Lukas Vonk

In a series of sculptures, I depict how dominant forces shape the body. I see the body as a machine, but one without order or function. I wanted to structure this Chaotic puddle of flesh. By applying the pulsating pressure of a massage gun to a unique clay mixture composed primarily of calk powder and pine resin. In collaboration with the artist and singer Marion Haguet, I created a composition to accompany the sculptures. As Haguet sings, the message gun massages her throat, warping her voice. Listen to the composition here: https://youtu.be/sVQJtmUEF_U

In the first chapter of the series. A sitting body is depicted. He appears exhausted. I took reference from the Hellenistic sculpture "Boxer at rest". Where other classical sculptures depict athletes in mid-action, this work depicts a boxer's worn-out body recovering from a fight. I use a massage gun to remodel this sculpture, emphasizing the destructive element of intensive physical labor. The massage gun is a tool for discovering the body. Through muscle pain, we come into contact with the mechanics behind the body. By shaping my sculptures with a massage gun, I map the body's sensations like a topographer.

In the second chapter in the series, four heads emerge from a snake-like extension that seems to sprout from the ground. The faces appear to move forward, evoking soldiers marching to the front or men walking in a carnival parade.

In the final chapter of the series, we see a chaotic puddle from which figures emerge; they appear to be wrestling. I reference Antonio Canova’s Theseus and the Minotaur, But In my version, there is no hero. Canova depicts Theseus on top of his opponent, emphasizing his victory. I decided to slightly rearrange the wrestlers, offering a new reading of the work. Theseus is going to stomp his opponent’s face. The smile of the man underneath Theseus reveals a new truth. He seems delighted by the offering of the foot. Blurring the line between pain and pleasure.

In the final chapter of the series, we see a chaotic puddle from which figures emerge; they appear to be wrestling. I reference Antonio Canova’s Theseus and the Minotaur, But In my version, there is no hero. Canova depicts Theseus on top of his opponent, emphasizing his victory. I decided to slightly rearrange the wrestlers, offering a new reading of the work. Theseus is going to stomp his opponent’s face. The smile of the man underneath Theseus reveals a new truth. He seems delighted by the offering of the foot. Blurring the line between pain and pleasure.

Historically, carnival has played an important role in processes of democratization. It carries a long tradition of political satire, and during carnival periods, power is symbolically transferred to the peasants. Carnival functions as a compartment where social roles can be temporarily exchanged. It’s a transformation deeper than just pretending; it’s method acting. The boundary between reality and performance blurs. I aim for something similar in this sculpture; to expose the facade of power. The face resembles a monumental statue of a fallen leader; at the same time, it might belong more in a carnival parade.

Historically, carnival has played an important role in processes of democratization. It carries a long tradition of political satire, and during carnival periods, power is symbolically transferred to the peasants. Carnival functions as a compartment where social roles can be temporarily exchanged. It’s a transformation deeper than just pretending; it’s method acting. The boundary between reality and performance blurs. I aim for something similar in this sculpture; to expose the facade of power. The face resembles a monumental statue of a fallen leader; at the same time, it might belong more in a carnival parade.

altered version of "Method Acting in Fiberglass" for Art the Hague

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“Venous twirls, opportunistic struts, and manic waltzes; high-energy dances in the grittiest settings. From ballet theater to the light-up floor. How can we use dance to create new social possibilities?” My bachelor's thesis, “Imagine Swallowing a Horse,” explores the power dynamics that shape social choreographies. I describe these dance-floor dynamics through historical examples and examine how these mechanisms can be used to one’s advantage and contribute to the formation of new social hierarchies. I use Japanese post-WWII Butoh as a framework for this analysis. Read the full thesis here; https://drive.google.com/file/d/1Oa2u3z0twyXoIgNomnJjoPxv_iyYToAl/view?usp=share_link

“Venous twirls, opportunistic struts, and manic waltzes; high-energy dances in the grittiest settings. From ballet theater to the light-up floor. How can we use dance to create new social possibilities?” My bachelor's thesis, “Imagine Swallowing a Horse,” explores the power dynamics that shape social choreographies. I describe these dance-floor dynamics through historical examples and examine how these mechanisms can be used to one’s advantage and contribute to the formation of new social hierarchies. I use Japanese post-WWII Butoh as a framework for this analysis. Read the full thesis here; https://drive.google.com/file/d/1Oa2u3z0twyXoIgNomnJjoPxv_iyYToAl/view?usp=share_link