Mark Sturkenboom (Driebergen, 1983)
Sturkenboom was formerly a welder before graduating with honors in 2012 at Artez,
Institute for the Arts in Arnhem. The core of his work is design,
a word that can mean a great deal of different things depending on the time,
place and context that one chooses to view it in.
The Oxford English Dictionary defines design as:
“Purpose, planning, or intention that exists or is thought to exist behind an action, fact, or material object” Sturkenboom creates purposeful, intentional objects. His work is drawn from the miasma of dreams, the fragility of the contemporary world, fragments of memories.
His work organizes an impossible ephemera.
It delivers absolute statements through fierce intention, careful planning, and a purposeful energy that proliferates in his will to express. Throughout all of this Sturkenboom manages to balance a visual cadence between the absurd and a sharp sense of humor.
He welcomes the viewer to casually slip into his conceptual narrative.
Memory is prevalent in his line of work, throughout his entire oeuvre is the ability to preserve a
moment in a state of crystal clarity. Memory is messy, it is flavored by myriad personal influences.
Memory changes, morphing with age and experience,
fading into personal fictions, diluting into deep well of life’s experience.
Sturkenboom works against the entropic process, realizing his ideas with clean lines,
a sensitive palette, careful mechanisms that resist the temptation of clutter and confusion.
He realizes single memories with exacting intention.
Lets take one example: We, as a culture fear death, and we do our best not to think of it.
Sturkenboom’s work 21 Grams drives us to consider it. But this consideration is faceted,
it contains within it a breadth of sentiments.
More contemplative than it is macabre, more playful than it is perverse.
21 Grams, like a prism, refracts an emotional muddle into distinct perspectives of personal perspective.
Lets take another example: We, as a culture, are enamored by objects – perfect objects, glossy devices that fit in our pockets, perfect forms created in organized environments.
Physical human beauty is always cruel because it will absolutely disappear.
Manufacture is comfortable because it always yields the same result.
These are the cruxes of the work of Sturkenboom, he resists manufacture, he embraces material.
He is present in all of his works, regardless if they are created by him or executed by skilled professionals. His work exceeds function, pulling the viewer into the orbit of the identification, sensation, and emotion.
He does this by employing materials such as glass, gold, ceramic, and leather.
Sturkenboom communicates on a visceral level.
Sturkenboom weaves together histories, he composites the living memory with the permanence of genuine mediums.
He offers the everlasting object, the coalesced memory, balanced with the fragility of human experience.
Text by Adam Grinovich
The Salon NY
icw Gallery All
Artist in Residence
The Glass Factory
Boda Glassbruk, Sweden
Guestteacher BA & MA, Kønsthogeschole KHIO
Salone del Mobile, Milan
Guestteacher BA, Kønsthogeschole KHIO
Presentation at Salone del Mobile
Grant Deelregeling talentontwikkeling
Selected by Stimuleringsfonds voor de Creatieve Industrie (NL)
OVERGROWN X MIKIMOTO
Commisioned by The Royal Dutch Embassy
of Japan and Mikimoto Gallery.
Curated by Lenn Cox
Concept and design Mephisto
Commissioned by -and in collaboration with- Ted Noten
Designer for various concepts and objects for 7 Necessities
commissioned by Atelier Ted Noten
In collaboration with Ted Noten, Cathelijne Engelkes,
and Marcel van Kan.
Exterior design for Zuiderzee Museum Geurstation
In collaboration with Marcel van Kan
commissioned by Atelier Ted Noten.
Production video for Watching Monet by Carlight
concept and idea by Ted Noten
foundation of Atelier Mark Sturkenboom
Graduation Artez, Institute for the Arts
2007 – 2011
Tig Welder for the food-machine industrie
Stainless steel / aluminum