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What would it look like when you look up along the wall of chairs stacked up to a huge tower? No two chairs are the same. The harmony that towers I had drawn earlier, at least in appearance (Tower of Babel, Tower of Babel II) had, has already been exchanged for an enormous variety in Tower of Babel III. This is could be a detail from a lower point of view looking up from the inside against the wall.
My interest in visual rhythms and patterns combines very well with the use of the isometric perspective. Here lines that in reality run parallel also run in the drawing. So there is no vanishing point, so you can easily connect far away and close by, as Escher convincingly demonstrates in Bol en Hol. Each of the depicted chairs has been allocated the same space, namely an isometric cube. Carefully arranged side by side, this results in a colorful procession. By calling the Parade, it is also an ode to my carnival past.
Chairs in a circle. Different types of chairs, each with their own character, than the step from a meeting through a meal to the ultimate last meal is no longer a big one. Yet, in 2000, I did not make that choice lightly. In 2002 the oval The last Supper II followed with a completely different point of view: right above the table/circle. In this case, the calamity comes straight at you, the betrayal is done and the sacred chair collapses. Don’t burn yourself on the halo! The remaining seats remain nailed to the ground. Still.
A cartoonish version of my classic chair with real springs. A real quill in this case and it shows.
A chair that the painter clamps in like an easel does with a canvas, then you as an artist are in the right place!
Alice in wonderland is the best-known work in which another world is reached through a mirror. A mirror or reflection is a rewarding starting point in art. Who does not know the famous work ‘Reproduction forbidden‘ by the Belgian surrealist Rene Magritte. It goes without saying that the Dutch graphic artist Maurits Cornelius Escher, very much inspired by perspective and perception, also made many prints with reflection as subject matter, such as this one. It is no different for me. Playing with the obvious when it comes to mirroring offers a variety of possibilities such as this watercolor.
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.
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.
“We see a kind of section from a massive and all but endless row of swaying and wobbling chairs. The reference to the founder of the Chinese Communist Party in the 1920s, Mao Tse-Tung, is evident. Nevertheless such a title also allows thoughts about other large-scale migrations of living creatures. Think of the wildebeest in the African plains, or flows of refugees, escaping from whatever atrocities.” (from Chairs and Titles by Chris Manders in All in the Family, 2016)