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Connie Dekker

Rotterdam (Olanda), 1960

Connie Jacoba Dekker was born in 1960 in Rotterdam in the Low Countries. She divides her time between Holland and Tuscany. Connie Dekker’s artistic journey began in the late 1980s in sculpture with work such as ‘recipients’ placed directly on the floor or on the ground. References to water are a constant in her work such as in her cycle of sculptures in lakes. One of these portrays a rock which throws out water like a sort of floating fountain. The relationship between water and sculpture is fundamental to the existence of the latter not just conceptually but also structurally. The sculpture collects the lake’s water and returns it and in turn water makes the sculpture float in a short of open space short circuit.

After her sculpture period she shifted her attention to cloth and embroidery installations. Her first work used the swan image as an icon of transit. This image was then substituted by the use of lines which faithfully retrace the designs her father made during a very difficult period in her life and now traced once again by the artist as if she were trying to follow the trajectory of her memories. The lines take shape on the cloth and later on clothes with her work returning in this period to sculptural forms which in turn developed into performances (as in the Waiting series).

She has also used videos, initially to document performances, and later began to take an interest in the poetic and narrative quality of this medium. She retraced the places in her life in images tracing a travel trajectory across memories of her land filming the Zeeland region on the island of her childhood years, custodian of her history and past. Photography like videos have been used by Dekker as a visual exemplification of her feelings as in the ‘virtual postcards’ project which she periodically sent out on the internet expressing her emotional state in evocative images (depicting Zeeland and Tuscany in particular).

Photography is important for Dekker too as the photographic series exhibited at Uscita Pistoia shows with its echoes of the virtual postcard project and its triptych of a sequence taken during a car journey to the island of Schouwen Duiveland. Dekker’s work creates a sort of fusion at the sensitive level between her feelings and the observer who shares and takes part in the artist’s emotional state, her nostalgia for her origins testified to by means of images and accompanying texts.


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