Tim Breukers’ work emerges where classical, technically astute sculpting clashes with humor, banality and Jurassic Park. He playfully tries to stretch the boundaries of traditional sculpture, at the same time subjecting pop cultural elements to a solemn, sculptural treatment.

In his collage books Breukers searches for ways to free himself from the limitations of clay as a medium. Working on paper is a lot less labor intensive and much faster. Because paper does not take a week to dry, ideas can flow freely and ripen to later be cut out or reworked. Although the three-dimensional quality of sculpture is absent from the colorful pages, the illusionistic shapes betray a fascination with the potential of spatial objects.


Tim Breukers interviews Tim Breukers

Amsterdam, 2016

How would you describe your practice?

There are two sides to almost all of my work. On one hand, there is the sculptural, technical, classical and monumental approach; on the other, the informal, banal and comical approach. My work is created where those two extremes meet. My collage ‘Because bigger really is better’ is a typical example.

Large clay sculptures take a central position in your work – why do you use clay?

I love the sharpness of the material, the way it cracks, tears and flakes off. As if it wants to break. I want the material to speak. I play with its fragility to create visual tension. I constructed the sculpture Rock out of clay tubes – after firing them, I smashed up most of it again.

How are your sculptures created?

I play around with the creation process. Particularly so in the porcelain sculpture of a doorpost, where things that were left or dropped ‘accidentally’ as I worked became essential reference points of the work. Preparation turns into a seemingly self-performing process. I copied wooden support lattices and glue clamps from the process in porcelain; the work shows its own creation.