PERMEABLE PLACE–FAIR TRANSITIONS – pop-up exhibition East Side Gallery Berlin August 12-15 2021

I made an installation as part of an exhibition commemorating it was 60 years since the day East German authorities started building the Berlin Wall.

As a reaction to the open call by Art Up, Fair Kiez and  the East Side Gallery, my installation was Commemoration table from the future – with a story.

Here is my project proposal: EnglishDeutsch. Here is the text written in the year 2289 as it was published on the installation: EnglishDeutsch

Materials: Old wood, metal, rusty screws and other metal parts, fiber composite material for ornaments and relic shrines, various prints in Photolux Professional Matte 230, board, paint, black and white prints, alubond, suitcase, jerrycans, dried flowers, LED lamps, magnifying glasses, silicone
Dimensions: 200x250x90cm

Hungerwinter 1 – start of a new series

It is a bit dark, but I like it. There is also a beta version. I started photographing for the series somewhere last winter – among other things inspired by stories about certain parts of Belgium and France still being off limits since WWI (the so called ‘Great war’) due to the poison in the earth. 

We do not see that many broken trees in landscapes – or at least in the Netherlands I have hardly ever seen them. It is in the long list of things that are hidden from our view because of civilization? Just like sick people – and epidemics and death and other nasty stuff.

Today on reddit there was a story from a doctor who told about his experience with two different patients for whom there were no more options – and apparently that used to be very rare until Covid came along.

These and other things are an inspiration here. More will follow. Not sure where it goes – I got a whole lot of pictures of trees without leaves.

Materials: paint, black and white print, paint, shellac on MDF board in wooden frame with Fiber composite material ornament
Dimensions: 65x54cm

New way to print … on painted surfaces

I have been experimenting with a new way to print and it enables me to print on painted surfaces in both black and white – like I have don here – and in color.

This means for me that I am more and more mixing digital and analog – where analog has become more important to me. I like that I can finally print on rough surfaces, on surfaces that I painted before. I can print on surfaces that are painted in gold, that are shiny.

Materials: Fiber composite material, print, paint,
Dimensions: 50 x 50 cm

Talking about the birds

There is this thing about birds, that if they are used to symbolize humans in a composition/painting/collage – we do accept them as humans, there is nothing alien about them, no uncanny valley stuff at all. And at the same time they mostly do not really bring their own character- or so I think.

I have the impression that if I were to use other animals then we have more of an idea of what that animal symbolizes. Insects are NOT human, they are a danger and mammals are surrounded by the stories we heard about them in our childhoods or what they mean for us as food or their economic meaning or as pets. They immediately have character, or symbolize something.

At first I have used humans made from 3D puppets in my artworks, but even though I still like those works, it was also too flat. I have also made works with pictures of real humans and tried to use their stories in my artworks but then it became too personal for a couple of them and therefore I stopped having permission to use these compositions in exhibitions or for sale.

Birds have no baggage, they are not us – some say they are not even real – they are beautiful reptiles with wings. This makes them ideal to use as characters in my future compositions because we can somehow identify or bond with them or ascribe them human qualities, emotions or so – but they are also not us, they are neutral. I could also use reptiles, I think, but I have more pictures with birds in them.

Gilded Archeological Dig frame with Utu and possible next steps for my art

With most of the smaller stuff I have made since 2017, I have tried to play with influences from the last couple of centuries – but with this frame I tried to play with something found in the earth. The print in the center makes it look kinda new, that is true – but I would like to research ways to change that as well.

Maybe a painting with laser print image transfer on a painting  could be the next step instead of fancy matte prints. Maybe I should work with concrete or a more stone like material – and connect everything using thick iron wire, 3mm or so. And it will be rusty or blackened, no need to ask. 

Why would I want that? And why would I also make sure everybody can see it is not from the past? In popular culture, we always go towards a glorious future with the progression of time – but it does not need to be. Archeology/history has shown that this is most most definitely not the case. And with climate change and all, we might not come out on top.

For me these artworks are ‘proof’ of a continued human presence – even without the technology of today. Or maybe this presence is not human, but another animal that learns how to use tools and develops their brain. There are people who have pointed out that other monkeys/primates have entered a development that we could call ‘the stone age.’

My name is YuriGoul, I am not a politician – I am an artist. I live and work in Berlin (DE) and the subject matter of my art is time.

Materials: Fiber composite material, print, paint,
Print: Photolux Professional Matte 230 
Dimensions: 60 x 60 cm

Hourglass Ceiling Ornament (2015/2019)

This one has been underway for a long time, never could find the right images for it. Now it has ‘The eye of god’ in the center. A lot of painted ceiling ornaments have an eye of god of some sorts in it – so that is only fitting.

Materials: Fiber composite material, print, paint, rusty screws
Print: Litho archive Matte / Photolux Professional Matte 230 
Dimensions: 105×115 cm