Deconstructie / 12” Spined Sleeve Cut
12” Spined Sleeve Cut
2026
Hand-cut and reconfigured record sleeve
444 x 333 mm
Edition of 333
£33.33 (+p&p)
First orders shipping from 01/10/2026.
This limited edition multiple strips the archetypal 12” square black vinyl sleeve of its primary function, transforming a container for sound into a self-contained, minimal sculpture.
Dutch artist Erris Huigens (Deconstructie) applies a rigorous, logical process to make a simple but transformative intervention with a readymade object. Two simple cuts are made, to remove one corner of the square, producing two triangular off-cuts. These fragments are repositioned and fixed to form a new "spine," sealing the sleeve's open edge. The shape is then rotated 45 degrees to create a complete and autonomous, new geometric form.
Priced at £33.33, in an edition of 333, the multiple makes direct reference to the readymade object, designed to package 12” vinyl LP’s, which are usually played at 33 ⅓ RPM. The multiple is also housed and shipped in in traditional music packaging, making it a highly affordable and collectible object, which sits quietly in dialogue with the merchandise of the music industry.
This precise physical intervention of the cut, which plays on the historic motif of the black square, is a literal deconstruction of the medium. The absence of the vinyl record itself flips the traditional hierarchy between content and container. Without music to hold, the packaging itself becomes the primary object. The piece translates the large-scale architectural abstraction Huigens is known for into an intimate scale and reframes a mass-produced cultural vessel as a quiet, spatial intervention.
Published by hardcopy* on the occasion of the exhibition Verisimilitude, curated by WH//PP (Will Hughes and Penelope Payne) at CS2, Middlesbrough as part of Middlesbrough Art Week 2026 and the Turner on Tees project, celebrating the hosting of the Turner Prize at mima.
Erris Huigens / Deconstructie (Wageningen, NL) has a practice rooted in the deconstruction of existing systems, working in geometric abstraction, and site‑specific interventions with an ethos guided by the frictions between minimalism and graffiti culture.