Rob Verf

2008. Sculpture Magazine. Maria Carolina Baulo.



Rob Verf was born in The Netherlands, a country that is famous for its artists. After moving to Argentina, his works continued to be exhibited in museums and galleries throughout Europe and the U.S. The work in his recent work captures his perspective on life and sexuality, not as an erotic construction of reality but as a strong presence that influences us all: the constant contradiction, the seduction of opposites and the complementary, a balance between body and mind, the essence and the superfluous, the inner energy and the visible exterior. Verf tries to create a complete model and in order to do so, he turns himself into a complete artist: he’s a painter that also makes sculptures, constructions, drawings, photographs, and collages. Painting and photography allow him to find the way to present in another format the torsos he constantly manipulates in his sculpture: they become the protagonists in his overall narrative. Verf’s fascination with those torsos is almost obsessive, he approaches them again and again from various points of view, as if reaching for an inner essence that is ultimately unreachable.


Verf says, “When I make a sculpture-construction such as Woman in a mirror reflection, I do not only want to express the pose the woman is making, but also the energy that makes the pose. I want to use the total confrontation of the woman in front of the mirror: the interesting part in this sculpture-construction is the fact of it’s dualism between a two dimensional space (the mirror) and a three dimensional space (the figure). The painter’s and the sculptor’s vision go hand in hand.

Geometry is important in his work because its presence organizes that volatile space where the sculptures seem to be suspended in the air or reflected in the mirror. He uses telgopor, plastic, papers, magazines, drawings, and paint to create thse mobile objects floating in an imaginary sky inside the gallery.
To understand the coherence of Verf’s world, we must become a part of it: we have to participate in the illusion, play the game, share the irony. Verf combines his feelings, his doubts, his fascinations, his obsessions to show that the visual is always hiding something that lies beneath, something much more powerful than any representation of the outside world could provide. Verf is critical and invites us to assume a critical point of view. What we see may be the pure energy within the objects, or perhaps the contradictions that demonstrate that ambiguity is inevitable and we should look to both sides of the mirror to get whole picture, the complete moment.