Aware that beauty is a social construct, Sven ‘t Jolle in return tacklesthe social question of aesthetics. His work does not end with his message, theform is just as important. ‘t Jolle draws inspiration from all possible sources,from comic books to ancient texts.
He seeks to develop works that attract andspeak to the viewer at first glance, but also exceed direct temporality. Forinstance, a striking sculpture like the megaphone Global Empowerment,obtains its symbolic value through its size and colour, loaded withworking-class history. Working-class mythology is transferred into an object,which playfully ensures the link between artistic monument and socialresistance. A monument without pedestal, Global Empowerment penetratesthe field of reality, in accordance with the commitment it is advocating. ‘tJolle’s work also takes a step back and reflects on the strength of this socialresistance, on the effectiveness of its forms.
The stickers on Global Empowerment let the viewer reflect on the chanted slogans. The slogans and the words are a versatile material for ‘t Jolle, who’s aware of the changes in meaning the terms are going through and that sometimes go unnoticed. He creates shifts, like the word ‘tubism’ that connects ‘Saint Fernand Léger’ to the struggle of Clabecq’s workers. The title of the work, Prise de pouvoir globale, is caught between a cynical comment and a forthright appeal: will globalisation, which at first glance evokes the extent of Western liberalism, generate a widespread social struggle? The huge megaphone seems to be waiting for the voice of an entire population. The art of Sven ‘t Jolle is not only a dissection of today’s society, it also reconstructs alternative proposals, in the mode of a visual treasure hunt.
