In Error Alloy, Tyron Winter and Vince Donders bring together two practices in

which matter appears as a carrier of time. The exhibition connects questions of

climate, humanity, and decolonial perspectives to the materiality of the works

themselves: to body, pigment, metal, and decay.

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The title Error Alloy refers to an unstable alloy of two material logics: infrastructure and body, entropy

and survival. At the same time, the title refers to the encounter between two artistic practices. Within this

tension, matter becomes both a site of breakdown and preservation. Where Donders traces the remnants

of industrial systems and their slow decay, Winter follows the traces of the human body and its movement

between life and death. In Error Alloy, these approaches come together in an alloy in which matter becomes

a surface upon which time, systems, and bodies leave their marks.​

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Within the exhibition, Winter presents Ebon (2025), made during a residency at Nieuw en Meer in

Amsterdam, as part of The Melanin Room. In this series, he translates his investigation into body, ancestry,

and matter into painting through pre-Renaissance tempera and hand-ground pigments. The monochrome

surfaces appear as skin: porous, layered, and alive, attuned to melanin-rich skin tones, and position

themselves as decolonial interventions within art historical colour hierarchies and formats.

In addition, Winter presents Faces, his first video work, emerging from the performance Bath, also part of

The Melanin Room. In this performance, he recodes the Surinamese ritual wassi into a decolonial gesture,

enveloping himself in his perfume Watra, a body perfume made from his signature flowers that carry his

blood. In Faces, the camera zooms in on the face; the video functions as a contemporary relic, inspired by

Christian reliefs in which affect and presence are preserved. The work is presented in ebony, a signature

material in Winter’s practice, and enriched with marble.

For Error Alloy, Donders presents a series of two-dimensional wall works and a sculpture. The aluminium

panels are treated with patina, a chemical underlayer that has bitten into the metal. The upper layer consists

of acrylic burned onto the panel through heat. The sculpture is composed of found materials and suggests a

tool, while a camera element refers to the enlargement of perception while its function remains open.

In Error Alloy, two material approaches meet through an inverse lens. The exhibition shows how body and

infrastructure, presence and decay, do not stand in opposition but illuminate one another. In this way,

matter becomes visible as a carrier of time, history, and humanity.