akmar nijhof

seascapes (according to MAYA2009) 2016

SEASCAPES (ACCORDING TO MAYA2009)
4 screen video installation – part of the collection Fondation Francois Schneider – wattwiller france

Each video displays a different artificial sea. These are listed in the library of MAYA2009, a 3D animation, modeling, simulation, and rendering software. This software provides four OceanShaders, they simulate: Calm Sea, Giant Storm, High Seas and a Normal Sea. The basic shapes for geometry; a circle, a square, a rectangle, and a triangle, added in each scene.

Surplus/zip code 8382AE +1464NE 2022

The exhibition includes four colossal sculptures. They are reminiscent of tombs or sleek minimalist sculptures, but when you realise they are constructed entirely of wool, minimalism mixes with a sense of mystery and compassion. Then the razor-sharp lines of the sculptures are diametrically opposed to their soft and unstable nature, and industrial sizing versus the countless unrestrained tufts of raw wool that once kept an entire flock of sheep warm. Titled Surplus/zipcode 8382AE + 1464NE, Akmar refers to the origin of the raw wool she tracked down came by combining the postcodes on Marketplace with ‘free’ – sheep’s wool has apparently lost its value.
The process that follows is one of directed coincidence typical of Akmar’s working method. From an uninhibited
curiosity and with a great sensitivity to materials, she seeks transformations intuitively and playfully. She steers and watches, experiments and forces with a gentle until the materials have taken on new forms
fixed.

Note: The text above was written by the Artist. No modification was made by COCA.

akmar nijhof

Netherlands

https://akmar.nl/

My work is multidisciplinary, from video (computer generated) to

physical sculpture.

I challenge myself by working with materials I am not yet familiar with.

For me, deconstructing is a way of looking at something anew. ‘I see

the poetry of materiality in materiality itself’.

I am fascinated by dysfunctionality. Almost everything has a function.

When that function disappears due to age, fashion or some other

ingredient that blurs the use of the thing, only then do I begin to

appreciate it. I work with materials like obsolete software, leftover

parts (like sandpaper) and materials given for free, as well as objects

from my own history, like fur coats worn by three generations or

drawings from my childhood to the present, to create new works.

I believe in the philosophy of metamorphoses described by Ovid:

‘Everything changes, nothing perishes’.

My work is about how we interact with materials and how we consume them,

without making a political or activist judgement. However, my opinion

does not matter in the work, because I want to let the material speak

for itself. I just create space so it can be itself.’