Isabel Fredeus/ARTIST STATEMENT

 

 

I am a Belgian artist with roots from Sweden and the Philippines. My artistic work contains: installation, sculpture, video and interventions. I work process oriented. In my practice, I’m mainly occupied with natural processes, physical laws and the symbolism they create. I consider my atelier as a place where irony goes hand in hand with spirituality and scientific approaches are confronted with poetic layers.

 

Aesthetically I’m drawn to the morphology of form, contradictions and displaying the moment of change, change itself is deeply embedded in my artistic work. Most new works start off with a certain approach on materiality. The choice of matter depends of what movement or change my work should represent. I’ve worked with water a lot in my artistic practice, which could be described as: transparent, formless and fluid. 

 

I have always (since I remember) been drawn to the properties of water; maybe this has to do with my youth holidays to my two very distant origins. You could say that both landscapes where dominantly characterized by water. This influenced me as a child, and gave me a broader sense of the variety of natural surroundings. While back home everything seemed grey and life had little connection to nature, summers abroad where the perfect escape determined by marvel and exploration. 

 

A few years ago I discovered working with hot glass. Glass (just like water) has different states of “being” or scientifically you could call these “phases” of matter. Water and glass trigger me in a similar way and are essential materials that I work with in my studio. 

 

Our daily lives are organized as if everything would be linear, an apple is good until it isn’t anymore... Through my work I try to incorporate life stages that we are all going through, just like all matter surrounding us. I feel that there are systems in nature that are circular, rhythmic. A rotten apple is just matter in a certain part of the loop of time.  I’m not so interested in making artworks that could physically last forever, hardly any do. I focus my attention on what is going on with them, addressing artworks as systems that undergo change and experience processes.