Saturday, 6 August 2022

Sam Renson / Franz Kline

Franz Kline

1960 New Year Wall, Night


oil on softboard

305 x 488 cm



I will never forget my first-time seeing Franz Kline’s ‘1960 New Year Wall, Night’ whilst in Munich, Germany, as soon as I entered the gallery room I was completely overwhelmed and absorbed by the painting. Taken aback by the scale, consumed by the energy captured in the brush strokes and fascinated with the bold yet simplistic colour palette. I sat in-front of the work for the best part of an hour leaving only to re-entering the space, simply drawn to this magnificent piece. 


Kline one of the great Action Painters emphasised the physical act of painting, transferring energy from the New York Jazz scene into these wonderful works. Kline stating, “I paint not the things I see but the feelings they arouse in me”. It is this transfer of energy which effectively creates a physical engagement with the viewer, and this is what I admire most from Kline. 


Sam Renson, 2022

Sam Renson (UK)



oil on board 

120 x 100 cm

Saturday, 16 July 2022

Thijs Segers / Morris Graves

Morris Graves 

Snake and Moon


gouache and watercolour on mulberry paper

64,3 x 75,3 cm

Morris Graves 

Blind Bird


gouache and watercolour on mulberry paper

76,5 x 68,6 cm

Morris Graves 



watercolour on paper

46,2 x 66,9 cm



There is so much chaos in the moons of Morris Graves (1910-2001). Their frosty white light scattering everywhere, surrounding the animals in his world on paper. At first it seems overwhelming, but when you accept the chaos for what it is, it opens up a great quietness. Just like white noise helps with meditation, Graves' moonlight make for beautiful, delicate paintings of contemplation.


Thijs Segers, 2022

Thijs Segers

Een Dodendans


oil on linen

200 x 220 cm

Thijs Segers



gouache on paper

24 x 30 cm

Thijs Segers (NL)



oil on linen

150 x 200 cm


Sunday, 26 June 2022

Piot Brehmer / Mark Rothko


Mark Rothko

No. 14


oil on canvas

290 x 270 cm



After developing a new technique by accident with acrylic paste I push through a rubber grid, I started a whole new series of colorfield paintings in 2019.

This "Big Red Window“ was one of the first attempts and is still one of my favorite paintings till now. Deeply influenced in the 80s in music and style, my approach was somehow a post punk attitude.

I always thought "hey, this looks like a Rothko on steroids!“, raw, trashy, but with a huge impact. Savage waveforms touching a structured non perfect grid of fully saturated color on matte black velours fabric.

I wasn`t aware at this time, how striking the resemblance to Mark Rothko`s No. 14 really was, cause it wasn´t in my mind during the painting process.

Therefore this is my couple for the blog. Other dead heroes of mine are Newman, Palermo. Motherwell and all time fav Kline.


Piot Brehmer, 2022

Piot Brehmer (DE)

Big Red Window


acrylic on velours

230 x 200 cm

Saturday, 28 May 2022

Steven Van Meurs / Raoul De Keyser

Raoul De Keyser 
oil on canvas 
180 x 120 cm 

Raoul De Keyser 
Oefeningen met eerste linnen doos 
acrylic and dispersion on canvas 


My interest in the work of Raoul De Keyser (1930 - 2012) deepened after my 'encounter' with the work “Penetrant” that was shown in M HKA Antwerp a few years ago. I was captivated by the varied 'landscape' of research-traces and an almost palpable concentration. Since then, De Keyser's consistent and varied oeuvre has gradually become a reference for my own practice. 

Steven Van Meurs, 2022

Steven Van Meurs 
acrylics & oil on canvas 
42 x 42 cm 

Steven Van Meurs 
acrylics & oil on canvas 
38 x 52 cm 

Steven Van Meurs (NL)
acrylics & oil on canvas 
42 x 50 cm 


Saturday, 14 May 2022

Lenneke van der Goot / M.C. Escher (and many others)


M.C. Escher




13,8 x 17,1 cm

M.C. Escher

Study for the litho 'Kubische ruimtevulling’


black and red pencil

43,3 x 62,7 cm

M.C. Escher

Study for the litho ’The Waterval’



clockwise 13,5 x 17 cm, 14 x 14 cm, 26,5 x 18,5 cm, 20,8 x 19,9 cm

M.C. Escher

Study in pencil




I admire many artists. As a child, I browsed through books we had at home and got to know artists whose works are still on my mind, like those of Kandinsky, Picasso and Chagall. As I grew older, I got to know countless other heroes. But the artists I got to know as a child, who made a deep impression on me, shaped how I look and how I work. I was given a book on Monet, for instance. I stared for hours at the water lilies: recognizable images from afar and, up close, no more than splotches of paint. When I went to Paris with my parents, I saw the fountain in front of the Centre Pompidou, by Niki de Saint Phalle and Tinguely. I love the playfulness of this work, but also the contrast between Tinguely's creaking and squeaking constructions and Niki de Saint Phalle's colourful, full-bodied forms. This work is powerful, vulnerable but also humorous.

