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2022 Unhinge
Artist-in-residence and exhibition, Artist In The World-HUBSA-AIR, Goes NL
May - July 2022
The Artist In The World HUBSA-AIR in Goes (NL) is a residency space run by André Smits and Monika Dahlberg. It is located in a house in an ordinary residential area, art is not common here. The workspace and later exhibition room can be seen through the front window. I choose to work on door panels. A door is the barrier between one space and another, between private and public. But it is also a connector, where you can step from one place to another.
I use doors as the support for my paintings, I take them off their hinges and tilt them. I paint them (partially) and mount them on the walls of the room that is actually a living room. In this way, they become a window on the wall with a panoramic view, referring to the history of landscape painting. And I introduce the motif of an elephant as a new Fremdkörper in this Zeeland residential area.
2019 Blue Wood
Artist-in-residence and exhibition, Vincent van GoghHuis, Zundert NL
November-December 2019
The four curators of artist-run space PARK in Tilburg NL, Linda Arts, Rob Moonen, Liza Voetman and myself, each have a short residency in the guest studio of the Vincent van GoghHuis in Zundert in November 2019, followed by a joint exhibition in the Van GoghGalerie in December 2019.
2015 Blaue Stunde
Project and exhibition in Luycks Gallery and Voorkamer De NWE Vorst, Tilburg NL
June 7 to July 12 2015
Mostly poets and writers, but also visual artists are inspired by the Blaue Stunde (the blue hour): the time after sunset or before sunrise, when the sky takes on an intense blue color. In particular, the passing of which was bright, warm and soft to the chill of the falling night brings many artists to a certain melancholy. The participating artists create works in which the innermost feelings evoked by the blue hour predominate. In Luycks Gallery and in Voorkamer De NWE Vorst these five artists show what the blue hour means to them: Yves Beaumont (BE), Paul Corvers (NL), Vincent Dams (NL), René Korten (NL) and Annette Paulsen (DE).
One of the works I make is inspired by the song Schwarz zu Blau by the Berlin-based dancehall and hip-hop musician Peter Fox.
2014 Catafalque
Commission
January 2014
For a Memorial Centre or Farewell House I make a painting on a catafalque, a platform that supports the coffin of a deceased person. A challenging commission. I decide to include the words Terra and Caelum in subdued color on the two sides of the catafalque.
2013 Still Life, 102 vases by 99 artists
Project and exhibition in Museum De Pont, Tilburg NL
September 7 2013 through January 5 2014
Ninety-nine different artists are invited to decorate and adapt a vase. The driving force behind this project is Frank van der Linden. It was in 2007 that he first approached an artist with the request to create his own adaptation of a vase provided by him. During the six subsequent years, many other visual artists responded to that same request. On my vase I add the text 'Heilige Dagen' (Holy Days), a term used by decorators to describe a small part that was forgotten when painting.
The collection is shown in different places and the project is completed with an exhibition in Museum De Pont in Tilburg.
2011 Schrijf mij uit, verdubbel me
Project in SALON2060 in Antwerp (BE), window presentation
October 31 through November 25 2011
A work that can be seen through the window 24 hours a day. No direct physical connection is possible, and always reflection plays a role in the perception. I use this as a metaphor for the relationship of the artwork to the world. Various elements are included in the work, for instance the letters of the word DUBBEL (DOUBLE). And in different ways I use a tool that prevents leaves from obstructing the rainpipe, a device meant to hold back something and pass through something else.
2010 Sea Bait
Installation in De Nederlandsche Cacaofabriek, Helmond NL
December 12 2010 through January 16 2011
In the project space of De Nederlandsche Cacaofabriek in Helmond I show an installation that began with the word ZEEAAS (SEA BAIT). This word is an image to me, an image that is a word. A concept that offers me a multitude of associations and visual possibilities, both emotional and formal. The installation consists of a wall drawing and a series of six new paintings. All these paintings are made with one of the letters of ZEEAAS as a starting point. Muted painterliness and graphic clarity flow over each other. The wall drawing is also based on characters, now placed on top of each other, thus creating a layered ensemble that enables a different way of reading.
2009 Fountainhead - A Furnished Landscape
Installation in Argument Vertoningsruimte, Tilburg NL
October 18 through November 15 2009
Language and matter make reality tilt in the installation I make in Argument Vertoningsruimte. The installation is closely related to the practice of painting in my studio. Titles and MDF panels bring a different mental and sensory experience of space.
