Drawings

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Cross beam

180.00

Familiar elements combined in a somewhat less common way can nevertheless result in new seating furniture. We have known transverse lying much longer than transverse thinking. However?

Parallel world

180.00
Familiar elements mounted and connected in a somewhat different way. This mental exercise holds up well on the flat surface of the drawing paper. Hanging against the wall, this parallelogram can also be seen as a square in perspective.

Mirror

An atypical diptych where the boundary of what is a list and what it is for is scanned.
This work is part of a series in which I explore the phenomenon of reflection in a fairly dry way, as in the successor Mirror II and also in Bath.

Painter’s chair

145.00

A chair that the painter clamps in like an easel does with a canvas, then you as an artist are in the right place!

Modern devotion VI

400.00

A contemporary triptych. On the left panel the high chair where my own children sat and on the right panel a high chair in style by Gerrit Rietveld. On the central panel, the somewhat dismantled chair tries to keep up appearances with what it still has above the belt. After all, this appears to apply to only one point of view.

Rotation

625.00

A row of chairs that always show a different position of the chair and thus form a frozen animation. A film strip without frames.

Portrait 3

90.00

The 3rd portrait of a chair through the backrest. This one is from the first series of nine from 2012. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally three more in 2019. I usually present them grouped in a larger number or also as smaller accents among other pencil drawings. See Portrait 14, 34 en 43.

 

portrait 2

90.00

The 2nd portrait of a chair through the backrest. This one is from the first series of nine from 2012. After that it was ‘quiet’ in this area until in 2017 another nine new ones appeared. Followed by another twelve in 2018 and most recently three in 2019. I usually present them grouped in a larger number or also as smaller accents among other pencil drawings. See Portrait Portret 14, 34 and 43.

Portrait 4

90.00

The 4th portrait of a chair by the backrest. This one is from the first series of nine from 2011. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally another three in 2019. I usually show them grouped or also as small accents between other pencil drawings. Portrait 14, 34 and 43.

 

Portrait 5

The 5th portrait of a chair by the backrest. This one is from the first series of nine from 2011. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally another three in 2019. I usually show them grouped or also as small accents between other pencil drawings. Portrait 14, 34 and 43.

 

Portrait 6

90.00

The 6th portrait of a chair by the backrest. This one is from the first series of nine from 2011. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally another three in 2019. I usually show them grouped or also as small accents between other pencil drawings. Portrait 14, 34 and 43.

 

Portrait 7

90.00

The 7th portrait of a chair by the backrest. This one is from the first series of nine from 2011. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally another three in 2019. I usually show them grouped or also as small accents between other pencil drawings. Portrait 14, 34 and 43.

 

Stoelgang

The chair shows its more flexible side here and approaches us energetically. Actually, with this first casually scribbled line drawing, I discover a new possibility. We know that a chair has a certain character; tough, elegant, robust, rustic, etc. But this also gives it its own will and enters the world.

Circle

575.00

This drawing was created more or less simultaneously with Fraternization. Here it is purely the oval shape in relation to the round frame. Be sure to read Chris Manders’ comment there, who also applies to this work.

Escher in Oirschot

Made in the first of my two graduation years at the Academy for Visual Education in Tilburg. In the kitchen of (my wife) Sofia’s student house there was such an Oirschot chair. Playing with that chair’s shape, this variant emerged, a trifle with major consequences. I didn’t know at the time that it was called that, but one of the teachers at the academy dropped that name. The combination between  in this case a drawing and a title that offers a clue arose then. My sense of language and associative ability join the maker and loose is the bear.
Recently I made Escher in Oirschot II. Very different and yet also very related.