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Converge

825.00

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

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.

Mirror II

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. See also Mirror en Bath.

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.

Theatrum Anatomicum

Commission

(Not for sale)

A chair in ‘Evidence based surgery‘. When I received an assignment from that corner, I immediately thought of the Anatomical Theater. That is where medical knowledge was shared and in that sense a nice starting point in this regard. I turned the benches into chair backs. Reverse seats show their intestines.

Radiate

1,450.00

Backlighting remains a fascinating thing and for a painter, especially with watercolors a huge challenge.
Reflections regularly occur in my work. But often with a twist, the apparently normal turns out to be chafing on closer inspection, but putting the finger on the ‘pain point’ is not that easy.

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.

Babel interior II

2,975.00

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.

Parade

1,650.00

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.

The last supper III

2,975.00

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.

Ejection seat II

335.00

A cartoonish version of my classic chair with real springs. A real quill in this case and it shows.

Painter’s chair

175.00

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

Dimensions

825.00

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.

Modern devotion VI

725.00

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.