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Leerdam because of the famous Dutch cheese with holes, of course. The work goes back to the drawing ‘Leerdammer chair’ I made in the year 2000.
Where in that drawing only the drawn chair showed holes, in this one it didn’t stop there.
One of the first drawings that I made during my graduation phase at the Academy for Visual Education in Tilburg and that passed the selection was Escher in Oirschot. Escher because of the spatial joke and Oirschot because of the origin of the drawn chair. This one stood in the kitchen of the student house where my wife Sofia lived at that time. This is a variation where the Escher-like twist is in the play with frame, environment and drawing.
If chairs can walk, run and rest, they might also be able to think, right? In the pencil drawings Comic, I am not a chair and Telepathy, the comic language clearly finds its entrance into my work. In this work, which is part of an unspecified series, we look at the fantasies of Gerrit Rietveld‘s red-blue chair, who reflects on Theo van Doesburg‘s chair.
The Building Plate that I drew in 2003 is a precursor. In this case, there is already some ‘building activity’ whereby the drawing takes place in two dimensions (but actually still in one).
A tired chair, you don’t see that very often. Give him a well-deserved rest.
See ok, but sit? Let’s get started.
Gerrit Rietveld’s most conceptual designs have not only a spartan appearance but also ditto seating characteristics. For real hardliners, placing a loose pillow is probably already more tha a bridge to far. What then to think of the upholsterer who has indulged himself here in Rietveld’s zigzag-chair? Of course in the colors of the house style though.
Gerrit Rietveld’s most conceptual designs have not only a spartan appearance but also ditto seating characteristics. For real hardliners, placing a loose pillow is probably already more than a bridge to far. What then to think of the upholsterer who has indulged himself here in Rietveld’s Berlin chair ? Well in the colors of the house Style though.
The book Playfull perspectives contains an empty page and that is not because I ran out of drawings or that it is a ‘design thing’. The page is reserved to make a drawing. It was one of my more successful actions in my crowdfunding campaign. And as every disadvantage has its advantage, I can also make a drawing for you on this page! It goes without saying that the book will then be signed. A unique gift, especially for art and book lovers and/or fans of my works.
The eight-legged Thonet chair that I made earlier as a pencil drawing in Spider asked for a more dynamic version to trigger the arachnophobes (see also ‘Arachnophobia‘). Two positions mixed together make the drawing a lot more mobile.De achtpotige Thonetstoel die ik eerder als potloodtekening maakte in Spin vroeg om een meer dynamische uitvoering om de arachnofoben (zie ook ‘Arachnofobia‘ nog wat meer te triggeren. Twee standpunten gemixt maken de tekening een stuk beweeglijker.
A tour along or actually through my work and therefore a bit through my life. About inspiration, association, perseverance and autonomy. Daily life, art, history, science and much more.
The usual duration is approximately 1.5 hours with a break. Customization is of course possible.
The chair that is increasingly leaving its ‘frame’ and running into the world presented itself for the first time in the form of ‘Stoelgang‘ in 2010. After that followed, among other things, Relax chair III and in this case Sit.
A chair that also stretches your legs. You will have to stand all your life!
A variation in color on the pencil drawing Intertwined past with here (of course) the founding father of the cantilever chairs by Mart Stam, but this time interwoven with a design by Mies van der Rohe from 1927 executed by Thonet.
Due to the thickness of the paper, the deviation between the two images becomes increasingly larger towards the top and the bottom, which is why I started weaving from the middle.
Mart Stam is the inventor of the free-floating tubular frame, ‘Freischwinger’ as it is called much nicer in German. He shared his find with his colleagues at the Bauhaus in the 1920s in Dessau (Germany). This revolutionary discovery led to an explosion of variants all over the world. Many lawsuits have been conducted about it. Marcel Breuer was one of the first to have a commercial copy on the market. I literally interwoven two drawings, one of Mart Stam’s first cantilever and Breuer’s first. A bit like it was the case with their life and work.