Hein Eberson

With a background in editorial design, Hein Eberson rumages through newspapers and magazines to turn daily news, weekly opinions and monthly styles into timeless images; with photos of people, places and events that determine our experience and understanding of the big, elusive world. In the works, the layers of photos form the image of the day, with the football player chosen for the bright green of the turf and the earthquake for the texture and color of the mud. The choices in the creation of images are based on color, pattern, form, and the connection of lines with each other. If the collages assume new meaning, that is a nice bonus, but not a necessity. Summaries of a day in the world, of places and events and the people who played a role in it. Memento Mori too. There are snippets of news facts and world views. Or not even that. Those fragments let us experience how our brain deals with memories. Why do certain events stay with us, do we remember a specific name or image and so many others we don’t? Together, the images form an infinite story, day by day, just as Eberson previously worked on infinite stories. The daily walk to the letterbox, the tearing or cutting of the paper, the search for possible image combinations in the stack of pages; those acts are limited. Although the work can be seen as meaningless raw material, the realization of the work is not. Concentration. Faithfulness. Boredom and wandering. Happiness and misfortune. Till death? Hein Eberson (1962) is a re-entering visual artist. In collaboration with his editorial board TrademarkTM he had clients describe a work of art with the art order form Art on Request. With U-Frame, the public could compile a work of art with a database of collage parts. Together with Remko Scha, he worked on Artificial, a computer program that generated an infinite amount of random images. For each his own; his conceptual approach focuses on the creation of art instead of presentable and sellable objects.