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geometric-abstract relief, reminiscent of De Stijl and Zero, spiritual and meditative, carefully composed and constructed from cardboard and paper elements, captures the light from different angles and during different times of the day.
equipped with a wooden frame (white), ready to hang
will be shipped with a signed certificate of authenticity
from the artist's studio
from the artist's website:
I work with simple shapes (squares, lines) and materials (cardboard, paper, wood, mdf, foam board) in simple rhythmic compositions, mainly based on spiral movements.
Simple means: a straight line, simpler than a plane; a square, simpler than a rectangle. Anything superfluous can go.
Simple also means: white.
I like to work in a minimal visual language: a repetition of the same element, sometimes with small shifts or twists. Sometimes there are also more elements, which reinforce each other and together form a new element. Structures are created that continue indefinitely from the edges, but of which I only show a part. In the end, what can be seen is a strong image of emptiness and stillness, of peace, of silence, of reflection and contemplation, in a meditative atmosphere, an image of infinity within a finite form. There are no main or side issues, no accents.
In principle: tight, but the handwriting that gradually develops is simply there and may be there. This also leaves room for coincidence and intuitive experience.
I look for it in a strictly consistent attitude when dealing with geometric shapes and constructions, from which the dimensions, rhythm and proportions that determine the appearance of the final work automatically flow. The term “geometric abstract” could therefore apply.
The work does not refer to existing reality, it is not a representation of that reality. There are no comments, meanings, symbols, messages.
The reliefs pretend to be no more than themselves: an arrangement of forms.
Therefore, in my own opinion, my work fits best with descriptions used in defining Concrete Art.
"The work must be constructed entirely from purely visual elements.
A visual element has no other meaning than itself and therefore the painting has no other meaning than itself" (van Doesburg, approx. 1930).
"Minimalists often prefer the repeated use of an element that has its own formal simplicity or completeness.
Each part is an independent unit and the construction of the work of art consists of a multiplication, a repetition of this basic unit. (Little, Understanding Art, 2012). 67336459
