Saturday, 10 August 2019

Danielle van Broekhoven / Per Kirkeby



Per Kirkeby
Leiser Wellenschlag Grun (Lapping of waves, green)
2005
oil on linen
200 x 300 cm 



I saw the large paintings of Per Kirkeby for the first time in 2009 at the Louisiana Museum in Humlebaek near Copenhagen. This first acquaintance with the museum may have contributed to the feeling I had with the paintings of Kirkeby. I think this is such a fantastic museum in many ways. I read the following description somewhere on the internet (by Bent van Looy, the frontman of Das Pop): "Lousiana is one of my favorite places on earth. Everything is right there. The architecture is inventive and progressive, but at the same time modest and discrete. The building is large and yet on a human scale. It is in no way intended to amaze or impress. Very Danish, actually. Danes are the masters of discretion". I could not put it better!
The large exhibition I saw there at that time in 2009, with gigantic paintings by this Danish painter Per Kirkeby, fascinated me enormously, but also raised many questions for me.
Why do I find this so good, is it intuitive or very thoughtful, why does he paint what he paints? What do I look at and why do I keep looking? It is abstract but not entirely abstract .... I feel nature in his works, but I don't really see it ....
Are these paintings tough and bold? Or seriously? One feeling prevailed, I really felt like painting. And that is usually a good indicator.
His use of color is beautiful! The struggle I felt when I first saw his works, but at the same time the fascination for it and the primal force, are aspects that I also feel when I paint.
Per Kirkeby himself calls his painting old-fashioned. He perceives nature as it presents itself and then brushes it in the way perceptions come to him. Only in this way can the truth be brought to light. That makes his paintings no less enigmatic. They are difficult to read. "I am not a gardener. Just an observer. Nature is what she is."

Danielle van Broekhoven, 2019




Danielle van Broekhoven (NL)
Burst of Nature
2019
oil and acrylic on linen
180 x 120 cm 



Saturday, 6 July 2019

Biene Feld / Hercules Seghers



Hercules Seghers
Mountain Valley with dead pine trees and a city in the back
ca. 1622-1625
Line etching printed on light brown ground
28 x 41,1 cm
British Museum, London



Hercules Seghers 
".... who, on his erroneous journey through rocky ravines, cut through by raging torrents and overhanging high cliffs, between rough, torn gaps and enormous boulders, following in the footsteps of the refugee who has always been cast abroad, writes the story of his sufferings upon the earth." (See Sartor Resartus)
Since the beginning of my studies in Berlin Charlottenburg, where I saw his etchings in the Kupferstichkabinett Berlin, I love Hercules Seghers.

Biene Feld, 2019




Biene Feld (DE)
Überschreitungen E
2018 
acrylic, ink, graphite, colored pencil on paper
200 x 150 cm


Saturday, 8 June 2019

Jochem Rotteveel / Robert Rauschenberg



Robert Rauschenberg
The 1/4 Mile
exhibition at Los Angeles County Museum of Art, Los Angeles, US
2018-2019




Robert Rauschenberg
Minutiae
1954
oil, paper, fabric, newspaper, wood, metal, and plastic with mirror on braided wire on wood structure
214,6 x 205,7 x 77,5 cm



As a visual artist, I take inspiration from all kinds of art and craftsmanship. Whether it's visual art, music, design, photography or fashion: everything is of value to my artistic process. This brings me to a quote by one of my biggest inspirers: Robert Rauschenberg. He said that it all begins with the possibilities of the material. And that's exactly right. An artist should be able to create something from anything, as long as you follow the material and your own fascination with it. That's how I started my artistic research in tape and plastic foil. The liberty Rauschenberg (and Jasper Johns for that matter) took in creating his art set me off as an arts student. It was Rauschenberg and Isa Genzken (who is still alive, thank god) who really gave me a clear direction, as if they said: it is OK to do this. Not only does their work propagate an endless latitude, it also screams a big f*ck you to the status quo. It is the punk attitude that I love and embrace: have no fear, go your own way, and never compromise.

Jochem Rotteveel, 2019




Jochem Rotteveel
Crasher
2018
tape and plastic foil on panel
350 x 250 cm





Jochem Rotteveel (NL)
About to
2019
mural of plastic foil and tape
at PARK - Platform for Visual Arts, Tilburg
305 x 850 cm