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Portrait 3

90.00

The 3rd portrait of a chair through the backrest. This one is from the first series of nine from 2012. After that it was ‘quiet’ in this area until in 2017 again nine new ones appeared. Followed by another twelve in 2018 and finally three more in 2019. I usually present them grouped in a larger number or also as smaller accents among other pencil drawings. See Portrait 14, 34 en 43.

 

Tower of Babel III

After having built two earlier towers (Tower of Babel and Tower of Babel II) with all identical chairs (which makes stacking a bit easier), one with all different chairs could not be avoided. It will be the moment just before the confusion of tongues kicks in and messes up the building process.
Parts of this construction I later reproduced in Babel interior II en Babel II.

portrait 2

90.00

The 2nd portrait of a chair through the backrest. This one is from the first series of nine from 2012. After that it was ‘quiet’ in this area until in 2017 another nine new ones appeared. Followed by another twelve in 2018 and most recently three in 2019. I usually present them grouped in a larger number or also as smaller accents among other pencil drawings. See Portrait Portret 14, 34 and 43.

Portrait 4

90.00

The 4th 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.

 

Portrait 5

The 5th 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.

 

Portrait 6

90.00

The 6th 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.

 

Portrait 7

90.00

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.

 

Modern Devotion V

250.00

Three linocuts in a triptych in the shape of a laptop. Where in the Middle Ages the (well-to-do) traveler had an altar in his pocket to raise his prayers (devoutly) at the agreed times, today’s commuter has his laptop. He usually folds it out immediately after taking a seat in public transport or park to disappear completely into it: modern devotion.

Torque

700.00

From time to time these kinds of infinite-like constructions come back in my work. Spatial and flat, isometry often combined with central perspective and regular surface divisions comparable to, for example, works of the famous dutch artist Escher.

 

Circle time V

2,375.00

A (more or less) side view of Time circle III. With also the same tubular frame chair mounted in a continuous form.
See also Time circle , Time circle II, IV, VI en VII.

First pasture

After having made Stoelgang, it is not such a big step to an entire herd anymore. In terms of name, ‘gang’ comes from the gait of a horse, think of trot, pace or canter. I was well acquainted with wild, somewhat uncontrolled jumping animals, because every spring, after a long winter, the cows were allowed to return to the pasture or the first pasture (eerste weidegang). The enthusiasm of the animals at such a moment expresses itself in wild, strange, uncontrolled jumps and movements that you never see in cattle.

Stoelgang

The chair shows its more flexible side here and approaches us energetically. Actually, with this first casually scribbled line drawing, I discover a new possibility. We know that a chair has a certain character; tough, elegant, robust, rustic, etc. But this also gives it its own will and enters the world.

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)

Horizont III

A 180 degree turn in a line makes this work flat and spacious at the same time. This contrast is reinforced by choosing more or less complementary colors. See also Horizont and Horizont II.

Fraternization

1,450.00

Four kitchen chairs are positioned tightly together, leaving a square vacant space in the middle, in such a way that it would be too close for comfort for several persons to seat themselves there. A continuous tubular circle connects the backs of the chairs. Nor will it be easy at all to sit down and relax within this arrangement. Annoyance is just around the corner, whereas the concept of fraternization really has another dimension. (All in the Family, Chris Manders, 2016)

Gizeh

1,950.00

Backlight and perspective are two challenges in this work. Though it offers fairness to say that the former was the largest. The low position makes the construction rise imposingly. By hiding the light sources from direct view, the backlight effect becomes stronger. It also emphasizes the individual ‘modules’ that make up this construction. By choosing this position with three vanishing points, a pyramid is visually created from a rectangular construction.