Over de expositie
The works of Joncquil (1973) are not easily captured or understood. Although it shows situations and characteristics from our daily life and the world as we think we know it, at first glance the resulting effect works rather alienating than that it feels familiar. He himself says about his art: "Most of the time "it" happens outside of the scope of what we see. Constantly amazed by the moments in life we tend to oversee, I tell a contemporary story. I try to capture a moment between a question and an answer. When painting I try to imagine every subject as a collection of surfaces, planes, and angles put together to create a form. I register, evaluate and re-evaluate it's value and importance. I build, areas of intense light and dark and then all the variations in between in an attempt to catch the moment when form gets a meaning."
The paintings seem to resemble the physical result of a search for those every day situations, which have the ability to reveal an universal truth A personal approach, making visible the invisible and making the common eternal. The outcome doesn't necessarily represent an accomplished fact, but is left to the interpretation of the beholder. The quest isn't only one of subject matter. It is also revealed in the choosing of the technique. From early childhood the artist was inspired by photography, in particular by the chemical processes of the darkroom.
The influence is still clearly visible in the almost cinematic light that comes from the paintings and the transition from transparencies into negatives and vice versa. The melting of these perceived color spectra result in a new palette thus emphasizing the fluctuation of form and meaning in the paintings. Like a lot of painters were embracing photography during the beginning of the 20th century in their attempt to capture, reproduce or equalize reality, Joncquil has chosen wholeheartedly for the Art of Painting in search for the truth in himself and through his paintings exposing a reality in ourselves.
Kees was born in the Hague, the Netherlands 1979, as the second and last child of the Hendriks family. At the age of 3 Kees his best and only friend moved away, this was a big loss for him. He constantly refused to go outside and play with the other children in the neighborhood, because he had a better friend; TV.
Although he couldn’t understand the American cartoons he was fascinated by them. When Kees wasn’t watching TV, he was obsessively making mathematical shapes with his wooden blocks or drawing battle scenes and blood thirsty tigers chewing on humanoid bones.
In his 6 years at high school Kees drew all day to do his time. The drawings mainly consisted of dead corpses on spikes, cartoon figures shooting everything that moves or castle lay-outs. He preferred lonely nights with his pen, paper and joint over going to the local bar or disco.
After high school his mother was send for a half year to a mental institution. During this period he left for a design study to Eindhoven. Kees had difficulty settling down in this new city, the loneliness left him wondering round at night in this new city. Drawing parks, graffiti and buildings absorbing these new images as a wondering shadow. He didn’t see much of his new school and left after a short year to Rotterdam.
In Rotterdam Kees did a half year course graphic management, were after he worked a half year from nine to five at an advertisement agency as graphic designer.
At the age of 22 Kees went to the Rietveld Art Academy in Amsterdam. Here he found new inspiration to express his inner feelings to the world. After a year Kees joined a student fraternity. Here he was able to build up a net-work of friends, consisting of lawyers, scientist, journalists and economists. With whom he could discus his work, and find other ways of expressing his artistic abilities. At that time Kees decided to take the big step to be a professional artist.
In February 2004 Kees had his first exposition “who is G.I. Joe”, here he showed al of his work of the gone 3 years. This exposition was a mile stone for Kees his work. Right after the exposition he started painting a new obsession, his new freind “FLUFFER” a pink rabbit with an expressionless face.
Kees had a high production level at that time and there for was able to have a second exposition in November 2004 "Where's my fucking fluffer, goddammit!". Let’s hope that many will follow!