In his solo exhibition “Limit everything to the essential, but do not remove the poetry”—a quote by industrial designer Dieter Rams—the gallery presents recent work by the Dutch artist Reinoud Oudshoorn (*1953). The exhibition consists of minimalist sculptures made of steel, wood, and frosted glass, which together form a spatial installation extending across the gallery’s walls, floors, and corners.
Central to the oeuvre is the so-called 1.65-meter line: a shared horizon and vanishing point that connects all the sculptures. This height, corresponding to an average eye level, functions not only as a visual point of reference but also as an invitation to contemplation and introspection. Despite their geometric precision, the works appear light and open, almost immaterial. The use of frosted glass in particular evokes associations with mist and uncertainty, causing forms to never appear fully sharp.
Since the 1990s, Oudshoorn has been exploring perspective and the idea of a single fixed viewpoint. Having begun his artistic practice as a painter, he now translates this fascination into three-dimensional space. His working method is distinctly hands-on: without digital models or assistants, he works intuitively, supported by pencil sketches and simple calculations.
The exhibition offers a counterbalance to the contemporary emphasis on technology and spectacular imagery. 1.65 invites visitors to slow down, embrace silence and attention, and offers an experience in which emptiness, shadow, and ambiguity are as meaningful as form.