Sauerkids is a collaboration of taco Sipma & Mark Moget
two visual artists working in different media, in a joint effort to enhance the confusion of everyday life
(...) the artists draw characters from memory, we encounter the well-known casts of cartoons and commercials in a reconfigured manner. The silly looks of the creatures make us laugh and want us to feel pity. Ducks in airbrushed rainbow colours remind us of Donald, long noses hang from faces or stare out from 3D balloon characters, Smurfs sweat from their distress.(...)
(...) Our first personal encounter with taco and Mark was at Image Festival 2009 in Rotterdam. We were invited to bring five dodgems to entertain the attendees at night, five battery powered bumper cars that we had transformed into drivable character sculptures. The ground for the cars had been designed by Sauerkids, a chess board of panels with different characters was glued on the floor as a huge vinyl sticker, and rapidly the bumper cars transformed the neat design to a more and more abstract and distorted image. As if Jackson Pollock was the driver, the wheels rubbed off the stickers, scratching, stretching and bending the graphical imagery.
this deformation of characters is key to understand their later portraits. In recent years, the duo has moved on to more abstract forms of painting and has been working on the pictorial disfiguration of the human face. What seems to be detached from the earlier period, a deconstruction of the human portrait instead of graphical characters, still can be understood in terms of perception and visual communication.(...)
(...) Having said that, it is necessary to state that the works of Sauerkids also contains this aspect of vandalism and desecration. Comparable to Marcel Duchamp, admired predecessor, who added a moustache to the portrait of Mona Lisa. Sauerkids feel that it is totally unnecessary and even absurd to endlessly move up and down a fine brush over a few square centimeters in order to achieve some sort of hyper realistic effect as, for instance, painters did in the thirties or in the 17th century. To Sauerkids it is totally acceptable to use an image from somebody else – a painting, a photograph, a drawing – and smash a lot of paint over it in five minutes time, and then say that this is your work and sign it. And as Duchamp did with Mona Lisa’s moustache, Sauerkids could remove the paint from the portraits and sign it again.
All photographs Sauerkids worked with, whether coming from Bild und Heimat or other publishers, date from the fifties, sixties or seventies. This has to do with the fact that these people’s fame has faded from our consciousness. Modern celebrities are well known, so people will look at their faces and not at the picture as a whole. Then the celebrity becomes more important than the picture and the art work. Distance in time is needed for Sauerkids‘ anyones in particular.(...)