or model to illustrate the modern business world and mindset. The slideshow-projection that is projected into an empty picture frame emphasizes the humorous, ironic light that Kruithof sheds on the psychosocial state of New York’s contemporary (business world) society.
Are you successful? (no, yes, laugh)
3 framed ultrachrome prints on Hahnemühle photorag paper 308 gr (100×70 cm) with post-its 75×75 mm, edition of 4 +2 ap
Are you successful? (no, yes, laugh) is not only the title of this work, but also the question that Kruithof asked 50 people on Wall Street in New York City. While responding to the question (29 answered yes, 11 laughed and 10 answered no), Kruithof took the portraits of the respective men and women
Her final work consists of three framed Ultrachrome prints that each carrying the portraits of the group of people giving the same response (Kruithof layered the images on top of each other with 10% opacity through Photoshop). These hazy, pastel colored pictures simultaneously illustrate the not only the correspondence between body language and the personally experienced status of being (or not being) successful, but also the very impossibility to capture what success actually is, as an individual as well as a social construct.
80 x 100 cm
Framed (aluminum frame) chalkboard with erased chalk and 1 BlinQ powersponge
Spotless Mind consist of a chalkboard on which Kruithof wrote the seven New York Times Typexts and subsequently erased them one after another with a BlinQ powersponge. Texts are always a basis for Kruithof’s artistic research, but do not necessarily appear in her final artistic outcome.
The New York Time Typexts form the background from which she created all the works exhibited in her solo exhibition Every thing is wave. By exposing the chalkboard as well as the sponge (which is attached on top), Kruithof not only references her own working process, but also alludes to the various steps of building, erasing and rebuilding any creative process embeds, but ultimately conceals. New York Times Typext screenshot with black marker + Typext (1 / 7): New York Times screenshot compilation with typex & A4 paper (size 21-29,7 cm) framed with glass
New York Times Typext
Take away A2 poster, edition 250
The New York Times Typext is a take away A2 poster printed on yellow paper that Kruithof created for the exhibition Every thing is wave. The paper reproduces screen shots of online articles of the New York Times.
After printing them, Kruithof erased parts of the texts with Wite-out, creating her own, more personal narrative of the story previously told. The white blank spots humorously allude to the very fictional nature every document (and such also photography) is made of, embedded with, and into which it can be transformed