Friday 28 June 2024

Daniela Baumann / Alfred Hrdlicka

 


Alfred Hrdlicka   

Orpheus 1  

2008 

bronze  

Vienna

 

 

Alfred Hrdlicka was an impressive sculptor and graphic artist. His consistent imagery, the power and energy with which he created the figure in stone or on paper had a great impact on me when I was young. His uncompromisingly energetic and unadorned sculptures, drawings and graphics were a kind of guide at the time and left their mark on me.


Daniela Baumann, 2024





Daniela Baumann (DE)

Earthbound   

2024     

charcoal on paper 

280 x 300 cm     

photo Peter Hinschlaeger

www.baumanndaniela.de 



Friday 14 June 2024

Karin van Pinxteren / Juan Muñoz

 


Juan Muñoz

Listening Figure

1991

patinated bronze

135 x 74 x 73 cm

image: Van Abbemuseum

 

 


They walk with you, sometimes for a moment, sometimes for years, inserting in, inserting out, joining, disappearing, communicating with something that you are open to at that moment.

Juan Muñoz joins me again; he is an old acquaintance. His hushed but breathing work ‘Two Figures and Two Trees’ made a deep impression at Park Middelheim in Antwerp 1993. After the recognition, unknown to me at the time, he stuck around for ten years, before quietly leaving, even literally. Now he reappears.

I know nothing about Muñoz, we stroll in images, not words. The book I bought thirty years ago is a Spanish edition, his motivations are unknown to me. I don't seem to need to read anything about it, which surprises me now because it is an unexpected observation: all these years I’ve only been watching.

The title of the publication is ‘mónologos y dialogos’. The translation may be obvious and with it the reason why the work appeals to me.

It strikes me that I can make out many Muñoz / van Pinxteren duos, this too is an unexpected observation - and an ode to intuition, which I was not aware of before this question was put to me.

Karin van Pinxteren, 2024






Karin van Pinxteren (NL)

Trust

2012-2018

wood, text, cardboard, lacquer

62 x 35 x 3 cm

photo: Peter Cox
karinvanpinxteren.com



Wednesday 29 May 2024

Niko de Wit / Carel Visser

 


Carel Visser

Gevouwen toren

1972

sheet steel

75 x 100 x 100 cm

 


 

When observing Carel Visser's sculptures, you can often experience how his sculptures are constructed. A closer look reveals how you can become part of the folding of plates to then stack them. The four folded plates each have their own character and dimension derived from their place, size and weight in relation to each other. The elements have a great cohesion within a surprisingly clear composition. In this sculpture you can recognize Visser's fascination with the Mexican pyramids.

My sculpture consists of five massive blocks stacked along two sides. The stacking of the blocks stands in a dangerous balance. A sixth block would collapse the stack. Defying gravity is an important motif for me when creating my sculptures.

For the development of my work, Carel Visser's oeuvre has proven to be very inspiring. 

 

Niko de Wit, 2024




Niko de Wit (NL)

Stapeling omlaag

1975-1976

cast iron

31,5 x 17 x 11,8 cm

nikodewit.nl






Monday 1 April 2024

Frank van Hemert / Van Gogh-Basquiat-Bacon

 

PSYCHIC PORTRAITS
When I paint a portrait, my only motivation is to understand the essence of that person and to tell his or her story in colour. Because colour is able to be more precise than words.


Frank van Hemert, 2024



Frank van Hemert

Vincent van Gogh

2023

oil on linen

165,5 x 134,5 cm

photo Gert Jan van Rooij


Vincent van Gogh





Frank van Hemert

Francis Bacon

2023

oil on linen

165,5 x 134,5 cm

photo Gert Jan van Rooij



Francis Bacon




Frank van Hemert

Jean-Michel Basquiat

2023

oil on linen

160 x 130 cm

photo Gert Jan van Rooij



Jean-Michel Basquiat

 

 

 

Frank van Hemert (NL)

www.frankvanhemert.com






Saturday 16 March 2024

Sabina Timmermans / Vincent van Gogh


Vincent van Gogh 

Garden of the Asylum

1889

oil on canvas

72 x 91cm

image: Van Gogh Museum





Vincent van Gogh 

Tree Roots

1890

oil on canvas

50,3 x 100,1 cm

image: Van Gogh Museum





Van Gogh’s final painting Tree Roots, served as the inspiration for a series of charcoal drawings I worked on for a year, called Caressing and Colliding - Sharing the Land.  The location where Van Gogh likely encountered these roots and trunks was discovered the year before my residency at the Vincent van GoghHuis in Zundert in 2021. They were situated on a slope alongside a small street in Auvers-sur-Oise. According to a dendrologist, these roots and trunks were from coppiced trees, a form of forestry where new growth is repeatedly cut back for use. Some argue that Van Gogh expresses the struggle of life and death with this. 

