The monumental architectural constructions, small sculptures, delicate drawings and staged
photographs by the Dutch artist Rob Voerman (1966) are disturbing and seductive at the same time.
They sketch a perfectly constructed, utopian world with apocalyptic traits, a world that is continually
proliferating but is also protected, a world that has broken down but is also rising from its ashes. In
addition, Voerman's work has an important critical component: the central perspective has been
abandoned for more points on the horizon, more views, for alternatives. In this way, in addition to an
aesthetic, Voerman always performs an imaginary role: there are vehicles for thoughts, vehicles for
change, discussion and analysis.
Voerman's three-dimensional sculptures and monumental installations are wonders of architectural and
tactile ingenuity. They are made up of (plexi) glass, epoxy, wood, cardboard, car parts, textiles, paper,
paint, glue and much more. In the monumental works photo slides and films are sometimes
shown, sometimes they are places for discussion or retreat. Always a socially critical component is
hidden in Voerman's work. The decline of democratic structures, the danger of (neo-) capitalist money
systems, the nature of political and other power systems and the major ecological threats that are based
on our way of life for the planet - these are issues that Voerman examines in his work, analyzes and -
last but not least - visualizes. His work is also a reason to organize collection campaigns for the
financing of projects in the local community. For example, with his fictitious bank building called "The
Exchange" on Sonsbeek 2016, Voerman raised money for a reforestation project in Sulawesi and
Borneo, and donated work for philanthropic auctions.
As different as the material with which Voerman works, so are Voermans's art-historical references.
Modernist artists such as Kurt Schwitters and his organically growing Merzbau, the Dutch utopian
builder Constant, as well as Richard Buckminster Fuller’s ecologically inspired geodesic domes are
important sources of inspiration.
Voerman's work is exhibited internationally: from America to China and Japan. His work has been
included in the collections of the MoMA (New York), the UCLA Hammer Museum (LA), the Stedelijk
Museum (Amsterdam), the Musée d'Art Contemporaine (Kinshasa), the Generali Foundation (Vienna)
and numerous other public and private collections in the Netherlands and abroad.
'My work is at the heart of society, it both imagines and reflects on it. In addition, I hope my work can
serve as a source of change - no matter how small.’