The monumental architectural constructions, small sculptures, delicate drawings and staged photographs by Rob Voerman (1966) are disturbing and seductive at the same time. They sketch a perfectly constructed, utopian world with apocalyptic traits, a world that is continually proliferating but is also protected, a world that has broken down but is also rising from its ashes.

In addition, Voerman’s work has an important critical component: the central perspective has been abandoned for alternatives, more points on the horizon, more views. Voerman’s three-dimensional sculptures and monumental installations are wonders of architectural and tactile ingenuity.

Recently Voerman started a new body of work for which he builds large models of places or buildings related to power (economical, financial, information, military, etc.) He responds and transforms the actual function of these sites/buildings. He comments on the existing power structures and systems and touches and raises questions on alternative models. These models will then also “act” in a series of large new light boxes.