29 april 2024, Wouter van den Eijkel
The studio of... D.D. Trans
D.D. Trans, short for Transforming Everyday Things, does not need a big studio. All that Frank Tuytschaever – the artist's name in everyday life – needs is a comfortable home with a spacious kitchen table and peace and quiet. In the West Flemish village where he lives, there are few who are even aware that he is an artist. From his living room, he observes daily life and that everydayness is also present in his work. By making minimal changes to everyday objects, D.D. Trans playfully disrupts entrenched ideas and stimulates the imagination.
The works themselves are generally not large: two ping pong balls with the words ping and pong, a set of spirit levels forming the words ‘Me Too’ or a waffle cookie with a few squares coloured in. Yet he would like to someday have a solo exhibition in a large white exhibition space: "My work needs a lot of space. It’s small but powerful."
Recent work/a selection from the studio with work by Johan De Wit and D.D. Trans can be seen at Galerie Ramakers in The Hague until 12 May. In Belgium, D.D. Trans is represented by Mulier Mulier Gallery in Knokke.
Where is your studio and what does it look like?
My studio and house are located in a small village in West Flanders that is surrounded by nature and woods. It is a modern house designed by architect Stephane Beel, who also designed the Roger Raveel Museum. We are the only ones who live above the village in a detached house with views of the village. I usually work at the kitchen table and some of my artworks are executed by others.
My wife and I have been living here for 15 years. Many of the neighbours are not even aware that I am an artist. It is a small community where everyone knows each other, with many elderly residents who still sit on the doorstep in the evening when the weather is nice. I don't really feel like an artist here, but someone who observes life (the everyday) from our large window upstairs in the living room.
D.D. Trans, artist's crown, 2024, Galerie Ramakers. Photo by: David Samyn
Given that you make relatively small changes to everyday objects, I wondered what the ideal studio space would be for you. Natural daylight is not necessarily required, nor are high ceilings. What makes the perfect studio for you?
Our home and decor are very simple and sleek. We are surrounded by beautiful objects by Maarten Van Severen, Muller Van Severen, Jasper Morrison and Tom Dixon, as well as artwork by talented, mostly Belgian artist friends who I often exchange work with. So, there are some works by Kris Martin (top artist), Willie De Sauter (also represented by Ramakers Den Haag), Sofie Muller and Gideon Kiefer. It is important that I feel at home in my habitat and can work alone in peace. I always have my work photographed by a professional photographer, David Samyn. For ten years, he has been photographing my work, allowing me to visualise my work in a space. During the day time, I also watch a lot of cycling; those are my real heroes.
Your work always starts with very ordinary objects, such as scouring pads, coloured pencils, matches, cookies or ping pong balls. Can you explain your approach? Do you first have the objects and then see the possibilities that, for example, a spirit level offers over time, or do you go straight to your goal, heading to the hardware store for a dozen spirit levels?
I try to think as little as possible when designing and I don't search at flea markets or bazars. I put as little pressure on myself as possible. The idea usually comes to me spontaneously. Oddly enough, it sometimes feels like there are two of us and an idea strikes me like a bolt of lightning. I often think, “I will never have such a great idea again”, but fortunately, they just keep coming. The best work comes naturally, as with musicians.
Although I live and breathe art, it can be mentally challenging. I surround myself with artist friends, collectors and good galleries that let me create in peace. I don't let myself go crazy and I'm a bit of a control freak. After all these years, I have built up a substantial body of work, which gives me enough courage to keep creating. Also, when your work ends up in good collections, it’s a real boost. I don't just work for myself; I want my work to be seen by others as much as possible.
D.D. Trans, Love Arrow, 2024, Galerie Ramakers. Photo by: David Samyn
When did you realise that this form, making small changes to everyday objects, was right for you and how did you arrive at that realisation?
I started working under the pseudonym D.D. Trans (Transforming Everyday Things) in the late 80s and immediately ended up showing at a good gallery (Richard Foncke). At the time, I knew little about art; there were also fewer artists and galleries back then. Perhaps I was most influenced by Marcel Broodthaers and Rene Heyvaert, and I give my own twist to that surrealist influence. Of course, I also love simple things that you can't slap a design label on, observing nameless designers, beautiful objects without a name, such as a shoehorn. A spirit level, a meter, a peeler, a potato peeler, the Nike label: all designs whose designer is unknown to most.
With most of the work, you add something small, a minimum change. For the current show with recent work, you have bent several spirit levels into the words ‘Me Too’. A change that goes beyond the usual. Is this a new development in your work?
Indirectly, my designs are provocative due to their simplicity. Sometimes people say, "I could do that" or "Is this supposed to be art?" Since my teenage years, I have been very committed. I was a huge fan of Neerlands Hoop and people who were critical and took a stand. I closely follow politics and miss engagement and critical thinking in art, as well as artists who colour outside the lines, the poetry in art. Everything has become so smooth, so business-like... perhaps that's the inspiration behind the work?
D.D. Trans, Me Too, 2024, Galerie Ramakers. Photo by: David Samyn
Your work also has an absurd side. I think many people smile when they see a D.D. Trans work for the first time. What is the best compliment you have ever received about your work?
Oddly enough, there was once someone who thought my work was made by a woman. I also hear a lot of positive comments from children and I sometimes receive a message, which makes me happy.
What project would you still like to do someday? Your work is often quite small. Is there a large object you would like to incorporate into your work?
I would like my work to survive after I am no longer here. I have some work in the Museum Voorlinden collection and hope that my work will be shown there in a group exhibition someday. I would also like to have a solo exhibition in a large white cube because my work needs a lot of space. It’s small but powerful.
What are you currently working on?
My latest work, the work I am currently working on, is a finger (in polyester) with a fingerprint of mine in blue ink: the artist’s finger print. Perhaps I have a big ego after all? In June, my work will be included in a group exhibition at Museum Jan Cunen featuring the work of Marcel Broodthaers.
D.D. Trans, pig pong, 2024, Galerie Ramakers. Photo by: David Samyn