I also came into contact with the work of Escher at an early age. I still find the complexity and impossibility of his drawings and graphic work extremely fascinating. When I stood in front of a sculpture by Louise Bourgeois for the first time, I was overwhelmed by the energy and impact it had on me. I also find the film 'Der Lauf der Dinge' by Fischli (he is still alive) and Weiss of incredible beauty.

Maybe not always obvious, but I feel related to all these artists. In my own work, I always try to have reality as a reference, but then to distort it into a metaphorical universe that lacks any grip. In my work, I represent non-functional structures. Winding sculptures, floating objects, or wobbly constructions, that are captured in a moment, as if they can change colour or position at any time. 


Lenneke van der Goot, 2022

Lenneke van der Goot

Floating Figure


ink and pastel on paper

25 x 25 cm

Lenneke van der Goot

Time Lapse


including pencil, ink and pastel on paper 

40 x 40 cm

Lenneke van der Goot (NL)



including pencil, gesso, ink, litho, pastel and collage on paper

30 x 30 cm

Saturday, 26 March 2022

Lode Laperre / Utagawa Hiroshige


Utagawa Hiroshige

Okabe: The narrow, ivy-covered path at Mount Utsu

1855, Edo (Tokio)

colour woodcut on Japanese paper

36 x 23 cm 

Utagawa Hiroshige

The ferry at Kawaguchi and the Zenkō temple

1857, Edo (Tokio)

colour woodcut on Japanese paper

34 x 22 cm 




Utagawa Hiroshige, Japanese printmaker and painter, was particularly renowned for his landscape prints, such as the series “One Hundred Famous Views of Edo”. His woodcuts had a great influence on other printmakers. Hiroshige's work was also popular in the West at the end of the 19th century with collectors and artists, such as Van Gogh and Gauguin.

My fascination with Eastern civilizations and visual cultures led me to increasingly explore similarities, differences and frictions between Eastern and Western visual languages, in an attempt to unify and integrate them into my work. The meditation and thoughts that arose from this, produced an amalgam of new visual elements and techniques - as often happens with me. Certain works, for example the painting “Subaru (Manga)”, bear traces of Japanese printmaking, both in form and content. It is mainly Hiroshige's woodcuts that sharpened my view on this medium. I find the simplicity, the clarity and the accuracy in composition, execution and presentation very special.


Lode Laperre, 2022

Lode Laperre (BE)

Subaru (Manga)


acrylic on canvas

180 x 140 cm

Saturday, 12 March 2022

Jacqueline Peeters / Max Beckmann

Max Beckmann 



oil on canvas

37,4 x 28,5 cm

München Bayerische Staatsgemäldesammlungen 




One of my first loves was Max Beckmann. On Sundays, my parents took us to the Van Abbemuseum, a short walking distance from where we lived. That is where I saw Beckmann’s 'Winterlandschaft' (Winterbild, Winter Landscape): an open window, the glass partly frosted or fogged, with a view on a snow-covered black tree. 


(on our way home we would climb John Rädecker’s horse statues placed at the entrance of the museum) 


I am also fond of Beckmann’s painting 'Sommer'. It is quite small, about 40 x 30 cm. It depicts two lovers in a shed, in the countryside, on a summer day. I love the intimacy and the black darkness of the shed, with the couple partly covered under a red blanket. They are surrounded by the yellow ochre warmth of the hill and the coolness of the green fields and the water. The zigzagging lines make the scene dynamic. The open shed is in contrast to the closeness between the couple. As if they are saying: Look at us! The painting exudes tenderness and longing, perhaps also despair. It may be the end of summer. It may be the last rendez-vous. 


The website of the Hamburger Kunsthalle has a catalogue raisonné of Beckmann’s paintings, including a list of alternative titles for each of his works. Titles are an essential part of my work. Sometimes they become small poems. Sommer, Liebespaar (Sommertag), Summer (Lovers), Sommertag mit Liebespaar, Kleine Gebirgslandschaft. 


Jacqueline Peeters, 2022 

Jacqueline Peeters 

oil on canvas 
190 x 120 cm 


Made bed 
oil on canvas, and two sheets of paper
110 x 200 cm

Jacqueline Peeters 
Edna Offenbach to Lee Le Gac 
oil on canvas 
160 x 200 cm 

Jacqueline Peeters (NL/BE)
oil on canvas 
150 x 200 cm 


Worn or stained, gashes gray 
oil on canvas
130 x 240 cm