My work is the result of a quest that starts in the church, where my roots are, and in my relationship with the church, combined with my view on the world. It’s this tension that inspires me towards the themes and topics for my work: the themes make them transcend my personal perspective and in this way new sculptures are created that can be recognised by a broad public and that challenge the viewers to start their own quest.
In my personal and abstract approach of themes, the sculptures get their shapes. My search makes the sculptures develop, layer by layer, not shunning symbolism from a western, Christian culture. My machines are the response to my quest, my interpretations of themes. Their movements form the images. They invite the viewer to find their own interpretations and approaches.
Tekst by Saskia Monshouwer:
the machine as a story and social vehicle
Jelle Korevaar creates complex, moving machines, reflecting his world view. Generally these machines are about human emotions and the way people act. ‘Cultivering’ (Cultivation) (2015) is good example of this: a flying parrot skeleton is set in motion by an enormous, rigid geometrical construction. First time I saw this work was at the exposition In ontreddering de kalmte bewaren in Arnhem.* Angst (Fear) a second example, is a work that looks like a closed Nautilus shell. It starts moving when people remain at a distance. After being left alone for some time, the shell opens slowly, the armoured parts slide upward enabling you to see the mechanism that is mostly on the inside. Title and description of the work give an indication of the meanings that Korevaar wants to convey. It seems like he wants to illustrate emotions and social interactions. Yet, the metaphor is only just one of the abstract levels the works functions at. In this article I want to zoom in on the layering of the work, whereby I will en passant discuss the history of kinetic works.