Derks started painting in the eighties. A generation that held a strong preference toward ‘conceptual’ painting. Thinking came first, the brush would follow. Sometimes this would be so extreme that the artist would hire others (like Rob Scholte did) to actually paint the canvas. The brushstroke was of little importance. It was all about the idea behind it.
Some time ago, Derks abandoned purely conceptual painting. The hand is no longer lead by the mind, but more and more by observation and the perception of the artist. The fascination for a world that fragments itself in blocks of information every day, and the role of the artist in this world play an important part in her work. In this frameset, Derks has created much more room for intuition. Observation now seems to be centre-stage in her work. This goes far beyond just observing, interpreting, studying and transferring the image to the canvas. Derks attempts to capture a part of the entity that is hidden behind phenomena that fascinate her and convey this to her public.
In this exhibition, we see –among others- a number of paintings portraying trees. Every tree appears as a monumental majestic entity and invites us to spend some time with it. The central positioning of the tree accentuates the power of its presence and oddly also communicates a deep sense of silence. A silence that is fortified by the emptiness of the landscape surrounding the tree.
Also, the tree’s crowns require further inspection. They are open to interpretation. The white in the trees seems to be snow, but might as well be early blossoms. Thepositioning of the reflection of this leafless tree is found on another work (the other half of the pendant). This positioning makes the total feel of this image far more layered. It seems to pose a question about reflection in both senses of the word.
Sandra Derks wonders how fresh our perception is. What influence does the carpetbombing of images that rains down on the way we perceive things on a daily basis? Are we still able to observe things with the amazement of a child and allow ourselves to be quiet and contemplate the ‘being’ of those things, or do we only see the world and its reality flashing by in the corner of our eyes?
‘A good memory, long lasting social connections, and some kind of reflection’, is the title of this show. This philosophy is in fact a recital of the titles of the individual woks on display. The trees (“A Good Memory”), the meandering beach in the dusk (“Long Lasting Social Connections”) and the Painting of the puddle of water (“Some Kind of Reflection”). They form an open invitation to stand still for a second an to just “be one” with the things that are just ordinary in their being: a tree, a puddle of water or a desolate beech.Margriet Kruyver
- - verberg extra tekst