|new image. That is, the dialogue that the formal means enter into with each other. The confrontation of the fast, easy digestible picture with the intensive, manual procedure with which the image is composed of.
Jongerius deconstructs images, and in every work he again examines the process of this deconstruction by making this visible. In the stratification that arises from that, fragments of meaning loom up. New images seem far removed from the original images. Because they are both still visible, neither one monopolises the attention. Both images refer to a meaning or content, but not one meaning can be marked out permanently. This fundamental principal of being quotable and repeatable, called ‘iterability’ by Derrida, creates the conditions for every constitution of meaning.
The work ‘Feel Good’, for example, zooms in at faces, that immediately change into a new, different face at the moment they become visible. None of the images seem to want to fix themselves in their eventual manifestation,
or fixed meaning; they remain intangible. Each image harbours its own continuing images and meanings in
a limitless power that stays present for ever.
By recycling existing pictures, Jongerius not only fits into a long tradition in the visual arts, of which pop art is a well-known example. He takes new and contemporary courses in visual art. Because deconstruction deprives
existing images of their univocal meaning and adds new meaning, the work reveals a consciousness of a parallel
|reality, like we see for example in Sigmar Polke’s work. Generating this reality by means of adding new and divers layers of meaning, shows a contemporary outlook on images that fits within the frame of post-modernism.
Eugène Jongerius studied at the Arts Academy in Arnhem , The Netherlands, from 1970 to 1975. Besides his work as a visual artist, Jongerius has been a teacher at the Arts Academy in Utrecht , The Netherlands, since 1986.