Levi van Veluw
Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ Institute of the Arts in Arnhem.
Since graduating in 2007, Levi van Veluw has produced multi-disciplinary works that includes photographs, videos, sculptures, installations and drawings. This varied body of work has been showcased in many different locations across Europe and the United States, earning him a number of nominations and awards.
Inside the installation, The Relativity of Matter
For a whole year, Levi van Veluw has worked on The Relativity of Matter, an all-encompassing freestanding installation, to be placed in a building, a museum or an exhibition space. Once the doors close, the visitor enters into a maze of corridors, doors, atmospheres, perspectives and colours that challenge him in a sensory manner. In Marres House for Contemporary Culture, NL, the first location where it is shown, an area of 350m2 is transformed into an unrecognizable and atmospheric dreamscape.
The installation contains many of the elements that populated van Veluw's previous works and also marks a shift in the work, which has evolved from a formal and material research into an exploration of the dark themes of fear, loneliness and loss of control. With The Relativity of Matter, van Veluw presents an all-encompassing scenographic experience that immerses the visitor in a world of disparate forms of expression. The Relativity of Matter is a movable installation. At Marres, it is adapted to the shape of the 18th-century house, but in the next locations it can be equally well adapted to contemporary exhibition spaces, or classical museum galleries.
For this special exhibition a very talented French film company 'Birdfilm' made a short film that captures the atmosphere of the installation.
The Collapse of Cohesion (Series)
The "The Collapse of Cohesion" is a series of short films, based on drawings. One of the drawings presents an image of an archive room, filled with large structures of cabinets containing more than 1500 neatly arranged icosahedrons. The whole arrangement is held in place by the very structure of the cabinets and the force of gravity, in a fundamental and continuous on-going struggle between the desire for order and the forces of nature. An unknown cause upsets this equilibrium and the cabinets are made to topple over. The symmetrical forms are no longer held in place, gravity takes over, order is turned into chaos. In the film, the drawing has been replicated life-size in wood. All the visible surfaces are covered in carbon powder, and the setting acquires shape only through the reflection of the light. Reality becomes tangible only through the experience of lighter or darker hues, as in a drawing. The falling apart of the structure is filmed at over 1000 frames per second. After months of meticulous preparation, this is the only, and crucial, moment over which the artist has no control. In contrast to the drawing in which the moment of chaos remains an interpretation by the artist - and is therefore inexorably linked to him - the film makes it possible to relinquish all and every form of control. Unpredictability becomes a new factor in this work. The time of the event is stretched; the moment measured in seconds becomes a minute-long occurrence and forms a new reality. Time, because of this massive slowing, seems to no longer affect the process of disruption. The icosahedrons float through the air, rotating, the glistening of the light that reflects on their 20 faces reveals their symmetry in its ultimate form. Entirely free, in search of a new order. With a great feeling of serenity, the viewer experiences how gravity gives these elements their new place.
Origin od the Beginning (Series)
Origin of the Beginning is a series of installations, photographs and videos in which Levi van Veluw draws from his own childhood memories to thematically and narratively develop his oeuvre of self-portraits. Three rooms are covered with tens of thousands of wooden blocks, balls and wooden slats. Each room is constructed as a life-size installation and is reworked in photographs and videos without the use of digital manipulation. The works suggest a narrative world behind the portraits. On the one hand these works are a continuation of Van Veluw's formal approach to self-portraiture, with their preoccupation for materiality, pattern and texture. Yet, at the same time, they are highly personal pieces as well. The repetitive structures seemingly express a ‘horror vacui' and recall Van Veluw's youth and his obsessive attempts to gain control over his life by controlling his surroundings. Dimly lit and dark in colour, the overriding tone of these pieces is claustrophobic and sombre, exuding a sense of loneliness.
Courtesy of Galerie Ron Mandos