The work of Berend Strik (Nijmegen 1960) is situated in a twilight zone in terms of discipline. The basis consists of photos (either found or taken by Strik) which have been modified with threads, gauze and other materials. ‘Strik’s embroideries are […] a drastically muted painting which is completely infiltrated by the conditions of generic, post-disciplinary art. It is irreversibly improved, muted almost beyond recognition.’ Sven Lütticken, in:
Berend Strik, Body ElectricThe starting point of Thixotropy are the embroidered photos, as a point of entry for grasping the meanings of the entire oeuvre. Texts by others and by Berend Strik himself analyse and interpret a range of different perspectives, aspects and strategies. These texts are interlaced with a good deal of seductive visual material so that the reader can enjoy this playful overview of the particular visual idiom and layeredness of Berend Strik’s oeuvre.
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