For more than 15 years the work of W.J.M. Kok holds a remarkable position. His work is related to the world of ideas of Minimalism and concept art, in which he manages to mingle humour and rigour in a self-evident way. In the Netherlands there is a long tradition of non-objective art, which is carried on by a younger generation of artists in which the work of W.J.M. Kok claims an extreme position, which actually can only to be related to non-Dutch artists like Olivier Mosset (USA/CH), Claude Rutault (F) and Pierre-André Ferrand(CH).
Significant to the art of W.J.M. Kok is his working with series. Such notice causes a problem right away when one wishes to enter into the core of his work, because in the first place he doesn't want to make 'art' with a preconceived goal. To the contrary, he wants to make things that are there by nature, in spite of the context in which these are placed. Secondly, the making of series is not an aim in itself, but a result of wanting to keep the work neutral and anonymous. He likes to create work, which is not hierarchic and which does not refer to uniqueness. Therefore in a formal sense he not only prefers to make use of different kinds of series, but also of simplicity and logics which are used in given and matter of fact structures around us.
In his exhibition at Galerie van Gelder aspects of form, context and logics are intermingled with each other into an open and sometimes playful unity. When entering the gallery one is overwhelmed by enormous ready-mades on the walls, which on one hand are monochrome planes as these can be found in the history of painting as paint on canvas and on the other hand are to be found as cash-and-carry in the supermarket. In the large space part of a series of polystyrene plates is shown in a row; a so called "closed series of 8 isolation plates, which are for sale in packages of eight pieces", as the artist says. A series of folded back sheets of aluminum foil from the kitchen is shown on another wall. These is a so called "open series" and is to be looked at as a worked on ready-made or a 'ready-made assisté' (a method ŕ la Duchamp). In a fourth piece of stretched fabric the elements of form, material and logics is once more applied in another unexpected way.