Title: Mimic (2)
Frame ca. 8m.x8m.
Basalt blocks, measuring between 0.5m. - 2.5m.
Ytri Tunga, Snæfellsnes, Iceland
2019
Theme: mimic.

An artwork that suggests it is shaped by the forces of nature, instead of by the artist’s will, is the closest I can imagine to abolishment of one's self. More importantly, these works offer the knowledge of not knowing (which of both images is which). Both intended effects seem to be entangled with each other, in order for the viewer to finally give up trying to decipher or to convince, similar to the way lies and fraud mimic its surroundings.

Jeroen Heester

Title: Mimic (1)
Frame ca. 1m.x1m.
Basalt beach pebbles.
Djúpalónssandur, Snæfellsnes (6x), Iceland
2019
Theme: mimic.

An artwork that suggests it is shaped by the forces of nature, instead of by the artist’s will, is the closest I can imagine to abolishment of one's self. More importantly, these works offer the knowledge of not knowing (which of both images is which). Both intended effects seem to be entangled with each other, similar to the way lies and fraud mimic its surroundings.

Jeroen Heester

Title: Polarisation.
Frame ca. 15cm.x10cm.
Gravel at the lake.
Baulárvallavatn, Baularvellir, Iceland
2019

To decompose a structure, reveals its separate parts.
Each part has team members or counter-partners, that never could have been related in opposites if not decomposed.

Jeroen Heester

Title: Morality.
Frame ca. 1.2m.x1.2m.x1.2m.
Sand/air.
Harbour area, Amsterdam
2017

Each separate particle of greed, consists of a remnant.
Eventually the landscape consist of echo's, critisized by the double-roles.

Jeroen Heester

Title: moral relativism (2)
Plaster
0.75m.x0.3m.x0.25m.
2017
[destroyed]

Composition of the main subject and the double role: Each separate particle of greed, consists of a remnant.

Jeroen Heester

Title: Mimic.
Performance.
2017

Public moral.

Jeroen Heester

Title: What's wrong with Pfizer funding an art community?
Lacquer on steel.
NSDM loods, Amsterdam
2018
Temporary graffiti: experimental and creative study.
Theme: the dual nature of society.
a.k.a. community its wishful self image.
a.k.a. plausibly (self)denial.

The artwork has been subject of intens debate within the art community, implicitly defining idealism as 'the consciously unknown', thereby pointing into the direction of the cultural origin of (fear) plausible denials.

1: Pfizer – Medical experimentation by pharmaceutical companies, such as Pfizer, in African countries have lead to fatally injured test subjects (Nigeria.) Also, Pfizer settled for the largest criminal fine of any kind ever for fraudulent marketing (2009.)
2: The NDSM loods with the steel blue doors, is an old industrial complex that houses many struggling and artists in an idealistic art community.
1+2: Since the colour blue of the steel doors, resembles that of the Pfizer-logo, the dual combination was easily made: What's there to hold agains a fraudulent and dangerous company to sponsor an idealistic art-community? The money has to come from somewhere. Isn't it already?

Jeroen Heester

Title: UNIS helmet.
Official UN helmet, white paint, IS logo.
2017

History remembers enemies of one war turning into allies in another. If history and future possibilities are included in duality-polarity paradox, the vortex mind turn into a tornado of options.
This particular genuine UN helmet was presented as present in Bosnie, used by the Dutch forces, trying to be allowed to protect civilians in a Serbian-Moslim war.

Jeroen Heester

Title: Relativity.
Blood, 1.5l. (artist's), gelatine, resin, mould (in process), plastic display box.
2015, 2020 - no end date.

The closed system of planet earth, an un-equal distribution of goods, results in extreme luxury of one particular group, and in the equally extreme poverty of another. As a concept, to experience luxury, equals to experience and cause death by intelligence.

The artist's blood has been hardened with gelatine and sealed of with resin. Nonetheless mould and oxygen have found their way in.
Unintended, yet un-mistakenly part of the work, the mould seems to symbolise double-role its wish for 'natures’ to restore the balance, without having to act itself.

Jeroen Heester

Title: Moral relativism (1)
a.k.a. Jesus.
Plastic, steel.
exhibited: BrabantsMuseum, 's-Hertogenbosch.
performance: W139, Amsterdam.
2015

Inspired by the economic downfall, as a result of the financial crisis of 2008, the Netherlands remembers its golden century. Formalised by the Dutch prime minister as he tried to motivate the country its entrepreneurs by mistakingly celebrating the Dutch VOC-mentality (slave trading).
This project focussed on the institutionalised elimination of guilt by religion, in order to run a financially more profitable business. To give birth again to Jesus, enabled this project to murder him again in advance, for our sins to be committed, in order to enjoy a few more centuries of luxury.

