Matthew Dehaemers
Sculpture - Installation - Public Art

 

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The Nereid Beckons

Will Brown Project
ACT I & II

Delaware Center for Contemporary Arts Project

Leedy Voulkos Installation

Is It Just A Game?

Rockhurst Jesuit Mural

Trifecta of Oakdale Public Art Installation

Significance of the Moment

0 MPG Installation

Two Sides of the Same Tracks Installation

Avenue of the Arts

Look Good, Feel Good Barber Shop Installation

Lewis & Clark Public Art Installation

River Fields

Structural Installations

Components Sculptures

Manna Exhibition

Community Based Grant Project

Wood Sculpture

Early Mural and Sculpture Work for Schools

Kansas City, Missouri & Warrensburg, Missouri

(Click on thumbnails for larger view)

Component Installation Art Statement

3,500 Baltic Birch fabricated component parts friction fit to create this interactive sculpture installation.


(Click on the images below for a better view)

Revolutions


Procession


Urban Nature


Unraveled


Currently, my choice of materials varies as is seen in my recent work.  Working with components and patterns in my forms using materials such as bread wafers, rope, tubing and solid plywood.  I am interested in continuing further constructions with these materials and other materials.  For this particular opportunity, I would like to expand the complexity that I am discovering in my solid plywood component pieces as illustrated in my works entitled Procession , Revolutions , and Unraveled . These various constructions range from 500 to 3,500 attached pieces.  Each piece friction fits into the next.  Similar to most of my other constructions, the individual component is very simple in form but when configured with more pieces a beautiful complexity is created.  Because this sculpture consists of individual, non-permanently attached pieces, I am able to disassemble the pieces and reform it into a completely different structure.  These pieces have the potential to create a variety volumetric forms as well as linear forms.  It is only a matter of what gravity and balance will allow. These can be entirely integrated into the environment for which they are intended.  The form can snake up and around objects as well as over or under objects in it's path.  Since these components have a tremendous versatility and portability a further extension of the installation would be to occasionally disassemble and reconfigure aspects of the installation over time allowing the viewer to have multiple experiences as the installation reconfigures itself.  Every form that I create with these components is a meditative exploration and process that can never be perfectly replicated again.  Each sculpture is created with a certain amount of intuitiveness.  The same intuitiveness that might drive a graffiti artist, or a Navajo sand painter to create temporal two dimensional images, can drive me to create sculptural meditations that are in a sense unique and ephemeral for that moment in time and space.