Nick Ervinck, as an artist, demonstrates a keen interest in the dynamic between nature and culture, tradition and innovation, and the convergence of art, science, and technology. He endeavours to expand the boundaries of digital expression while paying homage to the historical legacy of art.
Ervinck's creative process involves a thorough exploration of the interface between organic and
digital elements, virtual and physical realms.
Within his body of work, Ervinck navigates the intersections of various media, aiming to foster
interaction between virtual constructs and tangible sculptures. This exploration takes on diverse
forms, encompassing prints, murals, video, digital drawings, painted plaster, polyester, wood, and
installations. He deliberately challenges the distinction between virtual and physical sculptures, with a focus on their site-specific relationship and the fluidity between them.
With a background rooted in sculpture, Ervinck harbours a fascination with the evolution of art
through the utilization of new materials and techniques. Disappointed by what he perceives as a lack of innovation in contemporary sculpture, he turned to architecture for inspiration. He found a wealth of possibilities in computer-generated designs, characterized by organic, amoeba-shaped forms, popularized by architect Greg Lynn in 1995.
The juxtaposition between 'box' and 'blob' forms is integral to Ervinck's artistic practice. Employing copy-paste techniques in a 3D software environment, he integrates images, shapes, and textures from diverse sources, ranging from basilicas and corals to dinosaurs and manga. Despite the avant-garde nature of his work, Ervinck pays homage to the tradition of sculpture, drawing inspiration from artists such as Hans Arp, Henry Moore, and Barbara Hepworth.
Ervinck often cites a quote by Rem Koolhaas "Where there is nothing, everything is possible. Where there is architecture, nothing (else) is possible".
This philosophy informs his approach, as he endeavours to merge architecture and art, pushing the boundaries of realism to explore the realm of the impossible.