An antique corpus has been carefully restored, similar to death sentenced criminals must undergo health checks, before execution is allowed to take place.
In a rotational casting machine, a modern plastic Jesus was re-born and -quickly after- murdered in advance and exhibited.

Jeroen Heester

Performance.
Title: Casting of Jesus.
Rotational casting device (self designed and constructed.)
Location: W139, Amsterdam.
2015

See: above.

Jeroen Heester
Jeroen Heester

Title: Now that we have done everything, can we reduce ourselves to ratio and repetition?
a.k.a. Mona Lisa.
Oil on primer/gesso on linnen
2m. x 2m. (2pcs)
2015

In order to run a profitable business, innovation requires investment in advance. Guaranteed financial return approves the investment to take place. Genuine innovation hardly guarantees financial return, due to its nature. As a result, re-makes of proven success formulas have become familiar parts of our landscape.
To embrace the decrease of genuine cultural innovation, this project opts to copy-paste the most popular artwork of our time: the elusive smile of La Gioconda (the Mona Lisa).
A hand drawn mesh wire frame, that carefully has adopted the damages from the original painting in The Louvre, rationalises the elusiveness and enables it for mass production.
Oil painted on polished canvas, to eliminate uncontrolled effects of shade and texture, in twofold, symbolises reproduction.
Deliberately not knowing which of both reproductions is the original, puts innovation in perspective. Both identical, hand painted, rationalisations are forbidden to be separated from each other.

Jeroen Heester

Plausibility of moral relativism.
Advertisement and screen saver.
Digital collages (studies).
300dpi.
2015

Triptich: The advertisement-collages exhibit polarities that relate to plausibility:
Each of the three celebrities suggest to advertise a brand which their 'personal' branding would strongly oppose. [Comparable to a governmental financial watch-dog that switches jobs to become a lobbyist for an investment bank.]
All commercial lines are unmodified copies from the concerning official website of each brand. The suggested spoken lines of each celebrity are inspired by them, the way an agency would do so.
The Monsanto sponsored army tank further investigates this plausibility theme. [besides delivering democracy, delivering healthy food and economic potential to unstable area’s of the world.]

Jeroen Heester
Jeroen Heester
Jeroen Heester
Jeroen Heester

-no title-
a.k.a. Lie schemes.
Ink on 200gr. paper
1.5m.x2m., related works on various sizes.
2016

These four worldly known cases, exhibit a liar being caught on their main subject. Each of the four works showcases the structure of interrelations in which the rules were bended and hard lies were made in order to evade attacks made by the double-roles.
These lie-schemes have been further used to visualize its related (cultural) pattern as well as its abstract expression.

Jeroen Heester
Jeroen Heester
Jeroen Heester

Title: Silhouet
Commisioned sculpture. Public space, Amsterdam, NDSM wharf.
Steel, coated.
Enabled by the official Dutch art-foundation: Kunstenplan, Stichting Beheer NDSM-Werf Oost, Amsterdam.
Exhibited 2015 - 2020
Available.

This work opts to counterbalance the gentrification of an old industrial site. by causing fear, each visitor is directly guided towards their feelings and emotions. Precisely that, is why gentrification is experienced as a 'problem' (by the double roles). For that reason, this object adds that experience to its surroundings, symbolically guarding it.

Jeroen Heester

Title: Landscape of emotion.
a.k.a. The spiders.
Tar, steel, plaster, resin.
exhibited: (Amsterdam) NDSM wharf, NDSM open, NDSM loods, Maison Descartes, EYE-Filmmuseum, De Balie, OHK, (Rotterdam) Museumplein.
2012

Fear seems to be our strongest emotion. Therefore, a landscape of spiders, as a blanket, ads emotion to emotionless environments.
Aren't we all emotional beings, that should live an an emotional inspiring environment?

Jeroen Heester

-no title-
Foam
Head size.
Published: Domus
2010

Cities depict an real estate investment. One of its greatest achievements is to deliver return on investment.
This work was fabricated to emphasise the shrinking appreciation for the city as a place to live and spent your live in. By means of building-demands, high-rise buildings will express the loudest scream ever, as a petition to emphasise the emotional effect of treating people and cities as a means, instead of as an idealistic goal (double-role).

Jeroen Heester

Title: Imagine.
Digital render.
In cooperation with Media College Amsterdam.
Published: Domus and various architecture magazines.
2010

A study concerning ideal cities, from the perspective of emotional inspiring environments.

Jeroen Heester