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After painting a large Meal of Friends twice, the most mythical dinner almost automatically arises: the last supper. And then you cannot ignore Leonardo da Vinci’s version, so I used that as a base for the composition.
Judas has done what was meant to be, and here’s the thing, starting with the sacred chair, and thanks to the halo glow, the chairs cast their dramatic shadows forward. I gratefully exploit that glow in The last supper II, where it helps the viewer to identify the different characters.
The chair universe has an unprecedented wealth of varieties and colors. It also offers a variety of mutual relationships and cross connections. Chairs from my own past and daily life and inaccessible chairs because they are rare and precious and vulnerable. However, in three dimensions on the plane there are few limitations.
The effect named after the Dutch chocolate manufacturer Droste, the droste effect, immediately occurred when I made this watercolor.
Book with graphics by 7 artists who all made work with the poetry collection ‘Until death at sea’ by Peter Swanborn as a starting point.
In addition to me, the following artists participated and so graphics can be found in this book: Iris van Dongen, Henk Tichelaar, Linda Zwart, José op ten Berg, Francine Steegs and my wife Sofia Ramselaar.
After primarily using my own trusted chair, ‘strangers’ gradually emerged. In the beginning, directly linked to a chair made or depicted by another artist, such as by Van Gogh, Duchamps and Magritte, especially because I had used them in earlier works. To invite all these ‘friends’ to a joint meal, that seemed like something.
A circle of chairs remains intriguing to me. Expectation, rhythm, symmetry, time, family, conversation or meeting, just a few concepts that arise in this context. And musical chairs of course, a round dance with one seat less than dancers. As usual, I don’t need the dancers.
Also take a look at ‘Collier‘, which is an anamorfosis of this work. There are also numerous circular shapes on this site, such as Cycle from 1997, Tijdkring IV from 2008 or Tijdkring VII from 2016.
Using chairs as letters to convey a message was a great find for me. Especially if you can then put the title of the work in a different light. For example, ‘Z onder Titel (‘Z’ under title in English) is certainly a playful commentary on the many works of the same name in countless museums (‘untitled’ in English). And Seats for Black Holes is such an offering for phenomena in the universe. The chairs annex letters are the celestial bodies that fill the firmament and offer a seat to a black hole (The words/chairs in the image are in dutch: Zetels voor zwarte gaten).
I tied a line drawing of a field, a pattern of chair seats supported by legs. I first drew this situation and then painted it.
A chandelier of chairs Or a UFO if you like, but one with familiar elements.
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.