Elizabeth De Witt
(b. Long Beach, US)
How we are, how we aren’t, how we can be present with the world around us—a lifelong preoccupation with observing and encountering these interconnected conditions is the underlying spark of De Witt’s practice. Focused on liminal and ephemeral moments of interaction and vision, but committed to the constraints of static materials, she explores the continuum between the present (Image) and memory (Afterimage), and how that exploration can be revealed by stationary drawings and paintings. Her Image works explore and express how much can be taken in during any given moment. Honoring that limitation, these works are made solely in the moment, not to be altered or augmented later. For moments that still intrigue her later, experiences that are curiously sticky, she uses her own mental memories and collateral support (sketches, photographs, writings) to further their investigation. These Afterimage works are memories made manifest, often letting the evocative power of intuitive color take a lead role. All her work is a discussion of how multiple modes of depiction can coexist concurrently, confabulating and converging.
Roos van Dijk
(b. 1989, Utrecht, NL)
The work of Roos van Dijk originates from her affinity with modern architecture and how she experiences specific aspects of the buildings that she encounters. She uses modern architecture as a point of departure with arranged patterns of contours and solids of immense size that attracting her. Her personal experience of the scene is a switching back and forth between the considered functional reality of the building and an abstract geometrical composition of lines and figures. Van Dijk executes her work in a appropriately precise, diligent way, inclined to a formal styles creating ‘hard edge’ paintings and plaster reliefs in sharp dancing patterns of light, shadow and color, bringing a linear purity into the rush of modern life.
(b. 1971, Deventer, NL)
Gerben Hermanus is an artist who mainly works with drawing. By investigating mass media by exaggerating certain figurative aspects inherent to our contemporary society, Hermanus makes works that can be seen as self-portraits. His drawings appear as dreamlike images in which fiction and reality meet, well-known tropes merge, meanings shift, past and present fuse. Time and memory always play a key role. Through a radically singular approach that is nevertheless inscribed in the contemporary debate, he uses references and ideas that are so integrated into the process of the composition of the work that they may escape those who do not take the time to explore how and why these images haunt you, like a good film, long after you’ve seen them. His works are a drawn reflection upon the art of drawing itself: thoroughly self-referential, yet no less aesthetically pleasing, and therefore deeply inscribed in the history of modernism – made present most palpably in the artist’s exploration of some of the most hallowed of modernist paradigms. By applying a poetic and often metaphorical language, he wants to amplify the astonishment of the spectator by creating compositions or settings that generate tranquil poetic images that leave traces and balances on the edge of recognition and alienation. His works are saturated with obviousness, mental inertia, clichés and bad jokes. They question the coerciveness that is derived from the more profound meaning and the superficial aesthetic appearance of an image. Gerben Hermanus currently lives and works in Amsterdam.
(b. 1974 Pforzheim, DE)
Educated as an architect, Kopp is interested in the world of man-made spaces. Photography is for her not simply a tool for observing that world and communicating about it through images. It is a means of studying spaces and commenting on how we use them, and how we could use them. Her work exposes the hidden dimensions and potential beneath the everyday surfaces around us. In addition to detecting evidence of human presence, she adds traces of future or imagined human activity. But her architectural background enables her to go a step further and deploy photography as a creative tool. Her projects constitute proposals in which she constructs new realities and identities. The designer in her is what ultimately defines her vision of photography.
Patricia Werneck Ribas
(b. 1972, Itapetininga, BR)
From still images to video installation or film, Patricia Werneck Ribas creates situations where the viewer can encounter different human experiences and engage with them in different ways. In Ribas’ works, concepts of identity, mainly related to gender and race, are negotiated by the one/ones being depicted and the viewer. Within these concepts, the female condition is of particular interest. Because photography and film allow for the production of images that refer to reality in a very direct way and help us understand the world, think it and relate to it, they have become Ribas’ media of choice. The photographic and cinematographic images resemble the world we experience, imagine and dream, and while they can still be manipulated and altered, they carry the marks of what we perceive as real.
In every portrait Inge Schoutsen tries to embody an atmosphere of tender tranquillity. Every photo should be an ode to the casual and the transient of human gestures, behavior and expressions. These human characteristics that we are all familiar with, no matter how subtle or brief, and that we would only associate with people. For Schoutsen, portrait photography is about encoding the tiniest of gestures or poses. Those little moments of expression that you can freeze in a photo. By putting emphasis on subtle detail, the portraits acquire universal meaning.
A photo is suggestion, so Schoutsen aims to let that work in her photography. The suggestion of every behavior can be provoked by form, by making a loose and ordinary photo. To give the photo this particular quality the holding capacity needs to be as specific as it can be. A photo suggest reality but it is reality through a certain framework, composition, context, lightning. The moment you choose as a photographer colors reality and objectivity voids. So, as a photographer you can let the suggestion work for you. Staring becomes dreaming, the blink of an eye melancholy.
(b. 1966, Dieren, NL)
6.) If the artist changes his mind midway through the execution of the piece he compromises the results and repeats past results
7.) the artist’s will is secondary to the process from idea to completion. His willfulness may only be ego.
Sentences on Conceptual Art, 1968, Sol LeWitt
The above two assertions of Soll Lewitt illustrate the process by which Vis proceeds in her drawings and collages. Through predefined and formal rules which material and method are fixed she draws almost mechanically lines on paper. The surface is as neutral as possible in terms of appearance; selected for white paper, MDF, honeycomb cardboard or canvas. The operation is without value judgment, made without emotion. She performs out these strict regulations. Within the work are no contexts, no interventions. At 22.) states Lewitt: “The artist can not imagine his art, and can not perceive it until it’s complete.” Questions such as “what am I investigating, may I intervene or do I want to intervene in a predetermined process,” What if I don’t deviate from the rules I made, not breaking out of the pursuance? ” Only two lines again and again (horizontal-vertical) just do it, be there while doing it [the implementation of the rules] that may just be enough, what lies behind it, what can come out of it, without interfering. Is there anything at all behind the work that manifests itself? Those thoughts stand central during and after the work. One ‘story’ at a time. Building a fundament.
Rutger de Vries
(b. 1987, Zwolle, NL)
Rutger de Vries (NL, 1987) is a multidisciplinary visual artist whose practice is described as Post-Graffiti Art. His audacious body of work is based on autobiographical experiences as a Graffiti writer and trained Graphic Designer. In the field of tension between public space and the gallery, de Vries inverts a graffiti reality and alters the work and its maker substantially.
De Vries’ method of integrating elements of public space, such as everyday-life objects, into his installations is a reoccuring reference to his life as a street artist. While de Vries’ motifs, such as the notion of a recognisable signature, allude to Graffiti art contextually. By producing artwork mechanically through the use of self-built painting machines, the “tag”, not only becomes an allegory but is a way of questioning authorship and the role of today’s fine artist. “There always is something in-between me and my work—It is either a tool or a machine”, de Vries states.
Additionally de Vries’ practice is firmly rooted in the subtractive color model and the CMYK color printing process. While paint is the subject, Rutger de Vries’ art practice is a process-oriented experiment and a visual form of self-expression. Capturing a moment in time and leaving behind the artists trace like a paint bomb.