Jeroen Heester (1972), living and working in Amsterdam.
Multidisciplinary artist and registered urbanist.

Focal point: cultural rules.
Current style/medium: minimalist land-art.

Dipl. Amsterdam University for the Arts / Academy of Architecture.
Dipl. VanHall University for Applied Science / Landscape architecture.

Contact: jeroenheester [at] gmail [dot] com

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I am not interested my works 'an sich'. They act as a means to construct a path. Their value, therefore, lies in the insights I get by constructing them. The directions that I take, depend on my own interpretations afterwards. It seems as if I’m seeking for the fundaments of truth in how we perceive things.

At this moment, I am focussing on the duality-polarity paradox and the functionality of awareness, within that paradox.

To put it bluntly: Perhaps the best way to describe society is to describe the empty chambers in a revolver. Perhaps the best way to describe an individual is to describe the bullet. Perhaps the best way to describe culture is to describe the spinning of the cylinder.

Example, based on my findings so far: Unawareness seems to be more absolute than to awareness, because of fraud. That defines perception as polar, instead of relative or absolute.
In addition, we seem to prefer a culture that constitutes fraud by plausibly denying or plausibly eliminating it. This strategy of denial (i.e. everyday versions of innocent until proven guilty) generates a target group by the hallucination of a moral standard that triggers self-suppression by fear (and therefore causes) the (self imposed) wish to become a constructive part of the projection named society.
The earlier mentioned 'polarity in perception', therefore seems to distinguish the role of suppressor v.s. the suppressed. Each polarity pragmatically plays a double-role that appears to either invests in the plausibility of the self (i.e. public higher moral ground), or tries to damage the plausibility of the other.
To my analyses by creating these works, the double-role chooses the public main subject of the other (i.e. someone’s job or marriage, etc.) to attack its moral plausibility in order to downgrade its position and status on the projection-platform of society. The other most likely does the same in return. Hence polarity as a cultural appearance of relativity.
This variety of polarities that intertwines with a constantly changing variety of subjects accompanied by different motives (defence, offence / fear, greed), is where my works have lead me so far (see: image down below.)

Focal point in my early works has been the rationalisation of the daily living environment. The intuitive installation ‘landscape of emotion’, symbolised by my fear of spiders, articulated the emotional emptiness of an environment, once the spiders were removed.
In the works that followed, I investigated the human motives of doing so (i.e. to rationalise the environment.) These investigational works [Luxury, Jesus, Mona Lisa] confronted me with polarity as a reliable part of human nature and a centralised subject of human culture. By means of my next works I embraced this confrontation in order to further examine [Lie-schemes, Screen saver & advertisements, UNIS-helmet].

This made me realise, that this culture of polarities is pragmatically used for various motives related to fear and greed (see above). Thereby creating an unidentifiable wirwar of polarities. This holistic mixture of seemingly unrelated values, undermines the unifying element of each polarity, thereby causing the false impression of dualities. As a result, this cultural vortex of intertwining polarities and supposed dualities disables orientation of the self in its context [What's wrong with Pfizer funding an art community? Moral relativism, Moral.] I believe a present day example of caused by this disorientation can be witnessed by the populists #-tendencies that (whose double-roles) demand a perfectly controlled world without lies and injustice, apart from the idea that these aspects form the fundaments of human culture and its aspects of beauty. Thereby defining ignorance as a religion of self-imposed and self-guarded unawareness.

When I started to further focus on this spectacle, I was intuitively drawn towards the landscape as a medium. At the same time I was moving to Iceland for one year, to work as a visiting professor at the AUI-university (landscape architecture and urbanism). One of my goals was to perceive artworks with the purpose to resemble the act of nature, instead of dominating or copying it. Similar to the way lies and fraud mimic its cultural surroundings. This resulted in the works Mimic.

NDSM Loods
W139 (performance)
Maison Descartes (incl. lecture)
NDSM open (invited guest artist)
NDSM werf (commissioned artwork in the public space of Amsterdam)
EYE Filmmuseum (official opening Amsterdam Museum-night)
Schouwburgplein, Rotterdam

2018 Laetare.
2017 Verspijkerd en Verzaagd.
2012 Parool,
2011 deArchitect (4x),
2010 deArchitect (2x),,
DOMUS magazine #928.
2009 Mark Magazine #22.
2008 Volume #16,
ArchitectenWeb (interview.)

Educational activities:
2019 Visiting professor at the AUI -university of Iceland, Urbanism/landscape architecture.
2011-2014 Lecturer in City Analyses (part time).
2009 Technical University Delft, graduation teacher (on request by various students.)
2004 Teacher international design program, VanHall/Velp.
2004-2014 Part time lecturer at various Academies of Architecture and at the University of Breda.

Jeroen Heester