By Yasmijn Jarram

Bonno van Doorn draws, paints, sculpts and makes installations. He regards himself as a beachcomber: he collects all sorts of stuff which can subsequently’, intuitively, find its way into his work. These often humoristic combinations of coincidences appear, nevertheless, surprisingly matter of course in their new context. In his work, Van Doorn manages to avoid the efficiency and logic with which we are surrounded in our daily lives. In a world full of meaning, metaphors and symbols, Van Doorn emphatically opts for intentional meaninglessness.

This is the artist’s way of offering a counterweight to the never-ending communication, identification and interpretation of all that surrounds us. His work hints at the existence of a meaningless void in which everything floats around and continually succeeds in avoiding the compulsive yearning to control and explain. The existing objects he uses often have a concrete form that bears witness to a given function. Such an everyday identification is no longer relevant in Van Doorn’s universe: everything is no more than a fragment, something temporary, referring to a different place.