Kevin Bauer

Stainless steel, acrylic resin, pvc, carrara sand and paint

107 × 220 × 75 cm

Edition of 4

Glass, aluminium, concrete

50 × 50 × 40 cm

Slate, acrylic resin and pigments

100 × 93 × 26 cm

Photography by David Meulenbeld

Material and form research are a big part of my practice. I explore the properties and possibilities of materials I want to use through material testing. The material I take in hand often undergoes a transformation: for example, I imitate or accelerate natural aging processes such as erosion and oxidation so that the practical parts become aesthetic and only the form remains preserved. I make objects that give the illusion of being made of a different material than they actually are. I twist and transform parts that are industrially produced, decontextualize them, remove their practical application and use them as visual elements. I try to detach function from form. A clear example is the Fragmentism series: a series of wall panels with recognizable, (un)usable elements distributed across the surface in the spirit of a readymade. Each work deals with a location and is divided into multiple planes in which form takes precedence over function with an advertising imagery that references consumerism.

It is the synthesis of materials from which utensils are made that excites me. I find the manufacturability overwhelming: the scale on which industrially formed parts can be produced separately and then come together to become "something" is interesting because it has been figured out in detail. I find it mysterious because the processes are invisible.

Material and form research are a big part of my practice. I explore the properties and possibilities of materials I want to use through material testing. The material I take in hand often undergoes a transformation: for example, I imitate or accelerate natural aging processes such as erosion and oxidation so that the practical parts become aesthetic and only the form remains preserved. I make objects that give the illusion of being made of a different material than they actually are. I twist and transform parts that are industrially produced, decontextualize them, remove their practical application and use them as visual elements. I try to detach function from form. A clear example is the Fragmentism series: a series of wall panels with recognizable, (un)usable elements distributed across the surface in the spirit of a readymade. Each work deals with a location and is divided into multiple planes in which form takes precedence over function with an advertising imagery that references consumerism.

It is the synthesis of materials from which utensils are made that excites me. I find the manufacturability overwhelming: the scale on which industrially formed parts can be produced separately and then come together to become "something" is interesting because it has been figured out in detail. I find it mysterious because the processes are invisible.

Material and form research are a big part of my practice. I explore the properties and possibilities of materials I want to use through material testing. The material I take in hand often undergoes a transformation: for example, I imitate or accelerate natural aging processes such as erosion and oxidation so that the practical parts become aesthetic and only the form remains preserved. I make objects that give the illusion of being made of a different material than they actually are. I twist and transform parts that are industrially produced, decontextualize them, remove their practical application and use them as visual elements. I try to detach function from form. A clear example is the Fragmentism series: a series of wall panels with recognizable, (un)usable elements distributed across the surface in the spirit of a readymade. Each work deals with a location and is divided into multiple planes in which form takes precedence over function with an advertising imagery that references consumerism.

It is the synthesis of materials from which utensils are made that excites me. I find the manufacturability overwhelming: the scale on which industrially formed parts can be produced separately and then come together to become "something" is interesting because it has been figured out in detail. I find it mysterious because the processes are invisible.

Material and form research are a big part of my practice. I explore the properties and possibilities of materials I want to use through material testing. The material I take in hand often undergoes a transformation: for example, I imitate or accelerate natural aging processes such as erosion and oxidation so that the practical parts become aesthetic and only the form remains preserved. I make objects that give the illusion of being made of a different material than they actually are. I twist and transform parts that are industrially produced, decontextualize them, remove their practical application and use them as visual elements. I try to detach function from form. A clear example is the Fragmentism series: a series of wall panels with recognizable, (un)usable elements distributed across the surface in the spirit of a readymade. Each work deals with a location and is divided into multiple planes in which form takes precedence over function with an advertising imagery that references consumerism.

It is the synthesis of materials from which utensils are made that excites me. I find the manufacturability overwhelming: the scale on which industrially formed parts can be produced separately and then come together to become "something" is interesting because it has been figured out in detail. I find it mysterious because the processes are invisible.

An installation at the Paltzbiënnale 2020/2021.

Iron, wood and loam plaster.

Height 2,6m, Width 8m, Length 30m

Poplar plywood, acrylic resin, steel, MDF, iron, skai and paint.

Height 75cm, Width 51cm, Depth 11cm

From the Fragmentism series.

Part of the Aegon Art Collection since 2021.

Poplar plywood, polyester putty, aluminum, iron, skai and paint.

Height 75cm, Width 51cm, Depth 14cm

From the Fragmentism series.

Part of the Aegon Art Collection since 2021.