Daniel Mullen (Born 1985, Glasgow Scotland)
Mullen paints images of abstract architectural volumes and spaces, that seem weightless and transparent where the scale is left to the imagination of the viewer. Without taking into consideration aspects that define the possibilities within physical architecture, Mullen is creating his own universe, wherein he sets the rules, he sees himself as an architect at play. There are clear aesthetic influences from futurism and the Dutch "de Stijl' movement, bringing both in line with contemporary messages and contexts. In his work he highlights the friction between stability of structure and fragility in weightlessness and transparency. “I paint an illusion of an illusion therefore raising a question of perception, like the shadows on the wall in the analogy of Plato’s cave”.
Left: Raising hope, Acrylic on canvas, 100x110cm, 2016
Hugo Keizer (born 1963, Amsterdam, the Netherlands)
In his work Keizer searches for a harmony between a light, esthetic side and a dark, moody side. His work consists of series which start from an idea, but once started, the series shape and steer themselves.
Left: Image from All's Well, mixed techniques, installation of nine images, each 59X64cm, 2015. The photo's are mounted on dibond and hand finished with acrylic paste.
Roos van Dijk (Utrecht, 1989) The work of Roos van Dijk originates from her affinity with modern architecture and how she experiences specific aspects of the buildings which she encounters. Using modern architecture as a point of departure, it is the arranged pattern of contours and solids of immense size that attracts her, as well as the sublime repetition of forms that, in her personal experience of the scene, is 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 appropriate precise, diligent way, inclined to a formal style creating ‘hard edge’ paintings and plaster reliefs in sharp dancing patterns of light, shadow and colour, bringing a linear purity into the rush of modern life.
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.
From Sentences on Conceptual Art, Sol LeWitt (1968)
The above two thesis of Soll Lewitt illustrate the process by which I proceed in my drawings and collages. Through predefined and formal rules which material and method are fixed I draw 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. I perform 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.
Gerben Hermanus (°1971, Deventer, Netherlands) 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.
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.
'Quick and easy' is a combination of images merged from five different series that form an enclosed system where I match them in order to create a dialogue. The work lies between the connections images shape between each other, much like the illusion of black dots in the Hermann grid. I’m interested in how we read images that are very clear in what they depict, for example the product images from catalogues, and in the fact that they become abstract when their original context is changed. This newly acquired abstraction works as a generator for new meanings, when a cable box becomes a space ship and backside of a card turns into a curtain. Background is a formal link to all of the works. Its most evident in the frame, where the sides are colored and therefore become an integral part of the image. In the series of the cable trunking system the printed part is the background color while the white photographed object is not and gets the color from the paper. The paper is not in the function of carrying ink, but works as one, consequently background creates the image. The work consists of 19 photographic images, mostly photographs, some sketches, no 3d renderings and no airbrushes.
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.
Imagination exists by the grace of the imperfect, the unfinished and the unknown. In the collage techniques Tinca Veerman has been making over the last couple of years, the unfinished and the unknown are ever-present. Tinca Veerman (Eindhoven) graduated in from the HKA, department of Liberal Arts. She regularly worked at the FM Centre for Graphic Techniques in Kasterlee, Belgium. Tinca lives and works in Amsterdam. In the collages I make, I’m consistently searching for a balance between reality and alienation. I’m always questioning myself where reality ends and imagination begins. I question myself about the personal book of information we've got in our heads. Are we capable of receiving new constructions, or are we always hooking it up to the 'thing' we know from real life and try to connect with that? We redefine by watching what's real or not and that takes time. Avoiding the intention of a made-up story. I'm forcing the viewer to slow down and unpack the construction, to test it’s veracity.