Saturday, 27 February 2021

Ronny Delrue / Joseph Beuys


Joseph Beuys

Ohne Titel

1952

pencil

18,8 x 14,8 cm

signed and dated on reverse






Joseph Beuys

Waking Up Scared in the Night (Man in Grave)

1962

oil, gold paint, light writing paper

21,6 x 14,9 cm

 



 

When I was a student at the K.A.S.K. in Ghent, the confrontation with the work of Joseph Beuys was a revelation.

A stroll through Joseph Beuys’ multifaceted oeuvre made me think about his vision of life, his attitude as an artist, his sources of inspiration, art education, art, the art world, sculptures, drawings, etc.

The freedom of his drawings fascinated me: the image and the medium on which he worked. The registrations that he made on a blackboard – during his performances/lectures –  inspired me.

To me, diary entries are drawings of my thoughts. They form a breeding ground from which new images can emerge and grow. Like an archivist, they store my ideas. Like an archaeologist, I can go in search of frozen moments: reflections on my life and world events.

 

Ronny Delrue, 8.2.2021






Ronny Delrue

The Maharjan Caste

2019

fragments of photographs and tikkas

300 x 300 cm

collection S.M.A.K. Ghent





Ronny Delrue (BE)

Sculptures of stones, Monday 11.1.2021, 20:10

2021

mixed media on paper

42 x 29,7 cm

www.ronnydelrue.be

rk





 

Saturday, 13 February 2021

Marenne Welten / Diane Arbus



Diane Arbus

A Jewish giant at home with his parents in the Bronx

N.Y. 1970

photograph

 


 

At the same time, they will find expression through some image that seems to have nothing to do with them-i.e. where you can deal with them because they are disguised. So your attempts to express the feeling of an experience directly, in the terms of the experience, will be blocked, false, cramped etc, and yet if at the time you wrote a story about witches & demons, or mechanical dogs, it would be full of wild feelings & you would feel the release. The emotions of a real situation are shy, but if they can find a mask they are shameless exhibitionists. (....) A feeling is always looking for a metaphor of itself in which it can reveal itself unrecognised.

 

from: Letters of Ted Hughes, to his daughter Frieda Hughes, February 12, 1995






Marenne Welten (NL)

Adolescent

from the series The Idea of a Kitchen

2020

40 x 35 cm

oil on linen

www.marennewelten.com 

rk



Saturday, 30 January 2021

Katleen Vinck / Gordon Matta-Clark



Gordon Matta-Clark
Office Baroque
1977 
101 x 50 cm 
cibachrome




Gordon Matta-Clark
detail from a poster for Office Baroque
1977




Gordon Matta-Clark
View of Office Baroque, Antwerp 
1977

 


I am Katleen Vinck and live in Antwerp, Belgium. In my work I combine architecture and sculpture. 

I must have been 16 and I saw one of the first contemporary art exhibitions in my life. It was my first year at art school and we visited an exhibition in Muhka, the museum of contemporary art in Antwerp.

One wall was reserved for 'Office Baroque', a work of Gordon Matta-Clark. I never have real heroes, but his work, and especially 'Office Baroque', has remained in my head over the years.

These photo montage and drawings of 'Office Baroque', played an important role in the museum because it formed the basis for the creation of the museum. It was an initiative of Flor Bex who invited Gordon Matta-Clark. Later Flor became director of Muhka. The fact that this work was realized in 1977 and had such an impact on the art scene in the city where I studied and discovered contemporary art, was mythical to me at that time. When I discovered this work, the building / sculpture was already demolished and only drawings and photos remained.

At that time, I already had a great interest in both architecture and sculptural work. The way Gordon Matta-Clark combined both in a very natural way was new to me. Both disciplines worked together and blended completely in a way I never saw before.

Gordon Matta-Clark was given a building close to the current museum to realize 'Office Baroque'. It was there, for the first time, that he could work in such a large spatial structure. For me, by making different cuts in the floors, he exposed the real structure, the skeleton and history of the building and environment. The building has a kind of boat-like ground plan; in various places he created views and transparency through the cuts and made the structure an accessible sculpture. It’s a search for the origin of a place.

This is something that keeps recurring in my work; the analysis and origin of a form, structure and the sculptural intervention on this, although I do this in a completely different way. The natural combination of architecture and sculpture is also embedded in my work.

What also fascinates me in this is the idea of time and the cycle a building, an environment and by extension life, undergoes. The building that stood there for years, had a whole history in it and was transformed into a sculpture in that year. An intervention that also took time and was a performance or action that added an extra layer to this history. It underwent a transformation and could continue in this form for a while. After the demolition only the documents remained. But yet another new building has been erected in the same place which contains the whole history … the cycle never stops.

