Vibrating between painting, fashion, sculpture, installation, architecture and performance, van den Hurk's work addresses the act of making in its numerous forms. Every configuration is considered and is part of the cohesive whole: from the placement of an object to the arrangement on the floor; from the isolation of a pigment on stretched paintings hung on a wall to a piece of silk fabric, patch-worked and sewn into collaborative, handmade suits and dresses hung flag-like.
Although actually comprised of static objects, van den Hurk’s practice is a movement or energy that is never quite still. Perhaps here one can note the instance of transitivity, an influential term borrowed from David Joselit's essay 'Painting Beside Itself', which describes the ability of 'expressing an action which passes over to an object'. Quite literally, the individual works hold references and traces of one another, such as bottles filled with remains from the production of the paintings.
In 2006 Jeff Wall gave a lecture entitled ‘Depiction, Object, Event’ about the current state of affairs in contemporary art. Wall stated that ‘there are now no binding technical or formal criteria or even physical characteristics that could exclude this or that object or process from consideration as art.’ This is something that most creators and students will recognize. From the perspective of art education, how does one handle this situation?