Nicolas Dings’ sculptures are on the border between visual art and folk art with their completely different aesthetics and functionality. It is precisely in these artistic expressions that large and small contrasts can often be found between banality and sublimity, between beauty and ugliness, good and evil. The motifs in his work are often derived from the visual language of the Renaissance. Using diverse materials such as bronze, ceramics, wood, plastic and textiles, he connects the material and the symbolic in a contemporary way. In doing so, he creates hiw own, often humorous universe with plenty of room for the viewer’s associations.
Sculptures
Nicolas Dings’ sculptures are on the border between visual art and folk art with their completely different aesthetics and functionality. It is precisely in these artistic expressions that large and small contrasts can often be found between banality and sublimity, between beauty and ugliness, good and evil. The motifs in his work are often derived from the visual language of the Renaissance. Using diverse materials such as bronze, ceramics, wood, plastic and textiles, he connects the material and the symbolic in a contemporary way. In doing so, he creates hiw own, often humorous universe with plenty of room for the viewer’s associations.