About JT
Mission statement
This concept firstly refers to a cognitive process, to the formation of an idea about something. But 'beeldvorming' - the creation of an image - also applies to sculpture. The images formed is a thought, a (mental) representation of an event, of an idea or a feeling. It is sometimes abstract and sometimes realistic.
Forming any image is a complex process, a synthesis of a large number of factors. Intuition plays an important role, as well as conscious awareness. In order to create an image, or a sculpture, it is vitally important that we know what we want to express, or we cannot achieve optimum expression. If our inherent capacity to give form to something is not in balance with the world around us, there is the chance that the formation of the image (the image we want to realize) forfeits its power of expression. Those confronted with this image may consequently fail to understand it, be inclined to reject or even attack it.
In creating a sculpture, we walk on the razor's edge. Everyone knows that an image that has already been formed is difficult to change. Or is it? For example, an image that we had branded as unrealistic only yesterday may today be experienced as very realistic indeed. The question that has to be asked here is what we understand reality to be. Everyone thinks differently, and each of us has his own perspective. If we want to givethat image - and the image we form of it - any perspective at all, it is necessary to be aware of the differing realities and take them into account. By denyong the existence of different realities, we risk choosing a form that misses its objective, however good our intentions. Taking the varying realities into account, we select the outward appareance of the image, sometimes easily recognized, sometimes highly abstract, depending on the spcific needs and possibilities. The choices made are related to our perception of life and our own immediate environment.
Sculpure brings across an idea, a thought or feeling that the sculptor found difficult into words. This is true for many art forms. In order to be able to communicate, one must select a form that can be clearly understood, one in which the feeling or the thought can be recognized. Not words, but images. We are all too familiar with the paradox that whoever expresses the inexpressible contradicts himself, thus robbing the inexpressible of its power. This highly charged space, this no-man's-land between word and image, is where the creation moves. This process is the only process that forever fascinates and enthralls, and certainly in sculpture.
Jan Timmer, May 1999
Forming any image is a complex process, a synthesis of a large number of factors. Intuition plays an important role, as well as conscious awareness. In order to create an image, or a sculpture, it is vitally important that we know what we want to express, or we cannot achieve optimum expression. If our inherent capacity to give form to something is not in balance with the world around us, there is the chance that the formation of the image (the image we want to realize) forfeits its power of expression. Those confronted with this image may consequently fail to understand it, be inclined to reject or even attack it.
In creating a sculpture, we walk on the razor's edge. Everyone knows that an image that has already been formed is difficult to change. Or is it? For example, an image that we had branded as unrealistic only yesterday may today be experienced as very realistic indeed. The question that has to be asked here is what we understand reality to be. Everyone thinks differently, and each of us has his own perspective. If we want to givethat image - and the image we form of it - any perspective at all, it is necessary to be aware of the differing realities and take them into account. By denyong the existence of different realities, we risk choosing a form that misses its objective, however good our intentions. Taking the varying realities into account, we select the outward appareance of the image, sometimes easily recognized, sometimes highly abstract, depending on the spcific needs and possibilities. The choices made are related to our perception of life and our own immediate environment.
Sculpure brings across an idea, a thought or feeling that the sculptor found difficult into words. This is true for many art forms. In order to be able to communicate, one must select a form that can be clearly understood, one in which the feeling or the thought can be recognized. Not words, but images. We are all too familiar with the paradox that whoever expresses the inexpressible contradicts himself, thus robbing the inexpressible of its power. This highly charged space, this no-man's-land between word and image, is where the creation moves. This process is the only process that forever fascinates and enthralls, and certainly in sculpture.
Jan Timmer, May 1999
Curriculum vitae
Work in possession of:
- Taizhou (China, 2010)
- Tangshan (China, 2010)
- Urumqi (China, 2009)
- Shenzhen (China, 2007)
- Huian (China, 2006)
- Zhengzhou (China) "Renaissance & Rising" 0786139754
- Shanghai, in the new expansion of the city (China) 2003
- Museum Sculptures by the Sea (Scheveningen)
- Museum of Modern Art, Mexico City (Mexico)
- Museum of Modern Art, Brussels (Belgium)
- Museum Pagani (Milan, Italy)
- Museum of Modern Art (Ostende, Belgium)
- Her Majesty Princess Beatrix
- Dutch Art Foundation
- French State
- Many individuals, at home and abroad
- Paris (France)
- Milan (Italy)
- Zurich (Switzerland)
- Antwerp Belgium)
- Schelderode (Belgium)
- Gent (Belgium)
- Brussels (Belgium)
- Mexico City (Mexico)
- Varna (Hungary)
- Castle Drulon (France)
- Amsterdam (The Netherlands)
- Dordrecht (The Netherlands)
- Baarn (The Netherlands)
- Eersel (The Netherlands)
- Leeuwarden (The Netherlands)
- Amersfoort (The Netherlands)
A selection of the (international) assignments can be seen underAssignments.
- Urumqi 2009 (China)
- Shenzhen 2007 (China)
- HuiAn 2006 (China)
- Zhengzhou 2006 (China)
- Yuzi paradise, Guilin 2003 (China). The image was later placed in Shanghai, in the new expansion of the city.
- Ilindentci, 1999 (Bulgaria)
- Varna, 1989 (Hungary)
- Acolman, 1987 (Mexico)
- Villany, 1985 (Hungary)
- Lindabrunn, 1984 (Austria)
- Municipality of Albrandswaard
- Municipality of Amersfoort, 1987
- Municipality of Arnhem
- Municipality of Dordrecht, 1989
- Municipality of Goor
- Municipality of Oostzaan
- Municipality of Vriezenveen
- Municipality of Utrecht
- Municipality of Zaandam
- Ministry of Defense, Bronbeek
- The Province of South-Holland
- ABN AMRO
- Many companies and individuals
For an explanation of symposia go to "Assignments."
- 2010 China: Taizhou International Urban Sculpture Symposium
- 2010 China: Tangshan International Urban Sculpture Symposium
- 2009 China: Participation in 'Harmonious Development-2009' Symposium, China Xinjiang Urumqi International Urban Sculpture Symposium
- 2007 China: The 8th China Carving Art Festival & 'HanYu Cup' International Stone Carving Symposium, Shenzhen
- 2006 China: 4th China HuiAn International Carving Art Fair & International Stone and Wood Carving Symposium, HuiAn
- 2003 China: International Symposium, Yuzi-Paradise, Guilin. For more information
- 1989 Bulgaria: International Symposium, Varna
- 1989 The Netherlands: Symposium Ten-intersections, Dordrecht
- 1987 Mexico: International Symposium, Alcoman
- 1999 Bulgaria: International Symposium, Ilindentci.
- 1987 The Netherlands: Steenbeeldhouw symposium, Amersfoort
- 1985 Hungary: International Symposium, Villany
- 1984 Hungary: International Symposium, Siklos
- 1984 Oosterijk: International Symposium, Lindabrunn