Currently lives and works in Amsterdam (NL)
De werken die Sanne Bruggink maakt, ontstaan vanuit de fascinatie om met minimale en soms zelfs elkaar tegenwerkende middelen een sterke suggestie van ruimtelijkheid te creëren. De toeschouwer raakt in verwarring; tot hoever gaat de illusie? In hoeverre kan hij zijn eigen waarneming vertrouwen?
The pieces Sanne Bruggink makes stem from a fascination for creating a strong suggestion of three-dimensionality using minimal and sometimes even mutually counteractive means. The observer becomes confused; what is the extent of the illusion? To what extent can the personal perception be trusted?
The foundations for her current work were laid in 2004. She made rectangular reliefs in two layers; a uniform white top layer with cutouts through which a second layer was visible (Hellend Wit). Due to the three-dimensional effect of this base layer, the top layer also appeared to split into different dimensions and the apparently impossible occurred; depth was created, curvature or, for instance, a horizon in a flat surface.
In the reliefs subsequent to this, the rectangular border has largely disappeared. The contour now depends on the form of the depiction. The works now consist only of a single top layer of poured resin. The base layer is replaced by the white of the wall and the flat object hangs tight up against this. The white of the underlying wall is sometimes the foreground and sometimes background, and the form and contra-form also compete for prime position. This forces the observer to revise his/her view, as the perception of the work contradicts the observer’s reasoning and understanding (Frontaal Zwart I).
In the works from the latest period Sanne Bruggink examine in more depth, the apparent self-evidence with which the field of painting deals with the illusion of space. In one piece, part of the outline is straight, where the edges serve to dissect the depiction. This creates a suggestion that the space outside of the frame is continued. In the same work, the rest of the outline is formed by the contour of the depiction. This creates a game of leverage between the way in which the space is abruptly severed and the forms, which in contrast enter the space freely (Tag One).
The forms she uses in her work are often derived from geometry, such as a rectangle or hexagon. However, by rounding them off, rotating them, mirroring them, placing them on top of each other and repeating them in a fixed pattern (which she also frequently disrupts), the difference between the geometric and the organic disappears (Gebroken Zwart IV). subdivide the depiction into a minimum number of evenly coloured layers that appear to weave in front of and behind each other. The layers are complementary, they help make each other visible and simultaneously they completely flatten one another (Tag One). My ultimate ambition is to achieve maximum control over the representation of space without the use of classical components, such as perspective, sharpness/blur, overlap, shades of colour and incidence of light.
Occasionally Sanne Bruggink combines the flat objects with adhesive plastic film. The plastic film then functions as a thin line drawing/painting applied directly to the wall and increases the unity between the work and the wall (Gebroken Zwart III). She has also realized other works that are made entirely of plastic film, such as the installation “Ontspoord” on the windows of an empty space at the Weesperplein subway station (2009/2010). The point of departure for this work was the refraction of light in water. Just as a drinking straw in a glass of water appears to suddenly jump sideways, the transition from one display-window to the next causes a shift in the position of the depiction. As parts of the depiction also contained openings through which it was possible to see inside, even the actual space appeared to be disjointed.
The application of her ideas in the public domain involves an extra dimension; it also makes passers-by aware of their environment. A place that one previously walked past without even noticing now becomes a provocative spot. It is striking how even the untrained observer finds points of recognition. Cartoonish figures are discovered and amazement is expressed at the intangibility of the space. The observer is prompted to undertake a visual game and to find his or her own interpretation therein.