I use panels as a base for my paintings. In the installation such panels cover the walls of the space to a large extent. They stand in a position in which they transform into painting step by step in my studio: resting on clamps and leaning against the wall. In Argument I add words or parts of sentences to the panels, titles of paintings which could be present on the other, not visible side of the panels. Sometimes they are titles of works already existing, sometimes of paintings I will make in the future. The visitor looks at the back of works in development and enters into dialogue with that.
2007 Gastatelier (Guest Studio) Spirit Container
Guest Studio Period
Grafisch Atelier Daglicht / Kunstenaarswerkplaats Beeldenstorm, Eindhoven NL
March 12 through May 6 2007
I am invited to work in a guest studio of Grafisch Atelier Daglicht (Graphic Studio Daylight) and Kunstenaarswerkplaats Beeldenstorm (Artist Workroom Iconoclasm) in Eindhoven. I may use the facilities and the support of both institutions and I take on the challange to combine graphic and sculptural techniques. The results are shown in an exhibition on May 6 in the Meulensteen Art Centre, in which Daglicht is also housed.
My starting point is Geestcontainer (Spirit Container), a concept I adopted from the enigmatic blue containers on a truck you can see passing by on the highway. On them it reads in white characters on a blue background the word Geest (Spirit). Geestcontainer is a concept that carries various polarities which are very fruitful to me: space and flatness, proces and product, material and non-material, materialism and spirituality, heaviness and lightness, fullness and emptiness, standstill and motion, transformation and transport.
Among other things I make two silkscreens entitled Geest, a wax and bronze sculpture entitled Source, an object on the wall consisting of plasterboards with silkscreens, another wall object of a form in MDF and a small photograph, mounted on a partially painted pallet. More-over I make various works in size A-4 and I finish a number of paintings by adding elements in silkscreen.
2001 Thupelo Cape Town
Participation in International Workshop and exhibition at
Goedgedacht Farm, Malmesbury and South African National Gallery Annex in Cape Town, South Africa
October 29 through November 18 2001
In 2001 I participate in the Thupelo Cape Town International Workshop, a two weeks working period in the Goedgedacht Farm in Malmesbury, starting at October 29, and an exhibition in the South African National Gallery Annex in Cape Town at November 11 through 18. Participants come from several African and European countries. The project is an interaction between artists from diverse cultural, national and social backgrounds. This provides the workshop with a creative energy that influences the work of the participating artists.
I make two works using chipboard that has been used by previous participants as a support for sheets of paper to work on and therefore shows many traces of paint and tape. I use this history of actions, in one work combined with potatoes, in the other one as an architectonic structure referring to the concept of being at home and being overruled. Titles: Colour No Colour and Houses On Houses.
1999 Artists Village
Project Grafisch Atelier Daglicht (Graphic Studio Daylight), Eindhoven
Mu Art Foundation, Eindhoven NL
July 22 through August 22 1999
Grafisch Atelier Daglicht (Graphic Studio Daylight) in Eindhoven has a reputation in the field of large size printmaking. For this project the studio creates an Artist Village on location. Almost the complete graphic workplace is temporarily housed in the space of MU Art Foundation for this occasion. And on the Lichtplein outside special living units are put to be able to accomodate the participants during the project, which takes three weeks. Next there is an exhibition of the produced works in the same space at Mu Art Foundation, from August 14 through 22.
The two works I make are inspired by Landscape And Memory by Simon Schama. Titles of the works are also taken from this book: Archives Of Feet I and II, 1999, 119 x 156 cm, screenprint, woodprint on paper (edition of 6)
1999 Het Lege Kwartier (The Empty Quarter)
Project NBKS, Breda and Florette Dijkstra
February 7 through March 28 1999
Het Lege Kwartier (The Empty Quarter) derives from an earlier project in 1997, called Dagcad. In that project Florette Dijkstra, one of the participants, writes the story DAGCAD in de Nagwoestijn, in which all participating artists figure as investigators and the working field has been moved to the desert. Dijkstra writes a sequel to this story on an invitation by the NBKS, resulting in the book Het Lege Kwartier. Each of the participating artists responds to this story again, each in his own way. They all make new, specially created works and show them in a presentation, also titled Het Lege Kwartier in the exhibition space of the NBKS in Breda, from February 7 through March 28, 1999.
