small exhibition in central library of nijmegen

la gomera
(2009 ~ 80 x 110 cm ~ acrylic and ink on canvas)

i'm having a small exhibition in the central library of nijmegen. this, plus teaching art at the unit-academy in nijmegen and writing a blog about that as well, plus flu...have kept me from posting here.

anyway, here is an invitation, welcome all:

1-31 march 2010

paintings & sculptures

central library nijmegen

mariënburg 29 nijmegen

opening hours:

monday	11.00 - 18.00
tuesday	11.00 - 21.00
wednesday	11.00 - 18.00
thursday	11.00 - 21.00
friday	11.00 - 21.00
saturday	10.00 - 17.00
sunday	13.00 - 17.00

new year's wish 2010

recent drawings, paintings and outsiderness 1

i'm just putting up some recent drawings. not too much commentary from me, but i will be happy with feedback. don't be surprised to see some outsiderness...


i'm in that dark place, waiting for you
own work ~ 2009 ~ 35 x 50 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view;


man, hands
own work ~ 2009 ~ 35 x 50 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view


notre dame des anges
own work ~ 2009 ~ 22 x 30 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view


atlas in the dark
own work ~ 2009 ~ 21 x 30 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view.


dancing with the deer
own work ~ 2009 ~ 30 x 21 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view.


dancing together, dancing alone
own work ~ 2009 ~ 21 x 30 cm ~ mixed media on paper; right-mouseclick on `view image' for a better view.


notre dame des anges at night
own work ~ 2003-2009 ~ 30 x 40 cm ~ acrylic on canvas; right-mouseclick on `view image' for a better view


notre dame des anges
own work ~ 2003-2009 ~ 30 x 40 cm ~ acrylic on board; right-mouseclick on `view image' for a better view

outsider art 2: adolf wölfli

much as i would like to be able to find the time to keep up this blog in a steady flow of thought, this turns out to be an illusion. the price to pay for having too much projects in my head.

snippets is what i'll be writing, just until my other blog `trijntje fop gaat op de schop' (freely translated `trijntje fop goes art, revised') is finished (see this older post on trijntje fop). and i also write a blog for my students, since i teach a course `image & world' at the unit academy in nijmegen -call it `art philosophy'-...time consuming.

anyway, here some pictures of works by famous outsider artist adolf wölfli (please read!, it saves me the writing here...):


adolf wölfli, london north


adolf wölfli, general view of the island of neveranger

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perhaps indicative of my own outsiderness, i have always felt a strong connectedness to many works from outsider artists, also from psychiatric patients. in the next post i will turn again to some recent own work.

outsider art 1: the outsider in art

perhaps i will launch a series of posts on outsider art, which frequently touches me. but the more direct reason for this post is my attraction to artists who paint some feeling of `outsiderness', frequently their own, frequently indirect - but how can one paint the feeling of being an outsider, if one does not feel this (or has not felt it) inside?

i recently finished a drawing which i started already long ago in 1993. below this drawing, i will post some really inspiring -to me unbelievably masterful- paintings by bosch, ensor, rembrandt, and van gogh - all from the low countries, coincidentally?


outsider
own work ~ 1993-2009 ~ 18 x 26 cm ~ mixed media on paper

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some perpetual inspirations that certainly influenced me for this drawing:


hieronymus bosch, christ carrying the cross

this has to be one of my all-time favourite paintings. seldom have i come across sharper depiction of la condition humaine. also, here christ is depicted as the outsider. incredible composition.

i believe the following work of james ensor to have some direct connection to bosch's painting:


james ensor, self-portrait with masks

further comment is not really necessary, i believe. but i would like to formulate a question that springs up in me: are we seeing the unmasked or the masked painter here? anyway, to me it offers also the interpretation that we are all outsider, because we are all surrounded by people wearing masks to us...with only one exception: ourself.

