Mark Sturkenboom is born in 1983 in Driebergen, the Netherlands. He is a conceptual artist that graduated with honors in 2012 at Artez Academy for the Arts in Arnhem/Netherlands. The following year he founded his atelier in Utrecht where he he stretches the boundaries between conceptual (applied) art and tangible objects.
‘My focus lies not on the appearance of things,
but on what I call the deeper layers in the relation between an object and its owner.
‘I try to call forward a myriad of associations and stimulate our thinking
about what counts to us in our lives.
I examine the meaning of objects and set them free from their
The core of Sturkenboom’s work is design, but he is an independent artist more then a designer.
Sturkenboom creates purposeful, intentional objects.
His work is drawn from the miasma of dreams, it organizes an impossible ephemera.
It delivers absolute statements through fierce intention, careful planning, and a purposeful energy that proliferates in his will to express. Throughout all of this he manages to balance a visual cadence between the absurd and a sharp sense of humor.
He welcomes the viewer to casually slip into his conceptual narrative.
The narrative of the passing of time.
Often he describes his work as waiting objects.
Memory is prevalent in his line of work, throughout his entire oeuvre is the ability to preserve a moment in a state of crystal clarity.
Memory is messy, it is flavored by myriad personal influences, it changes, morphing with age and experience. Fading into personal fictions, diluting into deep well of life’s experience.
Sturkenboom works against the entropic process, realizing his ideas with clean lines,
a sensitive palette, careful mechanisms that resist the temptation of clutter and confusion.
He realizes single memories with exacting intention.
Lets take one example: We, as a culture fear death, and we do our best not to think of it.
Sturkenboom’s work 21 Grams drives us to consider it. But this consideration is faceted,
it contains within it a breadth of sentiments.
More contemplative than it is macabre, more playful than it is perverse.
21 Grams, like a prism, refracts an emotional muddle into distinct perspectives of personal perspective.
Lets take another example: We, as a culture, are enamoured by objects – perfect forms created in organized environments.
Physical human beauty is always cruel because it will absolutely disappear.
Manufacture is comfortable because it always yields the same result.
With his Crystallized Overgrown pieces he illustrates this by subjecting time and decay.
These are the cruxes of the work of Sturkenboom, he often resists manufacture, he embraces material.
He is present in all of his works, regardless if they are created by him or executed by skilled professionals.
His work exceeds function, pulling the viewer into the orbit of the identification, sensation, and emotion.
Not fearing any material or experiment and plunging himself into the materie of science such as he does with his Crystal Overgrown series.
Sturkenboom communicates on a visceral level.
He weaves together histories, he composites the living memory with the permanence of genuine mediums.
Offering the everlasting object, balanced with the fragility of human experience.