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SIEBE HANSMA
Contact points

ONE
Siebe Hansma (born 1949) has been labelled a standard bearer of the 'Kalte Kunst' (Cold Art):
a constructivist, systematist) mathematician, geometrist, and in all this a pronounced and
declared servant of the Consistency found at the aligned basis of Concrete Art. Nevertheless,
Siebe Hansma also received his pages in the Lyrical Sketchbook. This is an indication of
evolution, of self-development in the sense of development in the course of Time.
Time may be perceived as a chain of moments. In the long run, these moments turn out to be
moments allowing for growth: time becomes line, line becomes duration.
Highs and lows lose their independence and endorse their existence as contact points
maintaining a Development. In this model of growth one can see that what used to be
considered the sustaining system tums out to be merely a method eventually: the forming of
ideas and method ofworking are subservient, not a goal in itself, to be deepened time and
time again.

TWO
Between the years 1975 and 2000, one can see Siebe Hansma's works, and discern
surfaces
dimensions
colours
forms
always in an inalienable relation to
concept
medium
technique
forms,
and in the rhythm of equalities, one can find the final balance.

THREE
This balance is final, it does not make sacrifices to appearances, and does not leave any room
for bargaining or additions. Siebe Hansma's work coincides with the perfect equilibrium: the
moment the mutual relationships of and between the forms have found an optimal Form it has
become The Equilibrium. His system is based on the laws ofthe equal parts, both in its pure
division of
measure
content
colour
force
and in the sum of its components. Thus Siebe Hansma does not strive for the well-Ioved cut-
out from a reality considered more extensive, but offers an independent reality, both on the
flat surface of drawings and in the three-dimensional domain of his reliefs and sculptures.

FOUR
The hermetic nature of the earlier work shows the power of -literal- limitation.
It is a 'restriction to go into': the surface is the heart, clean an monochrome, always full of
tension due to the mutual relationships which develop along lines of division and union,
rhythms within one rhythm. In the opinion of many people, this early work has placed Siebe
Hansma in the camp of the strict constructivists. However, the corresponding, often dazzling
arithmetic does not underlie this work. Siebe Hansma's intuitive interpretation of values, data
and entities leads to a different certainty than the one offered by pure calculation: that of
spatial discovery found, examined more closely, and weighed yet.
In Siebe Hansma's view, space is part ofthe material. It takes part in the interplay ofvolumes.
Whoever claims a position in space, performs an act with consequences.
The thinking human being has an encounter with the pIayful one. Marking out as a game: one
who knows the values ofthe Ultimate Equilibrium, is not ashamed to play.

FlVE
For decades the names could be numbers, signifying serial numbers, sequences, benchmarks
of serially constructed structures. They belong to the works on paper, reliefs and sculptures:
the flat surface, mass and content, open and closed dimensions. They do justice to the absolute principle of the equalities defining the foundation of the equilibrium.
The element of tension is generated by the convergence of idea, material, execution and
physical appearance: the moment of union of the contact points. This moment cannot do
without a physical balance in space. For the leaning sculptures, the wall and the floor are the
supporting elements. They, too, give the object its shape. The hanging sculptures exist by the
grace of an -often precarious- balancing point. The tension ofthe object in its totality is
concentrated in that point.
This is where the work leaves the drawing table once and for all, becoming part of space.

SIX
In recent years, Siebe Hansma bas further developed the distinguished lyricism which is among
the essential characteristics ofhis work. The surfaces no longer exclusively add grey to grey.
Intuition and calculation mix with the sensual recognition of a broader world.
A colour evokes colours, explorations of life, images of a feeling larger than theories, dogma
and order can join. The work sings itself free, and takes on the shapes of Delicious Red, All or
Nothing, The Parts of your Beauty, Last Latest, Standbein Spielbein und Tanz.
The core, physical tension, is rooted more and more in a strictly personal naturalism.
The work encloses and gives back: an existence full of tension.

SEVEN
Siebe Hansma's work is on the move. It can be found in exhibitions throughout Europe, in
galleries, museum collections, large private collections, at art fairs, in the books of books.
Siebe Hansma carries out many commissions, as a result of which his work is functioning in all
balance -within architecture, the built environment belonging to everyone.
These positions do not lead to a standstill: in the convergence of the contact points over the
years, the recent works open the broader perspective of Movement and Change.

Andreas Oosthoek, June 1999

Andreas Oosthoek, writer, poet