The starting point of an existing architecture, and the cycle that it undergoes through time, nature or human intervention, also forms the basis of my work, although I will reconstruct and transform it and I will not work with the original form. For me, the intermediate form that then arises is indebted to Gordon Matta-Clark.

Katleen Vinck, 2021




Katleen Vinck
A fluid 
2016
350 x 270 cm



Katleen Vinck
Het aardmassief
2019

250 x 150 x 75 cm




Katleen Vinck (BE)
n.t.
2012
120 x 75 cm
https://katleenvinck.be
rk





Saturday, 16 January 2021

Ivo Ringe / Josef Albers

 


Josef Albers

Change Directions

1942 

oil on chipboard

66 x 80,5 cm 

acquired 1989 © The Josef and Anni Albers Foundation / VG Bild-Kunst, Bonn 2020

 

 

 

'The concern of the artist is with the discrepancy between physical fact and psychological effect.' 

Josef Albers, quote from: 'Albers Paints a Picture' Elaine de Kooning, Art News 49, November 1950, p. 40; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p.67

 

'For me, abstraction is real, probably more real than nature. I'll go further and say that abstraction is nearer my heart. I prefer to see with closed eyes.' 

Josef Albers, quoted in: Arts/Canada, Vol. 23 (1966), p.46

 

I think these pictures clearly show my connection to Josef Albers. Very clearly the avoidance of the vertical and horizontal and the 90 degree angle. Okay, Albers later returned to the 90 degree angle and the vertical/horizontal in the square. Now the square, i.e. the 1:1 proportion, is also the proportion of wealth and money. He was living in the USA during this time. 

For me the earlier years are more interesting. When he researched even more into the diversity of forms and not just into the diversity of color values, on which he later focused his research.

 

Ivo Ringe, 2020






Ivo Ringe (DE)

St. Yves

2016

30 x 24 cm

oil on linen 

www.ivoringe.com

rk


Sunday, 27 December 2020

Elfyn Lewis / William Turner

 



William Turner

Rain Steam and Speed - The Great Western Railway

1844

91 x 121,8 cm

oil on canvas

National Gallery, London

 

 

 

My name is Elfyn Lewis, I’m a Welsh artist living in Cardiff, (capital) Wales. The artist I have chosen is Turner. 

 

I was born and raised in Porthmadog on the north west coast of Wales. The town was built on reclaimed land, as a port for the slate industry, situated some ten miles away in Blaenau Ffestiniog. Ships built in Porthmadog sailed across the oceans delivering slate and other goods, until circumstances changed. It’s now a tourist attraction for most of the year. 

 

The ‘Cob' as it’s called locally is the embankment which protects the town from the sea. My family home is situated on the 'Cob' in a row of tall seaman’s houses overlooking the river Glaslyn in-front and the ‘Eryri’ mountain range behind. Eryri, although small in stature compared to most European ranges, holds its own in beauty and dramatic light. Porthmadog has lost none of its beauty and this is where my love of art began. 

 

This is where Turner painted the estuary long before the 'Cob' was built. On one of his grand tours around Europe he visited this remote area and painted the fast-flowing rivers, the mountains, and the weather – which by all accounts was its usual wet and windy vociferous self, Wales was not kind to him. There are cartoons mocking his tour of Wales with the usual stereotypical nature of the English press. 

 

Growing up in Porthmadog was a wondrous experience, and to this day influences my work. My art teacher at school Rob Piercy ignited my love of painting and encouraged me to look and see the world in new ways. We talked about artists from all over the world, but Turner was always there for me, and I believe he’s one of the first abstract painters. The way he captured light and movement in paint is something that many of us could only dream of doing. You don’t have to like your heroes or claim to understand them, but you can admire and try to understand what they are doing. I’d find myself sitting by the harbour with a sketchbook trying to capture a scene of fast-moving water with the moon as the only light. His influence ran deep just like the river.

 

Paintings like 'Rain Steam and Speed' capture so much movement - emotive snapshots of a place and time that transport the viewer. Even now, Turner’s paintings still resonate and sing the song of paint and its history. There are many works of his that capture this feeling of being there. In this painting 'Rain, Steam and Speed' the power of sky and land joining as one, with the train appearing like an arrow from the gloom. The techniques Turner used in this painting remind me of another of his paintings called ’Snow Storm; Steam Boat off a Harbour’s Mouth’ where the sea and sky entwine as one to produce the effect of being in the eye of the storm. These two paintings have elements of abstraction, they give an impression of somewhere, of something that until then had not been seen. 

