street art 1: graffiti in eindhoven

i ain't gonna say shit dude. just click the flick.

trees, hills

trees, hills (own work, 80 x 110 cm, acrylic and ink on canvas, 2009)

just a new painting, which i'll be showing in an upcoming short exhibition. i also managed to take some pictures of a statuette which i borrowed back from the owner, i think i might put them up also.

see previous two posts: my trijntje-fop-blog is still taking up most of my writing energy, sorry. i managed to revise around 55 of the around 160 trijntje fop poems now, that means i'm going to be tied up quite some time still to come. but i'm strangely satisfied with these light poems, with all their connotations and (hyper)links to the art world and beyond.

on a bonobo and a chimpanzee (see previous post)

on a bonobo and a chimpanzee

did artist yoko bonobo
completely out of mikado
construct for hiroshige's lobster
`jacuzzi with yakuza mobster'?

the ape clams up mysteriously
but still complains imperiously
`they never take me seriously'

chimp saatchi: `who knows? years ago
she built in downtown tokyo
her christ in tub with giorgio
committing in this spirito
artistic harachirico'



utagawa hiroshige, 2 shrimp and a lobster


giorgio de chirico, christ and the storm


giorgio de chirico, mystery and melancholy of a street


yoko ono, touch me

yoko ono: once partner of john lennon, bonobo: great ape, jacuzzi: warmwater whirlpool, yakuza: japanese mafia, mobster: mafioso, charles saatchi: owner of saatchi gallery, harakiri: ritual japanese suicide

for this trijntje fop some background on de chirico is useful, see an essay by robert hughes

above a typical example (or non-typical since it is in english) of what i've been working on. silly light verse, but with lots of art pictures and art references, also largely as a hommage to the many artists who have inspired me.

trijntje fop goes art

sorry to not have posted any more recently. there was a reason, pretty predictable: i'm writing on another blog called trijntje fop gaat op de schop. a crazy undertaking, to be honest. mostly silly rhymes, mostly in dutch, mostly about art, in a style called `trijntje fop'

trijntje fop is a nom de plume of the dutch poet kees stip (1913-2001). the name is currently used to describe light poetry with the following style characteristics :

1. light!


2. see 1.


3. about 1 or more animals (`on a ...' ) with typical human characteristics - as in de la fontaine's work.


4. abundance of spoonerisms.


5. 2 to ... lines, mostly 6 lines in aabbcc form.

the name trijntje fop itself was taken from multatuli (pseudonym of eduard douwes dekker), from his magistral ideas- when will these be translated in english? i'm flabbergasted to be unable to locate a translation. here a link to a commented, wonderful complete online edition of multatuli's ideas in dutch by philosopher maarten maartensz.

in one of the continuing stories (between ideas) master pennewip reads and comments on poems of his children. one of them is trijntje fop, with a short and very simple verse:

Tryntje Fop, op haar muts

Ik heet Tryntje Fop
En heb een muts op myn kop.

(Tryntje Fop, on her cap

I'm called Tryntje Fop
And have a cap on my head.)

pennewip's commentary is very memorable. multatuli was a great modernizer of language, i have tried to retain that spirit also.

in the next post i will give an example of my `trijntje fop goes art' in english. not the best and not all that accessible to a lay person, but it gives an inkling of what i've been working on in this past month of silence.

actually i'm revising the lot of around 160 poems, and this for me is a gargantuan task. although not as bad as writing them in the first place, which took two years.

fashion & art 2: vincent van gogh continued

ok. having posted the previous painting wheat field under thunderclouds i cannot leave out its famous sibling:



vincent van gogh, wheat field with crows (1890)

van gogh's works were not the fashion during his lifetime. he could not sell his paintings (i believe he sold just one painting during his life), but other artists recognized his genius. after his death, his paintings quickly gained reputation. vincent to me is probably the antinomy of fashion and contemporary fashion-like art.

theorem: (ralf kwaaknijd, 2008)

the fashionality in contemp art is largely due to the relativistic opportunism of postmodernism.

proof: we leave the proof as an exercise to the reader.

fashion & art 1: vincent van gogh

frequently i find myself being old-fashioned. i suppose it has to do with my distaste of fashion. distaste of fashion? yes, you read correctly.

it's not that i dislike nice clothes, or that i dislike contemporary creativity. i dislike the enormous marketing component, the money machine which drives our fashions. not only in clothing, but also very prominently in contemporary art.

with the communication speed of the modern world, new newer newest cannot go fast enough. to maintain the illusion of `important buzz', the marketeers in fashion (and art and any other field) have to convince us time and again that `new' equals `better'.

please don't misunderstand me with regard to (post)(post)modern art. personally i feel that a much larger art world has been opened up to us in the past century, for which i'm grateful. but on considering which art works from this period i find exceptionally moving, inspiring...it seems to me that these works breathe the same qualities as the exceptionally moving art works from earlier times.

there is something timeless about these works. they and `fashion' are definitely not in the same existence plane.



vincent van gogh, wheat field under thunderclouds (1890)

entombment series inspired by rembrandt 10, 11 (end)

entombment 10 (own work, 2006, 70 x 50 cm, inspired by a rembrandt drawing)




entombment 11 (own work, 2006, 70 x 50 cm, inspired by a rembrandt drawing)

above are the last two drawings in the series, no further comment on them. i hope to have brought readers some insight in how works develop over time, and how old masters inspire. now it's time for other subjects.