Paul den Hollander / René Magritte

René Magritte
The Domain of Arnheim (detail)
1938
oil on canvas
73 x 100 cm

In the paintings of Magritte (1898-1967), we see the game with the subjective perception of reality, full of seriousness and humor. He achieved this by faithful images of objects, people, animals and plants.The unexpected in his work is the way in which these objects are combined with each other or put opposite each other.

His painting is like poetry that stimulates the beholder's presumption of secrets.
Magritte's line of thought was that "as long as we believe that we are dependent on atoms and molecules that constitute our matter, we can not recognize that it is our eternal being from which we regard the material, which changes according to the perspective of looking".

Excerpts Jacques Meuris, 'Rene Magritte', Taschen

Paul den Hollander (NL)

Luminous Garden #85

2011

C-print

120 x 95 cm

www.pauldenhollander.nl

Carlos Caballero / Andrei Tarkovsky

Andrei Tarkovsky

from The Mirror

1975

filmstill

My work often has a relation with the Russian filmmaker Andrei Tarkovsky. ‘The Mirror' (1975) is one of the most important Tarkovsky films, where the autobiographical story and many scenes refer to Tarkovsky’s memory of his home.

‘August afternoon' (2013) is a piece where the idea of memories and manipulated or ironic past articulates the idea of this piece. The context refers to ‘home’ as symbolic space and mental structure.

Carlos Caballero, 2013
 

Carlos Caballero (CU/US)

August afternoon 

from the series Autobiographical memory

2013 

oil on canvas 

132 x 157,5 cm

courtesy Roberto Polo Gallery, Brussels

www.carloscaballerostudio.com

Linda Arts / Agnes Martin

Agnes Martin 
Night Sea 
1963
oil and gold leaf on canvas
183 x 183 cm

While living in New York between 1957 and 1967, Agnes Martin (1912-2004) began to experiment with symmetrical compositions comprising circles and squares under the influence of artists such as Ad Reinhardt and Ellsworth Kelly. Her grid paintings, which some critics linked to the machine-edged Minimalist movement, are actually examples of Abstract Expressionism, dense with gestural markings and unmistakable traces of the artist’s hand. In their purity and meditative quality, the canvases suggest a spiritualism that reflects Martin’s interest in nature (particularly the desert landscapes of New Mexico) and Eastern religions, notably Daoism. The paintings created after her return to Taos in 1967 became increasingly ethereal, the grids sometimes so faint that they seemed to be fading into a shimmering mist.

 

Linda Arts (NL) 
Untitled #213 
2009
oil on woodpanel
60 x 90 cm 
www.lindaarts.nl