Referring to my role in the story I make two works entitled Reis Naar De Grond (Journey To The Ground). They are about vertical movement and the relativity of the surface level. The sought after is found in the search.
The other participants are Loek Grootjans, Marc Nagtzaam, Sef Peeters, Carlo Storimans and Jolande Traa.
1999 Translacje 99 (Translation 99)
Project in Piotrków Trybunalski, Poland
August 10 through 25 1999
Once more I participate in Translacje, the continuation of Translacje 98 (see under that chapter). On my recommendation my colleagues Loek Grootjans and Rob Moonen also participate this year. The number of guests is about 80 by now, coming from all parts of the world.
Again my work is shown in the same church, this time in another part. This room has holes in the walls to build a new floor (related to a new destination of the building). I use one of the holes as a motif in a painting, and the rhythm of the holes determines the hanging of the works.
1998 Translacje 98 (Translation 98)
Project in Piotrków Trybunalski, Poland
August 10 through 26 1998
Translacje is the name of a cycle of five consecutive meeting and working periods of artists from various parts of the world. The meetings take place from 1995 until 1999 in the city of Piotrków Trybunalski in Poland, each time in August. The overall purpose of the project is to create the Art Collection Of The End Of The Century, but it is also about exchange of ideas and experiences, about mutual inspiration and search for links between various actions and attitudes. The first meeting hosted ten artists from Poland, France and Germany. According to the project’s principle, every year the number of participants is increased by those invited by the previous year’s guests.
In my temporary studio I make three works on plywood delivered by the town’s wood factory, still a government undertaking at that time. Titles are (from left to right) Flood Waters, Whole And Holes and Reservoir. The meeting is rounded off with an exhibition on different locations in the town. I exhibit my works in the empty church of the Holiest Heart of Jesus.
1998 De Reproduceerbaarheid Van Tijd (Reproducibility Of Time)
Project Grafisch Atelier (Graphic Studio) 's-Hertogenbosch NL
May 17 through July 12 1998
Grafisch Atelier (Graphic Studio) Den Bosch organizes the project De Reproduceerbaarheid Van Tijd (Reproducibility Of Time), in which a productive exchange of traditional and digital reproduction techniques is intended. This should be done by using unusual approaches and by opening up new horizons on the notions of time, reproduction and their mutual interaction.
I make a group of works entitled Pond Group. In these works I seperate the natural circular course from human, cultural, technological time, in which natural processes are being accelerated and manipulated. As a symbol for this I use a garden pond in different ways.
The project is gathered in the publication De Dato, and an extra exhibition in 1999 accompanies the presentation of this book. On request I make a special work in an edition of 10 copies for this exhibition, entitled Container.
1995 XL, Tekeningen Van Formaat (XL, Major Drawings)
Project Artis, ’s-Hertogenbosch NL
September 2 through 24 1995
A project on the occasion of the 50th exhibition of Artis in ’s-Hertogenbosch. I make a work on invitation, fitting the size of its exhibition walls. In the work I use an image of a handaxe, the oldest found evidence of the existence of human culture. Title is Portable History.
Some other participants are Elizabeth de Vaal, Reinoud van Vught, Arno Kramer, Roland Sohier, Mariëtte Linders, Hester Oerlemans, Pam Emmerik, Gerard Polhuis, Paul Klemann.
1994 Beek In Beeld (A Brook Visualized )
Project Stichting Tussen Juffer en Borg (Foundation Between Juffer and Borg)
Westerwolde NL
May 28 through September 4 1994
The landscape of Westerwolde in the East of Groningen has changed dramatically as a result of cultural technical operations. Brooks were canalized and land reparcelling took place. But in 1993 a natural technical metamorphosis was started by restoration of the natural water-balance and having the brook Ruiten A meander again. The development of nature in the valleys of the brooks was stimulated because of this. These changes in the landscape of Westerwolde inspire the Foundation Tussen Juffer en Borg to organize a manifestation showing works of artists who react to these developments.
I make a series of works entitled Watershed Group, using a strip with a gradient from black to white. Because of differences in form and repetition it obtains different meanings; on the one hand it represents the floating of nature, on the other hand (in vertical position) the mechanic culture. But above all it stands for the strained relations between the two; are we at the centre or are we guest?
