With Jeannette Slütter’s (1988) interest in the way we communicate and keep control on reality in daily life, she reflects this in questioning the format of exhibition, and in how we define art. She wonders about the way we use definitions to understand art, how we decide, and how we are influenced in making a definition. For Slütter, creating frame works and patterns often makes us feel secure, but maybe they also prevent certain emotions and playfullness.

Her work consists of site-specific installations/situations. This means that from every location/space derives a new work, containing elements that, for instance, repeat the room and point it out. It is not there to highlight the architecture but as the embodiment. It’s how the objects are being choosen and in which context, circumstances, and interrelationships they are shown. She creates a constellation of minimal interventions, working with variable materials such as ceramics, prints and daily used objects. Everything combined creates a choreography where the visitors and the duration of the exhibition plays part in. Often objects shift with time in placement or form, and it keeps creating new situations.

Jeannette Slütter (1988) – Enschede
I’m working and living in The Hague.