The Scene Changes gives prominence to manifestations of lurking excess: illusive and thought-provoking scenes, portraits and landscapes, by artist Paul Segers. In his work, threatening signs of acceleration, polarization and technological overload are configured.
As many certainties of the past are overturned, the surreality of “the outsider” might become more acceptable to conservatives’ eyes’ experience. Paul Segers builds on the hypothetical opportunities of the settings in these scenes, delivering an array of hard-core exposures. Rigorously broad-minded and without any bias, these scenes are real scenarios.
The Method surveys assemblage/collage, the essential approach for developing and creating works; first on paper and then in physical, three-dimensional form.
The Infiltrator focuses on performative works in which Segers becomes the protagonist/antagonist in his self-styled scenarios.
The Machine Head brings together Segers’ collection of machines that serve no real purpose other than being sculptural metaphors for technological paradoxes.
Daily Practice shows Segers re-imagining the businesses and practices of the postmodern work force.
To come to a better understanding of the exceptional value of the marginal position taken by the artist, three texts are included. Sebastian Olma positions the artist in the here and now as a veritable ‘Comrade of Time’, a concept coined by the Russian art theorist Boris Groys. The Infiltrator by Ine Gevers approaches Segers as a performance artist who ‘acts out’ environments, images and objects from society in alternative scenes. - Onomatopee
