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Elsemarijn is a master of deception. She confronts viewers with themselves and their presence in the room. Through mirrored objects that distort, or inflatables that leave no room for human presence. In her eyes, truth is always a construct. A material affair – one Elsemarijn joyfully and relentlessy splinters and pushes to the extreme. It’s bold. It's clever. You’re not just a visitor – you become part of the work.
Credits: Lisa Schamle
Elsemarijn Bruys (1989) playfully explores our senses in her practice. She influences and manipulates sensory perception through sculptures, installations, and architectural interventions, sharply focusing on the relationship between the viewer and the space. Bruys aims for maximum effect with minimal interventions. Air, reflection, and the intangible are made material.
Her work revolves around the in-between space and the interaction between visitor and environment, as well as between people themselves. Elsemarijn draws on principles from Minimal Art, an art movement from the 1960s in which not the artwork but the (museum) space – its values and context – takes center stage.
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