On the one hand, the spirit emerges form a tradition of pictorial art, coupled with the desire to be part of this tradition. On the other, the work’s reference is encapsulated in the ‘here and now’, precisely because the continual dissolution and re-materialisation of the composition engender feelings of doubt.
When a stroke is cancelled out, what the eye sees is not just a manifestation of thought in its purest expression, but also the result of physical and intellectual work. This activity emerges from a form of active contemplation, and also from an obstinate belief in the viability of painting as a genuine vehicle for expression, a vehicle which is capable of self-reference and self-definition.
My emphasis is on both the act of painting and on the elements that are part of this act. This leads us back constantly to an analysis of forms, colours, framing, and frontal composition. Such an approach maps out the work as a test ground for image formation and interpretation, producing a parallel focus on how an image is constructed in general.
What is at stake here is the transmission of some sort of clear awareness of the activity that is the production of art. The work has to deliberately inhibit quick and easy understanding, in order to unsettle the viewer. This is a pre-requisite to viewing painting, and to setting thought in motion.
The surface of each canvas has to build into its elements that cannot be determined or defined, so that it finally avoids assimilation into formal thinking, thus creating anxiety. One sufficient doubt has been cast on the progress of image making, a determined will to pursue other ideas needs to appear.
The works may also demonstrate that constructing the broad outline of an image is a relative process, one which cannot be abolished outright.
By obstructing the real reception of images from one particular visual and cognitive vantage point, my aim is to create in the viewer a definite desire for clear representation, rendered more palpable by a feeling of frustration. My intention is to achieve this by creating visual coherence with reduced means.
My paintings make use of different images and different pictorial techniques to construct images which bear witness to the various compulsive needs for representation that we all have.
This compulsive need for representation becomes worn out in the half-controlled, half-impulsive process that is the production of an image on a work surface. The surface is where the artist takes all the risks in the process of the activity that is the production of art.
Here, constant vigilance and physical effort are required; each tableau displays the successive constructions and deconstructions that compose it, in such a way that it is the process of composition, which is most permanently in evidence and active in the final content of the work.
Parallel to this central strategy, and entrenched in the practical processes, a new language emerges which is much more openly emotional.
- - verberg extra tekst