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Perpetuüm mobile II
A backrest of a chair casts its shadow. This twists with the turning of the sun. By fixing that shadow, you capture something of the moment, and one more and another. Around the clock and again the next day, etcetera.
See also Zenith, Vault en Perpetuüm mobile III.
The last supper II
In the Last Supper I make use of the shadow as a narrative part of the image. In Shadowdancing and Shadowdancing II I reduced the shapes by choosing the position straight from above, almost to a geometric shape. Due to the use of light (contrast) they light up like a kind of jewelry. Here, the 12 jewels are arranged around an oval table and, in particular because of their shadow, they give off some of their appearance.
Shadowdancing II
In my opinion, the smaller work Shadowdancing called for a more monumental but above all more colorful edition. More colorful to do more justice to a dancing or disco with many colors of light in a dark room. And with everyone present just as colorfully ‘dressed to impress’, so to speak.
See also Shadowdancing III.
Conspiracy IV
A table lit from above casts its shadow on the floor in an otherwise dark room that reveals nothing else. The chairs are quite recognizable because of the shade. Have a seat?
Time circle II
After Time circle this one followed. Quite otherwise more mythical and mysterious. In this case my own association was at least that with Stonehenge. Are the backrests moving away from the seats or towards them?
Everything is aimed at the center of the circle where the bright light source is located. What’s up there?
New Generation
Commission
(Not for sale)
And then a descendant presents itself. It will be the radiant center of what is now called the family. With traits of both parents that speaks.
Stacking
Starting point: a 40 x 40 lino plate and one template of a chair, off course my most familiar one: the one from my parental home. Stack this space from below as structurally correct as possible so that there is as little residual space as possible at the top. I estimated that this could produce an interesting graphic pattern.
Chair
Commission
(Not for sale)
What do you give as a present when your other half gets a chair? Of course a chair. It was up to me to fix it. An enormous amount of knowledge needs to find shelter. Can’t the seat also be seen as the roof of a chair? Then all that knowledge can accumulate under that roof or brain pan. Obviously, in such a position, that knowledge must also be shared from time to time and this is also provided for.
Circle time
The first time circle. During an exhibition I saw the work Four windows van Jan Dibbets again. The dynamic that a perspective figure like a parallelogram or an ellipse can get by isolating it like Dibbets does, that was also what I had in mind. I set my goal to place a circle of chairs in such a way that they become degenerate. The environment is just as ambiguous as the shapes themselves. Space? Water? Mirroring? Movement?
Because of the cyclical I decided to use 12 chair backs, later when I checked the dictionary time circle turned out to exist as a word in astronomy.
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.
Tower of Babel
The first Tower in three-point perspective, seats as far as the eye can see. Comprehensive as you would expect from such a mythical construction. See also the successors Tower of Babel II, III.
Or the works in which I have displayed the interior such as Babel interior and Babel interior II and Babel II, but also Arena.
Three chairs II
A chair is (still) standing upright in a somewhat apocalyptic atmosphere. Flying around the number of parts corresponding to two other seats. What is happening here? This is a second elaboration of this idea, see for the other Three chairs.
Shadowdancing
A kind of pattern of chairs from above, each with its own shadow, which is logical but equally transparent, each with its own light source at its own height. Unique because of your shadow and not by yourself?
This ‘try-out’ turned out to be the prelude to a series with Shadowdancing II and III.
Three chairs
A chair stands in a desolate landscape between parts of two other chairs, partly flying or floating. What happening here?
To show this premise at a different time and from a different point of view: Three chairs II.
The last supper
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.