Finudim & Oknaleh

In the sculpture Finudim, the tension between tradition and innovation, between the linear and the organic, is clearly visible. There is an inherent monumentality in this artwork, that refers to Roman god statues, which are an important source of inspiration for the artist.

The pedestal, in turn, is also a classic, linear design. However, the dynamics in the sculpture itself, which is created through computational design methods, transform the design in a monumental, futuristic statue. This results in a sculpture that inspires and intrigues, but also exudes classic elegance. 

Oknaleh looks like a guard or a disciple of a divinity who is safeguarding an unknown sanctuary. This sculpture is at the same time frightening and fascinating. One can wonder if this guard hides the realm beyond the tangible from the viewer or if he rather opens the gates to this unknown territory.

Oknaleh moreover tells about the construction of the past. Each historic period, this past is interpreted differently. The piece seems monumental, but at the same time is build out of holes and lacunae. For this sculpture, Ervinck was inspired by Henry Moore and Hans Arp, who used the empty or negative space as a positive, constructive force.

In this project, Nick Ervinck and SANDHELDEN decided to make a reprint of an existing sculpture of the artist. However, it was important for both parties to ensure a clear distinction in order to respect the previous work. For this, Finudim and Oknaleh have been scaled down to around two-thirds of their original size.