Daniel van Dijck

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.

The tableware series ‘Raw Collars’ consists of five different, unique, handcrafted plates and bowls, which are made of various materials such as: black stoneware, grey stoneware, red stoneware, beige stoneware and white porcelain, this in combination with polenta. Created by the process of using edibles in the clay, which later melted away in the oven. This five unique tableware is a future interpretation of the “Eccentric Plates” wat is made in 2013-2014. The tableware does not only assist our daily ritual of food consumption, but also, on the basis of different forms and materials, symbolizes the processes that happen in our body while we digest. Some effects are more extreme than others; some plates are more eccentric than others. The series as a whole evokes associations to well-known dining attributes, but also can be surprising due to their eccentric appearance. This new interpretation have a more delicate model, is perfect for use for tableware. For more information: http://www.danielvandijck.com/home-conceptual-design#/blackplatter/

The Fragility of Things exposes the impotence, the temporality and indeed the brittleness of objects. One tends to be careful and hesitant when confronted with something that appears to be fragile and precarious. This hesitation and carefulness, however, may act as a disruption, or at least provoke an increased awareness of ingrained habits in our daily lives. In the Fragility of Things I deliberately seek the fragilities of tableware, by combining edibles with metal, porcelain and glass and, by doing so, challenge the way we consummate food as well as the aesthetics that go along with it. On an abstract level, the project addresses the fragility and temporality of human life and uses fragile tableware as a metaphor to ‘speak’ about the care it deserves. For more information: http://www.danielvandijck.com/the-fragilities-of-things

The tableware series 'Eccentric Plates' consists of four different, unique, handcrafted decorative design souvenirs and dinner plates, which are made of various materials such as ceramics, copper and brass. The tableware does not only assist our daily ritual of food consumption, but also, on the basis of different forms and materials, symbolizes the processes that happen in our body while we digest. Some effects are more extreme than others; some plates are more eccentric than others. The series as a whole evokes associations to well-known dining attributes, but also can be surprising due to their eccentric appearance. For more information: http://www.danielvandijck.com/#/eccentric-plates/

This question, Quid Feci?, deals with the life-changing decisions we have to make in our lives, which often lead to an inevitable paradox. Decisions that bring us happiness can also bring us the greatest suffering. My project deals with the precarious journey of my body, and the paradoxical questions it confronted me with. This paradox is materialized in three iconic images that might confront the viewer with his own life-changing decisions. This installation exhibits my eating process, by displaying a cupboard, table, and chair as one body, where the alterations and eviscerations are clearly visible. By using the notion of Quid Feci?, where the expression of regret and mourning (lamentation) is uttered, and at the same time, a sense of relief, hope and resolution are expressed; this installation addresses this ambiguity, by playing with the notions of perfection and imperfection, fragility and stiffness, disfigurement and beauty.

This question, Quid Feci?, deals with the life-changing decisions we have to make in our lives, which often lead to an inevitable paradox. Decisions that bring us happiness can also bring us the greatest suffering. My project deals with the precarious journey of my body, and the paradoxical questions it confronted me with. This paradox is materialized in three iconic images that might confront the viewer with his own life-changing decisions. This installation exhibits my eating process, by displaying a cupboard, table, and chair as one body, where the alterations and eviscerations are clearly visible. By using the notion of Quid Feci?, where the expression of regret and mourning (lamentation) is uttered, and at the same time, a sense of relief, hope and resolution are expressed; this installation addresses this ambiguity, by playing with the notions of perfection and imperfection, fragility and stiffness, disfigurement and beauty.

This question, Quid Feci?, deals with the life-changing decisions we have to make in our lives, which often lead to an inevitable paradox. Decisions that bring us happiness can also bring us the greatest suffering. My project deals with the precarious journey of my body, and the paradoxical questions it confronted me with. This paradox is materialized in three iconic images that might confront the viewer with his own life-changing decisions. This installation exhibits my eating process, by displaying a cupboard, table, and chair as one body, where the alterations and eviscerations are clearly visible. By using the notion of Quid Feci?, where the expression of regret and mourning (lamentation) is uttered, and at the same time, a sense of relief, hope and resolution are expressed; this installation addresses this ambiguity, by playing with the notions of perfection and imperfection, fragility and stiffness, disfigurement and beauty.

Beach burial, the 1944's poem by Kenneth Slessor vividly portrays the burial customs in those days. In most European countries drowned persons that had been washed up on shore were buried instantly on the beach. This present project, Beach burial, aims to transform the aforementioned unethical way of burial (due to ebb and flood the mortal remains reappears) into a worthy and beautiful place for death and bereavement. The building, which consists of a funeral home, a cemetery and a place for contemplation, is submerged in the dunes, then slowly reappears on the beach and finally emerges on the foaming water. By placing the building in the public sphere, in this case a beach, we aim to minimize the physical and psychological barriers between the living and places for the dead. The base of a natural formed dune is used to locate the entrance of the building. The result of this intervention is that the beach on the other side of the dune remains mostly unspoiled. However, due to the descending nature of the beach the building gradually emerges.

The former Ketelhuis will be redesigned for the sake of the development of artistry into the Ketel Academy. The new foundation of this old factory is a dug-out serving tray filled with concrete cubes, and because of this, the old pavement is stripped away. This alteration causes the visitor to feel submerged. In the corridors between the cubes you will feel confronted with the present, while the carcass of the old boiler house serves as a reminder of the past. The tension between the past and the present becomes tangible.

In my graduating work, I tried to crystallize a memory. A memory, ‘an image or impression of one that is retained through associative mechanisms’ is hard to make tangible if not impossible. However with precious memories of deceased family members and friends we try desperately to hang on to these idealized images of our loved ones, even though these images gradually evaporate. ‘A memory’ is an installation about my recollection of my deceased brother. Over time, my memories of him became increasingly blurred. I try to seize his voice, his smell or his laughter, but all in vain. This installation is both a tribute to my brother as a confrontation with my reality. The three ‘life paths’ of different periods of my brother’s life are lifeless suspended inside a library.

Daniel’s pieces play with the reinterpretation of everyday objects and their role within our daily practices, resulting in hand-made, unique works that offer a tactile and aesthetic experience.