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then some self-portraits depicting -in my eyes- outsiderness in some way:

rembrandt, self-portrait

although this is a different self-portrait, i repeat from a previous post:

a self-portrait by rembrandt on the other hand i enjoyed for something perhaps strange; it gave me the following feeling: a man looks at me, knowing i will look at him-on-canvas when he is long gone and also knowing that he is a master far ahead of his contemporaries - not per se in skill alone, but especially in vision, in artistic feeling and experiencing reality, and therefore also in rendering reality - and knowing that i will appreciate this where most of his contemporaries lack the necessary depth of development of visual/philosophical issues.

vincent van gogh, self-portrait

one of van gogh's many self-portraits. outsiderness to me just radiates from expression, colour, brushstrokes...

refugee father & child

refugee father & child
own work ~ 2006-2009 ~ 120 x 200 cm ~ acrylic on canvas

although i have difficulty photographing the colours adequately (they are more brilliant, especially some of the yellow) the painting speaks for itself, i believe. but perhaps i could add a few words on the themes which drove me to this work.

&&&&&&&

images of father & child are relatively rare in art. i don't think that this is a coincidence. somehow our society seems preoccupied with -in my not so humble opinion (imnsho)- silly preconceptions about woman-man differences. we have tons of `madonna-with-child'-like imagery, reflecting the cliché that children are raised by the loving care of the mother, much more than by the loving care of the father.

imnsho, we desperately need to change many of these man-woman clichés which are so dominant. a loving father's and mother's presence to me both seem essential in any upbringing - even though many of us have to do without one, the other or both.

the discrimination between the sexes is traditionally seen as holding women back from good job perspectives, economic independence, sexual independence,... but how often do we stop to consider the role patterns that hold men back from becoming loving fathers? from becoming actively involved in the raising of the children, from being a family- and community-involved person, instead of a career-, money-, power-driven one?

&&&&&&&

anyway, i think a loving, present father can be a rock of security in a child's world. a safe haven, a protector, a comforting presence.

in the painting, i was also driven by the theme of war & violence, which is so predominant in the world. we are all connected. anyone's war is our war, and our concern i believe. why do we let ourselves be driven by racism, fear, greed, violence, power?

in the refugee father, i have tried to paint this. and yet his child sleeps in his arms, feeling safe, protected, knowing the father is there. but where are the mother, and the other children?

so perhaps i should add that the father understands we cannot even protect our loved ones from the violence in this world.

bill viola in de pont, tilburg

yesterday we went to see the show intimate work of video artist bill viola, in museum de pont, tilburg (netherlands).

a bit to my surprise -since i generally have difficulty immersing myself in video art-i found it really interesting, and i watched most of the works from beginning to end.

my favourites were small saints, acceptance and the last angel.


in small saints we see 6 small screens, each with a different figure. each figure is in a different time frame. each figure starts grey, jaded-photograph-like, behind a thin water screen. then comes slowly forward. the effect of brilliant colour coming to the fore as soon as the figure steps through to `our' side of the screen i found quite beautiful. clearly to me evoking a reference to the way we are born, and then live in a limited time frame, after which we fade away once again in oblivion. (the figures step back, the colour is gone, the figure walks and fades away). and these timeframes do not coincide, although there is some overlap sometimes. (i couldn't find an image which really portrays the work as i describe it.)


acceptance looks similar, in a way, but remains black-and-white. a naked woman slowly slowly and blurredly appears, until she (too) steps slowly through a thin waterscreen. crying, wailing. but especially the way viola uses the water screen to send light around the woman's body is simply wonderful. and then the way in which she (again) steps back and fades away, ever more blurry is really very special. i'm less impressed with the crying and wailing, and other facial expressions but that is simply my prejudice against acting for themes like this.


the last angel is more abstract, and for that reason perhaps my most favourite. because i found it to be a very subtly coloured, multilayered study of water, playing with different aspects of video itself too...really wonderful.

anyway, i advise you to go to any such show of viola's work. here a link to bill viola's website