Sunday, 26 June 2022

Piot Brehmer / Mark Rothko

 


Mark Rothko

No. 14

1960

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

2019

acrylic on velours

230 x 200 cm

www.piotbrehmer.de



Saturday, 28 May 2022

Steven Van Meurs / Raoul De Keyser


Raoul De Keyser 
Penetrant 
1995
oil on canvas 
180 x 120 cm 


Raoul De Keyser 
Oefeningen met eerste linnen doos 
1967
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 
Compound 
2022
acrylics & oil on canvas 
42 x 42 cm 


Steven Van Meurs 
Edgetrim 
2022
acrylics & oil on canvas 
38 x 52 cm 


Steven Van Meurs (NL)
Stepless 
2021
acrylics & oil on canvas 
42 x 50 cm 
www.stevenvanmeurs.nl/ 
instagram.com/steven_van_meurs 


 

Saturday, 14 May 2022

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

 


M.C. Escher

Kristal

1947

mezzotint

13,8 x 17,1 cm




M.C. Escher

Study for the litho 'Kubische ruimtevulling’

1952

black and red pencil

43,3 x 62,7 cm




M.C. Escher

Study for the litho ’The Waterval’

1961

pencil

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

1936

 

 


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

2017

ink and pastel on paper

25 x 25 cm


Lenneke van der Goot

Time Lapse

2021

including pencil, ink and pastel on paper 

40 x 40 cm



Lenneke van der Goot (NL)

Rollercoaster 

2022

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

30 x 30 cm

www.lennekevandergoot.nl










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)

2021

acrylic on canvas

180 x 140 cm

www.lodelaperre.be







Saturday, 12 March 2022

Jacqueline Peeters / Max Beckmann



Max Beckmann 

Sommer

1930 

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 

left:
Nightstand 
2022 
oil on canvas 
190 x 120 cm 


right:

Made bed 
2022
oil on canvas, and two sheets of paper
110 x 200 cm




Jacqueline Peeters 
Edna Offenbach to Lee Le Gac 
2019
oil on canvas 
160 x 200 cm 




Jacqueline Peeters (NL/BE)
Liebespaar 
2021
oil on canvas 
150 x 200 cm 


floor:

Worn or stained, gashes gray 
2021
oil on canvas
130 x 240 cm 

www.instagram.com/jacq.peeters
www.jacquelinepeeters.com 



Saturday, 26 February 2022

Guus Koenraads / Paul Panhuysen



Paul Panhuysen

TWO FAMILIES OF 64 SQUARES

1991 

wood print on rice paper

4 prints size: 96 x 384 cm

Museum De Wieger Deurne, The Netherlands





Paul Panhuysen

LIGGEND IN HET GRAS

1995 

screen print on cotton on hardboard

292,50 x 292,50 cm

compositie work: 9 panels of 97,50 x 97,50 cm

photo Pieter Boersma





Paul Panhuysen

QUEL OISEAU SUIS-JE (WHAT BIRD AM I?)

2009 

installation with 40 canaries in 2 opposite aviaries, programmed chip recorders (bird sounds) song and contact microphones: a concert space for 2 months for the birds and visitors of the church.

Biennale internationale d’art contemporaine de Melle

Church St.Pierre Melle, France





Paul Panhuysen

2013

installation view Locus Solus Antwerpen, Belgium

 

 

 

There are several artists who I appreciate and respect, both for who they are and for their work. What I've never had, however, is a particular idol, or the urge to idolize or glorify anybody. 

It has been seven years since Paul Panhuysen (Maastricht, August 21, 1934  Eindhoven, January 29, 2015) passed away. Thanks to his wife Hélène Panhuysen-Hulshof, I was able to maintain contact with him until the very end.


I got to know Paul in the early eighties in Het Apollohuis in Eindhoven. As we got to know each other better, our conversations gained in depth. We used to cover a variety of topics: visual art, architecture, urban planning, public space, but also life itself. These conversations have made me a much richer and more conscious person. 

 

We had several things in common. Working in urban planning teams and advisory committees for authorities on different levels, in the field of public space, public greenery and the micro-detailing of spaces where people live and work. What we also had in common was being teachers, and a deep love of nature. Paul was very knowledgeable about birds. Not only did he make them participate in his sound installations and his recordings, but he could actually communicate with birds. 

Due to the aforementioned activities, whether or not in paid employment, as an artist I have been able to earn a living until now so that I can work in complete freedom.


What I find special about Paul Panhuysen is the ease with which he moves between and within different disciplines in the visual arts: performance, sound installations, photography, graphic work, painting, drawing and making sculptures. I worked for and with him, setting up many exhibitions and constructing spatial installations. Through this collaborative work I learned a lot from him, such as the notion that there is no distinction between main and side issues - everything matters! For instance, the knots tied in the cords that fastened the strings of his long string installations were all the same. 

 

Paul taught me to trust myself concerning my artistry, my intuition and my qualities as a person.
As an artist I mainly concentrate on painting. In the early eighties I made expressive paintings, built up in grisailles. I sometimes produced several large works in a day. I was convinced I had to do that, otherwise I wouldn't be a real artist. During a residency at the HDK and in Ku
̈nstlerhaus Bethanien in Berlin (1986-1987), my work became simpler and quieter, both in structure and content.


By taking my time and working from a more relaxed approach, I get a better insight in what I do and eventually a strictly personal touch disappears in my work. My paintings are abstract, composed of horizontal and vertical lines and surfaces, applied in even layers. The thickness of these layers sometimes creates a relief. I don’t use diagonal lines to create perspective.


Since then my development in painting has been in small steps, and my output is small. Not because I don't work enough, but I often paint over parts, or even obliterate an entire work by painting it over. Consequently paintings do not pile up in my studio. I no longer wonder whether my talent will ever be proven. There are more important things that I want to turn my attention to. Researching the contrast between color and no color, between line and plane, between thin and thickness, small and large, wall and floor, and so on, I can walk this path for years to come. In the meantime, nature has become my greatest friend. I spend a lot of time there in my long-distance walks, sometimes musing about missing the artist and my friend Paul Panhuysen. 

 

Guus Koenraads, 2022






Guus Koenraads  

JACOBSLADDER

2021

acrylic paint on canvas/panel

36 x 9 x 3 cm

photo Huig Bartels





Guus Koenraads

REFUGE

2021 
brass 
24 x 30 x 0,3 cm 
photo Huig Bartels





Guus Koenraads (NL)

SPECIES OF SPACES

2018 
acrylic paint on wood 
15 x 30 x 10 cm 
photo Huig Bartels