Gysbert Zijlstra (1978) and Erris Huigens (1978) derive their inspiration from the industrial or urban landscape, in particular the strict functional character of steel structures, scaffolding and construction cranes. The temporary nature of these construction sites and the fact that they are not meant to be aesthetically beautiful fascinates them. The crane as the universal symbol of transforming cities, and the key element of Graphic Surgery’s visual vocabulary.
Graphic Surgery’s art practice varies from minimal deconstructions to the complex, layered Increment series. Not only is there an apparent duality between minimal and complex artworks, but also between modern and classic techniques, as well as between analog and digital. The twofoldness reflects the collaborations between two individuals who have the ability to merge their characteristics into one body of work.