Robert Benjamin Broekhuis


L'ANATOMIE DU SILENCE
Les œuvres des artistes traitent de la contradiction paradoxale de la simultanéité de la beauté et de la violence. Comme des métaphores sculpturales de la douleur et de la rédemption, du chagrin et du réconfort. Il semble aussi être un jeu entre les rêves et les rituels. Il utilise des matériaux comme le goudron, le bois brûlé, la pierre, la laine d'acier, la corde, le fer et les branches. Il existe une affinité avec l'Arte Povere, mais aussi avec l'art conceptuel : l'ombre d'une œuvre joue un rôle important. Le jeu avec la gravité. Qu'en est-il des lois d'Isaac Newton ? Il y a des œuvres qui demandent presque si on peut rire et pleurer en même temps. Il s'intéresse à la "musique" des œuvres. Et la peau et la physicalité d'une œuvre. La poésie des choses ordinaires et quotidiennes et l'équilibre précaire entre la beauté et le contenu.
Charlotte Bergmann, 2019

BLACK BOX
The artist uses objects and materials unlike the abstracts just because of their meaning. The route we take within his work is intimate and an exceptional form of communicating the unspeakable. Outside the abstract aspect of his work and the 'musical' part, we interpret. Conscious of the language of things, of the poetry of space, he builds up series of associations that create a space of experience. In the end, the work of art guides us through the maker's fairway. The artist seems to end his journeys with beauty as eternal comfort for loss and desire. Treacherous though, because on closer look he uses aesthetics to entice spectators to consider his work in more depth. And then they turn out to be metaphors for loss, destruction and cruelty. In spite of this his work shows also a zest for life and humour ... His work can be regarded as an investigation into the human condition and the vulnerable state in which we humans find ourselves. Maurice van Tellingen, 2018

FROM AN INTERVIEW
‘My work is ambiguous. There are always unconscious factors that lead to a certain conception. Afterwards one can say: 'It's a good work'. But what is good about a work, you don't really know. Therefore, interpreting a work is a rationalisation in retrospect. ‘

NOTES / MOTTO

LES RÊVES VIGILES
Après tant d'années, le rêve, pour moi, s'échoue encore un désir insatisfait de mouvement, de mouvements intenses, excessifs, et me laisse vivre surtout dans les gestes, dans les rythmes, dans les actes. Henry Michaud, Les Rêves vigiles, 1969

NOTHING IS ABSURD FOR THOSE WHO FLY
You hear someone laughing and someone else crying heartbreakingly. What do you experience? You can't laugh and cry at the same time. But as an artist, you can show every contrast. As the Italian futurist Bruno Munari showed with his photo collage: Nothing is absurd for those who fly. (1930)

STORIES STORIES STORIES
Humans are storytelling creatures. When Hannah Arendt was asked "Who are you", she replied:"Allow me to tell a story."
Who we are is impossible to understand without the story of our live, writes Arendt in  Between Past and Future.

Michael Ondaatje writes in his novel Warlight:
We arrange our lives on the basis of stories we hardly know.


FRIEDRICH SCHILLER
Die Aussprache des Dichters, Dramatikers und Philosophen Friedrich Schiller ist vielleicht der wichtigste Ausgangspunkt: ‘ Der Mensch spielt nur, wo er in voller Bedeutung des Worts Mensch ist, und er ist nur da ganz Mensch, wo er spielt.'

 



MENSCH UND FISCH
Late one night I was walking on Boulevard Saint Germain in Paris. I passed a restaurant. It was closed and dark inside. In the windowsill stood a fishbowl, with one lonely fish swimming in it. I talked a bit to him. To cheer him up. I should have known fish don’t care about humans. So in the end I shouted :’Stupid fish’ to him. Went home and made this drawing.