Within this series of sculptures, Nick Ervinck explores how to deploy the current techniques of 3Dprinting to surpass sculpture. He builds on the craftsmanship of the past by combining his background in sculpture and his ability to use modern technology to bring to life true artistic vision. While the traditional sculptor shapes his works by removing material, Nick Ervinck creates fluid forms and lines, with the empty space being equally meaningful. The potential of the use of 3Dprinting is endless, and offers opportunities to make a futuristic translation of sculptures from the past.
These sculptures are a hybrid of different traditions and methods of art and design, as well as the architectural fields. Influences from traditional sculpture can be seen, notably by artists such as Hans Arp, Henry Moore, Barbara Hepworth and Georges Vantongerloo. Just like Vantongerloo, Nick Ervinck tries to capture colored surfaces and lines in a transparent shell. The use of transparency is a subtle reminder to the history of glassblowing.
Furthermore, the works represent an energetic revolutionizing movement that reminds us of the futuristic design language. Just as in futurism, Ervinck succeeds to grasp movement in a still image. In a very poetic way, we recognize a colorful, dynamic sculpture. By its glossy finish, the works seem to come from a virtual world, despite the sculpture being physically made.
The shape of the sculptures we perceive seems to be very elusive, gives the impression of being unstable, susceptible to change, a visually contingent object. Our mind tries to complete the image we see by suggesting virtual shapes which seem to correspond with the 'outlines', if there are any. For some of us the shape just keeps changing, keeps surprising us. Because of this, the viewer is given a change at interpretation, which gives us a change to come in contact with that elusive universal truth that hides behind this veil we call reality.