 

My aim for the residency was to connect his final painting and the place of his death, with the place where Van Gogh's life began, Zundert. While exploring the forests around the Vlaamse Schuur where I stayed, I looked for similar shapes symbolizing the struggle for life and death. Initially, I searched for the coppiced trees I knew were there, but I became increasingly intrigued by the numerous surface tree roots from old beech trees. In my drawings, I envisioned them as bodies shaped by their life-long interaction and entanglement with their surroundings; with soil, wind, water, humans and other organisms. 

 

I gained a deeper understanding of how Van Gogh perceived nature, due to this residency. With new interest, I revisited his letters and his paintings depicting nature. I was captivated by how Van Gogh's trees transcend mere imagery, seeming to spring to life, imbued with a soul,  as if they are speaking to you. It’s only since then that I read in his paintings the profound connection Van Gogh felt with nature, how he felt at one with it. I strongly resonate with this sensation, and it serves as a significant inspiration for my own artistic practice.

 

Sabina Timmermans, 2024





Sabina Timmermans

Caressing and Colliding - Sharing the Land (12) 

2022

charcoal on paper

140 x 200 cm

image: Peter Cox




Sabina Timmermans (NL)

Roots (3)

2024

charcoal on paper

110 x 141,5 cm

sabinatimmermans.nl




 

Saturday 24 February 2024

Romain Van Wissen / Sigmar Polke


Sigmar Polke

Baumhaus 

1976





Romain Van Wissen

Descendu ici pour les vacances

2018 

122 x 100 cm

acrylic on canvas





Romain Van Wissen (BE)

Se remettre d'aplomb

2018

122 x 104 cm

acrylic on canvas

http://romainvanwissen.com




Friday 9 February 2024

Toon Berghahn / Pieter Jansz. Saenredam

 


Pieter Jansz. Saenredam

Interieur van de Sint-Odulphuskerk in Assendelft

1649

oilpaint on panel

49,6 × 75 cm





Pieter Jansz. Saenredam

Het oude stadhuis in Amsterdam

1657

oilpaint on panel

65,5 × 84,5 cm 

 



 

When I was at the Rietveld Academy I wanted to become Jackson Pollock, or Willem de Kooning. Abstract, virtuoso and expressive. That way of painting also had many similarities with the guitar music of Jimi Hendrix, another childhood hero of mine. Later I discovered that abstract art was not for me. I started painting reality and worked more cerebral. I became fascinated by art from the Middle Ages, but also by Saenredam, a great master from the 17th century. His interior paintings are created by observing endlessly. The drawings he made while visiting a building were sometimes only converted into paintings decades later. Only then did he also apply modification, for the benefit of the composition or other qualities of the final image. 

That's how he mainly painted in his head and I recognize that well, although he was of course a much greater artist than I will ever be. The calm and tranquility in his painted spaces is beautiful, it is overwhelmingly quiet. The light often radiates from behind, as if the painting itself illuminates the actual space where you are as a viewer.

 

Toon Berghahn, 2024





Toon Berghahn

Jacobs ladder

2024

mixed media on wood 

104 x 62 cm 





Toon Berghahn (NL)

Kosmos

2023

mixed media on wood

122 x 139 cm

www.toonberghahn.nl




Sunday 28 January 2024

Ema Vaneková / Pierre Bonnard

 


Pierre Bonnard 

On the track

1895

oilpaint on panel

42,3 x 27,5 cm





Pierre Bonnard

The Bath

1925

oilpaint on canvas

86 x 120,6 cm

 

 

The paintings of Pierre Bonnard often feel timeless for me; showing human life and love has always been the same. 

Painted with bold strokes and emotionally lively colors the paintings give a feeling of childlike appreciation and at the same time a strange lifelessness.

 

Ema Vaneková, 2024





Ema Vaneková

Spolu Zima

2024

oilpaint on linen

40 x 60 cm




Ema Vaneková (SK/NL)

Laska v Postele

2024

oilpaint on linen

140 x 70 cm

www.ema-vanekova.com