Sigmund de Jong: The Art Studio as a Research Center
Last week, I did a virtual studio visit with artist Sigmund De Jong, with whom I connected a few months ago on Instagram. I really adore the simplicity of his work—a great example of less is more, though, in this case, it’s A LOT more. He showed me around his studio in the Netherlands with the help of his friend Raph, who acted as a cameraman. As we “walked” into the studio, Sigmund welcomed me by referring to it as his “research center” which, as a science nerd, has stayed with me ever since. It’s as if at that moment, all the studio visits I’ve done in my career became even clearer.
Sigmund’s work is the epitome of context. His pieces become larger as they pull in the entirety of the space they occupy. His larger works are painted directly on the wall, while his smaller pieces are meticulously produced on 3/16” thick rag paper. They are usually monochromatic and have at least one line situated either vertically or horizontally somewhere on the face of the work; he told me that he often stresses out about the final placement of this line until he makes a final decision. This part of the conversation is what made the comment about the studio being a research center all the more interesting. He described his process as an implementation of all the experiences he has had in his life—a great example of cognition applied to art. In addition, he designs his own frames, which gives him more control over the final look of a work.
Sigmund’s work is displayed in such a manner that the areas that surround each become a vital part to the understanding of the piece. In a way, Sigmund transforms the entire environment with his art, thus rendering it into a one large piece. This is what’s so interesting about context, how the perception of a work changes depending on the area on which it’s displayed. Similarly, the perception of the area is affected by the presence of a work of art. And this is why it’s so important to keep in mind that the narrative of the space will be greatly influenced by the art shown in that space—we’ve all experienced spaces where the art seems disconnected from the space, and context explains why.
As it is stated in Gestalt theory, the perception of the whole is more than the sum of its parts. And this is something that Sigmund seems to understand intuitively.