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Shadowdancing III

An even more exuberant variation on the subject of shadow dancing or Shadowdancing. Where I dropped ‘dressed to impress’ in the description of Shadowdancing II, this is certainly more appropriate here. All kinds of greats from the art and design world come together at this party.
A colorful collection of chairs all busy with his/her own shade. A memory with a wink to my own past as an outgoing student: everyone dancing in their own bubble.



A somewhat atypical diptych where the boundary of what is a list and what it is for is scanned.
This work is only part of a series in which I explore the phenomenon of reflection in a fairly dry way. Like in Mirror and Mirror II and reflection.


Family portrait II


(Not for sale)

Through a kind of visual taste exploration, I questioned the customer about his family members and himself and thus finally chose chairs from the birth years of the five family members that match more or less with their character in terms of appearance. The table comes from the interior of this Breda family.


A circle of chairs of various colors. But also all copies to which I have devoted a work before, Escher in Oirschot for example, or that they played a role in a work, see The last supper II or III. Surrealist René Magritte’s Legend of the Centuries is strangely enough still steady on the ground, but following the circle the others become increasingly enlightened.

Een cirkel van stoelen van diverse pluimage. Maar ook allemaal exemplaren waar ik al eens eerder een werk aan heb gewijd, Escher in Oirschot bijvoorbeeld, dan wel dat ze een rol speelden in een werk zie bijvoorbeeld Het laatste Avondmaal II of III. Legend of the Centuries van surrealist René Magritte staat gek genoeg nog steady op de grond maar de kring volgend raken de anderen steeds verlichter.



Three shapes, namely a chair back seen from a low (top of the picture), high (bottom of the picture) and frontal (middle part) point of view are the basis of this work.
The brain tends to tilt the shapes so that they respond to the ‘normal’ laws of the central perspective. That produces a thrilling dynamic surface. The chosen colors reinforce this even more.


Rietveld is the first watercolor where I, stuck in the background, made the rigorous decision to cut it away. That unintentionally turned out to be a golden opportunity. By mounting another background behind it with some space in between, the light creates shadows on that background, creating a dynamic and much richer tonal depth. Rietveld is a pattern, a field full of Zigzagchairs of Gerrit Rietveld.

The long march III

“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)

Duet I

Actually, I literally found these schoolchairs on a sunny day somewhere in a gallery. So in my oeuvre this is actually a bit of an outsider because ‘only’ directly more or less made from observation. See also other duets such as Duet II and Duet III and certainly also the Pas de Deux series.