 

Turner seemed to capture something from nothing. He broke up the traditional way of painting and created a movement that captured nature and landscape in a way that we are still investigating. Turner was not my only influence. I could have talked about Monet and Rothko etc, but Turner captivated me through his use of paint and his burning desire to capture the sun. 

 

My own work is mainly abstract. I use tools and equipment to create paintings that seek to communicate movement of light and water, or the shapes that these elements have left on the land. There are many living artists who have inspired me and the obvious one is Richter. Like him, I use a squeegee to drag and pull paint across a surface. Unlike him I use acrylic paint. Oils, although I love them effected my eyes, so from an early age I’ve used acrylics and especially Lascaux paints. My process is physical and dynamic. I work on several pieces at the same time and skip from one painting to the next. Some pieces take days, others, months. I live with them and watch them emerging - gambling and guessing what to do next. Finding the solution to the work is a constant battle. In my mind I am always looking for a horizon and a feeling of water and sky. Abstract landscapes perhaps. 

 

The painting I’ve chosen of my own work is called ‘Goleuni,’ which means light in Welsh. This painting captures something which for me is all important - the feeling of being whole. It’s full of little mistakes and things you could change or repeat. Mistakes often transform the work from looking like all the others, to being unique. When this happens, I experience a sudden rush of euphoria and delight in something that I hadn’t seen before. ‘Goleuni’ has the horizontal line that reminds me of the ‘Cob’ – with sky above and water below, fast moving clouds capture reflect starlight. 

 

Being a studio-based painter is a daily routine – a balancing act of method and chance – searching for the light. Turner influenced my journey as a painter, but it’s the people and the place that made me.

 

Elfyn Lewis, 2020





Elfyn Lewis (UK)

Goleuni

2011

30 x 30 cm 

acrylic on mdf

www.elfynlewis.com

rk



Saturday, 12 December 2020

Hella van 't Hof / Louise Bourgeois

 


Louise Bourgeois

portrait by Alex van Gelder

2010

for W Magazine




Louise Bourgeois

Untitled

2009

textile and wood

44,5 x 27,9 x 24,1 cm

 

 

 

I first saw an exhibition of Louise Bourgeois' work at het Kunstmuseum in the Hague, during "Louise Bourgeois Double Sexus".
In dim light and embedded in Berlage's wonderful architecture I entered into a nightly dream. The extraordinary personal, powerful, vulnerable and sensitive work made an intense impression on me. Louise Bourgeois' art inspires me to follow my own path.

 

Hella van 't Hof, 2020





Hella van 't Hof

Mask

2016

embroidery on photo transfer

30 x 24 cm





Hella van 't Hof (NL)

Anonymous

2017

textile, photo transfer, fur

18 x 13 cm

www.kunstinzicht.nl/portfolio/werk/hellavanthof

rk





Saturday, 28 November 2020

Marc Van Cauwenbergh / Giovanni Bellini



Giovanni Bellini

Ritratto d'Uomo

1490-1495

oil on panel

32,8 x 25,5 cm

Musée du Louvre, Paris

 

 

 

It’s been quite a while since my last visit to the Louvre Museum in Paris, but one visit stays with me; the first time I saw Bellini’s etherial Portrait of a Man. Although small in scale, the work leaves a strong, even monumental presence, in my mind.

 

The man’s eyes gaze off into space, away from the viewer, thus giving the portrait a sense of turning inward and a spiritual and mysterious aura.

 

The composition, while very literally a portrait, feels abstract. The dark silhouette that makes up the hair, hat and chest, are the stacking of groups of cut out flat organic shapes, enclosing the lighter colored and more detailed rendered face. There is also a wonderful interaction between the portrayed man in the foreground and the playful movement of clouds in the background. Despite this tight, almost claustrophobic composition, Bellini creates enormous depth and space through very minimal means.

 

This movement of larger flatter forms interacting with smaller ones and the use of minimal elements to suggest space and depth, are qualities I explore in my own painting.

 

Over 500 hundred years later, there are concepts and techniques that are still relevant today. While I don’t work with literal, figurative forms I feel that I have a spiritual connection to this work. The bridge between the 15th Century and today inspires me and my 21st Century paintings.

 

Marc Van Cauwenbergh, 2020





Marc Van Cauwenbergh (BE/US)

Floating

2020

oil on linen

51 x 38 cm

www.marcvancauwenbergh.net

rk