[Static movement....moving downtime]
Continiously flowing to find the balance that will ultimately dismantle


Wim Wonk draws every day, day in day out, year in year out. Drawing for him is breathing and thinking. The culmination of this practice has resulted in a kind of freedom that is not frequently seen, this allows him to work within boundaries that were previously unacceptable... The language of drawing that Wim uses is incomparable to what the concept or meaning is.... The pure wonder of creating sculpture. Art and Anti-Art, Worthiness, Effort, Form and non-Form, Harmony and Paradox.

All of these thoughts of practice has allowed a certain amount of freedom for Wim to use whatever medium he sees fit to interpret his message.

A man on a mission, Wim Vonk is never tired of things, or the objects that surround him. Tidying up at home, or on the street, retrieving lost boxes or things found in random corners. In everything, in any container, he will find a bigger story. All is very much useable. Valuable and/or worthless things, formless, broken, aesthetically pleasing - or not, left (and-or abandoned) objects. The question is: Who can ask whether something holds value or not? Every item receives a new identity, whilst (importantly) the previously given meaning of the form is completely lost. Only because of the clear and personal message that Wim provides; the current situation, the pure form, the colour or the material. Ultimately an alternate message is delivered.

The three dimensional work of Wim has grown in a very organic way since the 80's, especially in his personal allotment, that later developed to consume the walls of his house on the PH kade with his son Tom between 1998 and 2006. Coffee machines, lighting systems and all of the most extraordinary items formed a caleidascopic whole whereof the sound also played a major role. Everything found its own place. Nothing was glued together or fixed to one another. The placement of these objects amongst one another suggested new possibilities. The entirety in itself created is own poetry.

In the year 2000 a momentum was found, after that he felt he could very actively move on. The sculptures started to touch one another. Because of these (subtle) touches, a musical whole was created. The excitement of which was found in the fact that it could all at any moment all collapse around him. It was a consistent search for balance. A tower of crystal glasses and ashtrays on a plateau with three legs, performing a poetic image with the light that it plays with. Shadows on the wall, the light from the television, the sound from the street and the thoughts of the day. Every element formed and grew with one another to form new threads. As a consequence the creation is never finished. It is always going to be a snap shot, between the past and the future. the hope of reawakening peoples existence, the instability of every individual. Its not about the thing or the found objects. The use of these objects is a simple consequence of what we find around us in our daily lives

In the warehouse in Weesp everything is let loose: there are various mills to be seen: hanging, attatched to the walls, fixed to a former work bench, to the ground, to a filing cabinet... When Klaas de Jonge arrived with his unique collection of African Art and craft a very real idea of music became apparent: every African artifact, every found object, whether inherited or simply discovered found a new existence. A continuous stream of images large and small, funny or with a darker tone... (even a perished young bird found its given place)... together with a golden chain from Marja and a toy tractor from Tom and the front door of the next door neighbour, The drawingpin from Sweden, and of course a random keyboard. Everything has its specific place, and it all fits like a glove, everything communicates or talks with one another... then the scene judders... then the creation moves and everything tumbles upon itself....now it works better,

Continiously flowing to find the balance that will ultimately dismantle.

Marja van Putten (25-8-2010)
Translated to English by Alec Gatenby (31-8-2010)