Richard van der Aa presents pictures of paintings, a suite of consonant, reductive works that examine the point of tension between painting and sculpture, object and image. In describing van der Aa’s work as a “metalanguage of painting with which to ponder its own object,” artist Daniel G. Hill writes, “We find ourselves at the margin between the pictorial and the concrete, questioning our comfort with distinctions and categories that enable us to make sense of the world, not with unease but with the pleasure of wonder.” (Margins of Tolerance, essay, Oct. 2016).
José Heerkens' work is minimalistic. The Notation series, which she started in 2010, refers to the notation of colours, measures, lines and forms on the canvas, like a musical score.The silence space of empty linen is therefore important in this painting as it provides rhythm to the music painted by the artist. In each of her minimalist abstract paintings and drawings, José Heerkens carefully lays down nuanced hues that subtly contrast with their white or raw linen backgrounds. “In every painting I search for the balancing dialogue between a line and the movement of color,” she says. The colors fall within meticulously delineated grid systems, though each set of colors does not always follow the same system; the lines seem to push and pull on one another. Heerkens explains that the vertical lines provide structure while the horizontal lines orient the compositions outward, emphasizing both the contained physicality of the painting and the imagined continuation of the lines beyond the canvas.
Paaijmans’ work is best described as an in-depth exploration of the drawing discipline in the broadest sense of the word. His aim for an objective, formally abstract way of drawing urged him to radically move away from traditional drawing materials and techniques. He started to make drawings on paper with makeshift tools such as a syringe [Algorythm#01, 2009], which over time developed into proper instruments like a semi-automatic pendulum installation [Prototype#02, 2009] and also experimented with drawing in a performative setting [Prototype#03, 2010]. In his explorations, Paaijmans’ focus shifted from the result - the drawing itself - to the process of drawing. While investigating the act of making a drawing and dissecting this process, Paaijmans deconstructs drawing itself to its basic elements.
Werner Windisch' monochromes are a feast of color. He uses a wide variety of materials, as well as different painting techniques. In addition to the color effect, the object-oriented plays an equal role in Werner Windisch's works. By repeating the immanent markings and process Werner Windisch becomes one with his objects.
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