Saturday, 17 July 2021

Jacomijn den Engelsen / Erik Andriesse


Erik Andriesse 
Sunflowers 
1987
acrylic on linen 
200 x 280 cm 

 

When I first saw Erik Andriesse's (1957-1983) work in the early 1980s, I was struck by the enormous vitality that emanates from his drawings and paintings of flowers. The vigor of the plants is splashing out and shimmering in the background. This intensity is still inspiring me. The power of his work convinced me that realism could also be 'cool' and working from close observation a valid starting point for great art. I really like the combination of the graphic with the painterly that Andriesse has often worked with. He made some great woodcuts. The freedom with which Erik Andriesse has used his visual means is something I still strive for. 

Jacomijn den Engelsen, 2021



Jacomijn den Engelsen 
Sunflowers 2 
2005 
woodcut 
120 x 80 cm 



Jacomijn den Engelsen (NL)
Field
2008 
woodcut
100 x 160 cm 
www.jacomijndenengelsen.nl
rk



Saturday, 12 June 2021

Stijn Kriele / Richard Diebenkorn



Richard Diebenkorn

Ocean Park #116

1979

oil and charcoal on canvas 

208 x 182 cm





Richard Diebenkorn

Ocean Park #27

1970

oil and charcoal on canvas

254 x 202 cm





Richard Diebenkorn

Window

1967

oil and graphite on canvas

234 × 203 cm

 

 

 

As an art-student, I accidentally got introduced to the work of Richard Diebenkorn. For no other reason then the colors of the book’s cover, I picked it up.

I was struck by the work of Diebenkorn immediately. Composition, the use of colors, brushstrokes, layering, clarity and how they all combined have such a strong reference to landscape without depicting it. Diebenkorn himself said about his work; "my paintings are abstractions that do not reject the world, but contain it, in a concentrated form." To this day I study his work and it continues to fascinate me how the work is both crystal clear and elusive at the same time.

 

Stijn Kriele, 2021





Stijn Kriele 

Zonder titel

2017

monotype, collage, pasted on paper

100 x 140 cm


Stijn Kriele 

Zonder titel

2021

monotype, collage, pasted on dibond

24 x 23 cm


Stijn Kriele (NL)

Zonder titel

2021

acrylic, casein on linen

55 x 70 cm

www.stijnkriele.nl

rk




Saturday, 29 May 2021

Jeffrey Cortland Jones / Ron Buffington



Ron Buffington

untitled

gouache on paper

40,6 x 30,5 cm (16” x 12”)




Ron Buffington

untitled

gouache on paper

40,6 x 30,5 cm (16” x 12”)




Ron Buffington

all: untitled

gouache on paper

40,6 x 30,5 cm (16” x 12”)




Ron Buffington

all: untitled

gouache on paper

40,6 x 30,5 cm (16” x 12”)





When I was in undergraduate school (the University of Tennessee at Chattanooga, mid 1990’s), I had a professor and mentor that changed my life and who made me reconsider the world; Ron Buffington. The moment I saw Ron’s painting, I knew I had stumbled onto something special and also knew that I didn’t understand it. 

 

As a professor, Ron quickly understood that I had a desire and need to push beyond what is comfortable and expected, so that was encouraged and celebrated.  He allowed me to fail, and fail often and never gave up on me.  He asked me to consider edge, surface, and intimacy.  He asked me to consider relationships (or “versus”)of painting; big vs. small, thick vs. thin, matte vs. gloss, painted vs. unpainted, loud vs. silent. I watched how he handled material and subject with sensitivity and grace, and mimicked his rigor and empathy and I realized that those same things he was asking me to consider, he was combating in his own work. Eventually, I understood, and found my own voice and hand.  Everything I do today, is because of the gifts Ron Buffington gave me.  Thank you Ron.

 

Jeffrey Cortland Jones, 2021


Jeffrey Cortland Jones

Landscape Replica (In That Brief Moment Between Thoughts)

enamel on acrylic panel

30,5 x 91,5 cm (12” x 36”)

Jeffrey Cortland Jones

Landscape Replica (The Warmth of Other Suns)

enamel on acrylic panel

30,5 x 91,5 cm (12” x 36”)


Jeffrey Cortland Jones (US)

Landscape Replica (With Uncovered Eyes)

enamel on acrylic panel

30,5 x 91,5 cm (12” x 36”)

www.jeffreycortlandjones.org

rk




Saturday, 15 May 2021

Katrin Bremermann / Constantin Brancusi



Constantin Brancusi

wooden sculpture

1920

 

 

 

I have a lot heroes and inspiration is to be found everywhere. One of them is Constantin Brancusi: "Simplicity Is Complexity Resolved''. It’s about finding the solution that is perfectly natural and true. It appears to be so simple that anybody could do it. This inspiration is an encouragement that keeps me moving forward.

