Filter on price
Gerrit Rietveld, as a furniture maker and architect, naturally had a strong preference for three dimensions. So it’s no surprise that this design of his, the military chair, frees itself from the limitations of two dimensions.
“I have received your work in good order. How nice of you to send a book with it.
I found you because I googled ‘Oirschotse chair’. I grew up in Oirschot and have always continued to come there until my father recently passed away. I looked for a memento of my beautiful old village, but there is little to be found and what you come across is very old-fashioned. This work of yours immediately appealed to me, especially because there is humor in it, because that suits my father. I am very happy with it, it will have a nice place in my living room.”
(according to the buyer of this work)
One of the first members of the artists’ association Hoorn a.s. (that ‘and surroundings’ extends as far as at least Tilburg apparently) has come up with the idea of choosing a work from those members and having the other members respond to it with a work. No one else had any influence on the clutch. Everything was shown at the ‘Encounters’ exhibition in De Boterhal in Hoorn in honor of the association’s 50th anniversary. The Boterhal is the permanent operating base. I was handed a work by Paul Stap. Polychromed wood which he found in his backyard. Paul is (has been) a passionate diver.
‘Thinking of…’ is my reaction to the work of Paul Stap and was therefore shown at the exhibition.
The impact of Escher’s visit to Oirschot, first recorded by me in 1989 (Escher in Oirschot) is much greater than I dared to dream in the previous millennium. In fact, there were no dreams at all in this regard. The follow up also took quite a while. Last year I made Escher in Oirschot II: a connection between two frames by means of the bars of the backrest. In this way, the work also somewhat annexes the environment in which it hangs. In this work even the third dimension is entered.
The ‘overshoulder‘ frequently used in film and comics has the disadvantage that you cannot see this figure (shape) in question. In a film or comic you solve this by using multiple images, before and/or after, but if you only have one? Then a mirror is of course an option. An additional advantage is that as a viewer you also become (partly) part of the work.
The repetition of the image in the image is named after the storage tin of the Dutch chocolate manufacturer Droste. I already referred to this in my work Droste effect. In this case, I add another layer spatially by letting the framed drawing repeat itself. Shadow effect thus becomes an essential part of the image.
After Escher in Oirschot II and Stairway to heaven, the next step. The drawing, in this case a diptych, takes up part of your space with your cooperation and shows at that moment why it is called ‘three’ folding chairs, while clearly only two are depicted …
However, this relocation frees up the space on the wall again.
In some earlier works, such as the watercolor Rietveld or the pencil drawing Swing II and more recently Relations, I make use of several layers in the image, just as in this one. This makes the light, or rather one of the consequences of light, namely shadow, an important element that determines the drawing and makes it more dynamic in a sense. The drawn chair separates itself from the drawing, as it were.
Renowned Scottish architect Charles Rennie Macintosh designed buildings down to the finest detail and often went as far as just about the entire interior. That is why he also has quite a few chairs to his name. He is known for his Ladderback chair, limited to the latter. In the spirit of my earlier work ‘Escher in Oirschot II’, I chose this design for this ‘Stairway to heaven’ because of his ladder back.
Separated and at the same time undivided.
From the glitter ball, which hangs in a classic disco central above the dance floor, we watch the shuffle and twist of the colorful crowd.
If you look closely, you will see a limited variety of points of view of a chair from above, that have been carefully composed like a piece of music. The eye of the beholder dances from spatial to flat and also along with the performance in search of logic or a pattern.
At the end of the day, chair upside down on your table as a final chord. That leaves plenty of room for the sweeping team.
It looks like a seemingly familiar situation, but it soon turns out to be a special intergrowth with mainly adverse effects for the users. Moreover, as a result of this unification, the drawers can no longer be opened and thus the knowledge and materials stored in it are unaccessible: a Lockdown.
Naturally, the drawing refers to the countless classrooms that were inaccessible to millions of children worldwide during the corona crisis.
At the beginning of this century I already drew a pencil drawing based on this triangle. The triangle is named after the British mathematician and physicist Roger Penrose, but was first drawn in 1934 by the Swede Oscar Reutersvärd. I therefore called that pencil drawing ‘To Reutersvärd’. Because in my paintings, in contrast to the pencil drawings, I somehow have to ‘do something’ with the background, the environment, this concept did not lend itself to a painting in my view. The spatial gain that I achieve by mounting the shape (s) separately from the background, as in Babels end and Babels end II, for example, also offered opportunities for a Penrose triangle with Stacking Chairs. Et voilà.
Welcome to the world of the SB01 designed by Cees Braakman and produced by the Dutch company Pastoe. This could just be the first page of this story that you as a viewer can complete. For now it is the first page. It is already framed to be hung on the wall in stead of placing it on a bookshelf between other books.