Sedimental, a duo show with works by Peter Hoijmakers and @sm___it
Artists Peter Hoijmakers (1968) and @sm___it (Klaas Hendrik Hantschel, 1983) have joined forces to transform the Heejsteck# into an intermediate space where the experience of being human is emphasised as a quest that is always in motion.
Both the individual artworks and the installation as a whole invite us to participate in an artistic expedition. As a visitor, you find yourself somewhere in between; a blue sky with clouds contrasts with the layered cross-section of rock that covers the walls. The fossilised sand layers remind us of the passing of time; an accumulation of layers of matter and history to which we have to relate. The cloudy sky evokes a more spiritual association, like a dream of infinity in relation to the insignificance of humankind.
Through their work, Hoijmakers and @sm___it reflect on the (emotional) relationship they have with the world, with themselves and with other people. This gives rise to intimate reflections of their inner world; carefully constructed layers of lived meaning. SEDISubtle little secrets, hidden in the image, waiting to be found.
AwnW.dialogues [rising action]
@sm___it presents a multimedia installation. Awnw.dialogues [rising action] (2026) explores the ongoing tension between the individual as the centre of his or her own universe in relation to external influences. The work asks how identity is shaped by people, media, and the stories we tell ourselves over and over again.
In the centre of the installation, two screens placed opposite each other reveal a private dialogue: part confession, part analysis. The two-channel conversation represents intimacy, certainty, and honesty. It is as if you are eavesdropping on a secret that is there for the taking, or catching a snippet of conversation as you walk by.
Outside this intimate core, autonomous systems designed by the artist generate digital worlds. These “never-ending stories” represent the influence of the environment we interact with every day on our perception.
The installation is completed by a series of prints showing views above the clouds. These images represent the human urge to dream, to seek freedom, and to find impossible answers.
In this way, technology becomes a substitute for the spiritual and a reflection of the human desire for control, creation, and understanding. This abstract, repetitive deconstruction represents the self in the world around us; as noise, as confrontation, and as necessity.
Journey of Hope
Peter Hoijmakers attempts to express his personal relationship with the world in the classical medium of painting in an unorthodox way. Two monumental paintings explore contemporary challenges faced by individuals within the context of a complex society. We do not see beautiful, long brushstrokes, but a figurative knitting built up from many layers. They are not an explanation of or answer to reality, but a spell to deal with the world.
Journey of Hope (2026) depicts a contemporary Pietà; it reflects the powerlessness, madness and absurdity of war and the human suffering and tragedy that result from it. Love is a Cactus (2026) features a cactus disguised as a ballerina. Balancing on her pointe shoes, she tries to maintain her equilibrium. For Hoijmakers, this is a metaphor for human relationships, gender and vulnerability. The tension between the space to feel and express yourself as you wish and, on the other hand, society as a whole, which either gives you that space or restricts you in it.
