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Unframe

Already two years ago I made Levitation and this is a direct successor of course, which does not mean that I was aware of that when I made this one. This way you see that you can end up in a place where you once were via yet another way. I especially like this spatial game because you can actually only play it ‘live’. Play along!

Elevate

625.00

When is a drawing still a drawing? I usually draw in pencil. Look at my ‘drawing’ The making of.. and there I draw with iron wire. I continue that line in this work. The seat and back are made with the paper, simili japon, which I always draw on. Do I sign it now?

Twee rolstoelen

475.00

The first impression, looking at all the other chairs I’ve drawn over the years, is undoubtedly “Why a wheelchair?”. And indeed the more there is added on a chair, no matter how functional, the less my interest in it. At the same time, I come across one quite often, so somewhere such a chair is always latently present. Semantically, you can philosophize about when a wheelchair is a wheelchair? I did that with this as a result. Incidentally, I expect that this (left) wheelchair will remain an exception. (In dutch a ‘rol’ is also a cylinder/role what makes it difficult to translate it in English)

The making of

575.00

When drawing the line comes from the pencil and in line with that thought I started making this work. I must add that the idea has been boosted by the fact that it often happens that the core of the pencil, the graphite rod, is significantly shorter than the Koh-I-Noor pencil is long. Then you look into a small black hole where a piece of iron wire fits exactly….

Outbreak

I have used the SB02 by Cees Braakman, manufactured by furniture factory Pastoe, in quite a few drawings. See for example Pinocchio II, Pinocchio III, Lie Back and Unlock. From time to time he pops up again as in this case.

Pas de deux XIV

285.00

Armed across the street? Hooked up for a dashing waltz, polka or line dance? Take a seat and think about which dance you prefer. The flowing style of the thonet chair with its beautifully curved wood is full of movement. The fact that it was not the subject of my ‘pas de deux’ series so far, surprised myself perhaps the most. But yes, what is obvious is often enough out of sight.

Escapisme

425.00

Constructed in this way, the bars of the backrest become the latticework of a window. A prison window? Is the space behind this railing a prison? Or are we trapped on this side? Or is prison only in our heads? In the latter case, escape becomes a lot more difficult.

Medusa’s moves

1,200.00

Making the pencil drawing Medusa’s chair, this possibility soon presented itself. The confusing pattern I expected as a result, when combining both points of view together in one drawing, seemed to me to be a nice interpretation of swishing ‘medusa legs’. Of course again with a thonet chair because its chair leg approaches a snake the best!

Tweezitter

Next level II

325.00

What does a skewer have to do with a chair? Why not make a chair with a skewer. Voila.

Medusa’s stoel

350.00

When steamed hot, the hard wood becomes flexible, Thonet invented it and became immortal with it. The round wood takes on almost snake-like properties. The basis for this drawing is his 214. A timeless design that is still highly sought after. I already turned this one into a spider. I had been playing with the idea of combining Medusa with a Thonet for some time, but it just didn’t want to fit together.

At first I was looking for that match more at the top, near the backrest, but see here when I managed to get rid of it…

Universe III

525.00

From time to time the hexagonal frame keeps popping up in my work. This has everything to do with its isometric basis. Those who follow the developments in my pencil drawings have noticed that the third dimension has found its way in all kinds of ways, showy, subtle and devious. One of my earliest pencil drawings ‘Universe’ from 1992 finds a descendant in this one.

Shadows III

1,150.00

Shadows shadowing the chairs? Shadows that have come loose? Chairs that exchange their shadows with each other? This choreography of chairs and shadows is enhanced by the incident light adding extra shadows. The image therefore changes subtly under the influence of the variable light.

Pedestal IV

575.00

The tulip armchair by Eero Saarinen is a suitable candidate for my ‘Pedestal’ series, which now consists of four pieces, especially because of its base. The base of the chair is literally the pedestal under the framed drawing, making the whole into a free-standing object. For those who look further on my website, you will of course immediately see the link with the ‘Exit‘ series.

 

Pedestal III

625.00

The ‘Kufenstuhl‘ a German school chair which was standard made in five different sizes. It was designed by Karl Nothhelfer. For me, the base through which the chair actually rests on two legs was the reason why I was triggered by this design.

Shadows II

575.00

Making the light work for me. It remains a rewarding discovery. In fact, it’s so obvious that I’m surprised I didn’t think of it sooner. Watercolor lends itself particularly well to working with subtle tones and thus creating or suggesting shadows, for example. So after Shades of grey, Shadows and Rising Revolt  I made this Shadows II.