 

Katrin Bremermann, 2021




Katrin Bremermann

No; 2041

2020

40,5 x 29,7 cm

enamel on waxed paper





Katrin Bremermann (DE/FR)

studio shot wax drawings

2019

http://katrinbremermann.com

rk



Sunday, 25 April 2021

Daniël Peetermans / Robert Rauschenberg


Robert Rauschenberg

Collection

1954/1955

fabric, metal, oil, paper and wood on canvas

203,2 x 243,8 x 8,89 cm

collection SF MOMA


Robert Rauschenberg

Bed

1955

oil and pencil on pillow, quilt and wood supports

191,1 x 80 x 20,3 cm

collection SF MOMA





When I saw the work of Robert Rauschenberg in my student years (1980) I was very touched by the fresh colors, unusual materials he used and the free way of painting.

I still think his work and his ideas about painting  are topical.

 

I’ve always been a big fan of Robert Rauschenberg and that undoubtedly influenced me strongly in the use of colors. How I paint is influenced by graphic design through my education.

 

Daniël Peetermans, 2021



Daniël Peetermans 

What is behind Yellow?

2021

oil on canvas

30 x 40 cm


Daniël Peetermans (BE)

Blue under construction

2021

oil, acrylics, spray paint on multiplex

20 x 26 cm

www.instagram.com/daniel.peetermans

rk




 


Saturday, 10 April 2021

Anook Cléonne / Fernando Pessoa

 


Fernando Pessoa

 



In 1991 I exchanged my small home village in Twente for Amsterdam. From this moment on the magnitude of things was solely defined by my hunger for the arts instead of by dogmas of religious zealots. I proved insatiable for all new perspectives the world of art created!

 

Yet, although I loved every angle of it, I also remained aloof. As if I couldn't climb my own threshold. My niece, just graduated from Willem de Kooning in Rotterdam and sharing a similar religious background, gave me Fernando Pessoa's 'The Book of Disquiet' (Boek der Rusteloosheid).

 

Pessoa turned out to be a stepping stone. His words gave me a map and a compass and showed the connection between what I saw and how I thought about it. Up to this day, his book functions as a travel companion. Not one week passes without me leafing through it and loosing myself in one of his many poems.

 

Fernando Pessoa is a poet able of grasping the impotence in man's existence and the impossibility of making sense of it in a single sentence, but at the same time he does this with a tremendous zest for life and a fearlessness that, to me, is precisely spot on. How to be human is the question and the quest that, unconsciously at one time, yet way more consciously nowadays, forms the basis of my work.

 

 

"All I am is nothing more than a ravine 

In which a dim light 

through which I know I am, without appearances, 

directs me darkly. 

 

Something in between being and non-being 

and inhabited by me, 

like the dust that rises in the wind

lives only when it shows it."

 

The Book of Disquiet

 

 

Pessoa guided me into the act of actively not knowing. In doing so he defined my necessity as a maker profoundly. My drawings start off exactly where my knowing or understanding ceases. Pessoa shows me in his many wanderings, being the keen observer and the pessimist that he was, the fabulous magic of everyday life.

 

 

"It would be more correct to say that a state of the soul is a landscape; that sentence is better in that it does not contain the lie of a theory, but only the truth of a metaphor…”

 

The Book of Disquiet

 

 

His choice to speak as different characters also inspired me.

Pessoa wrote many of his works as heteronyms; different characters who worked independently and used different forms and languages. Pessoa disintegrated on his paper, and his strength stemmed from this disintegration. 

 

In this fragmentation of his identity I found the space to investigate completely different styles. Why must everything be reduced to one hand of drawing? 

 

In the past year, a period connotating and denoting my accordance and relation to global prowess regarding Covid19, Pessoa pushed me to go and try something completely new. Since the start of the crisis, I have been drawing a small observation every day and unworrying whether it fits into the rest of my oeuvre. Every day my hand acts like a seismograph of my mood. Just like Pessoa acted after his daily wanderings through the city throughout all seasons. His writings a gauge of an inner heartbeat and necessity.

 

To observe and to render a picture of what this time does to me and us. Little visual notes, Consolation Pieces, which I “give back to the world on social media every day” was something he certainly helped overcome my own barriers.

 

Pessoa showed in prose and poetry an ontology of our fragmented existence and at the same time he knew the fragility of the individual and the impossibility to make sense of his role in that existence.

 

In an almost schizophrenic way, he succeeds in getting you to really crawl inside an experience through language and at the same time he allows you to look at it from a distance. Pessoa shows us metaphysics that go beyond the framework of thought and, with all heteronyms, holds up a mirror in which we see something different than our own reflection.

 

The unruliness and contradiction in his language and the images he evokes in the process, stirs up an enormous necessity to create for me. Again and again.

 

 

“The main thing is knowing how to see,

To know how to see without thinking,

To know how to see when you see,

And not think when you see

Or see when you think.” 

 

Alberto Caeiro, The Keeper of Sheep

 

 

Anook Cléonne, 2021





Anook Cléonne

Tableau de la troupe

300 x 150 cm

pastel on paper





Anook Cléonne

The announcement

215 x 125 cm

pastel on paper


Anook Cléonne (NL)

Consolation Piece 302

33,1 x 24 cm

14.02.2021

mixed media on paper

www.anookcleonne.nl

rk