‘A new abstraction in 21th century’
Simone Albers’s (1990) psychedelic paintings draw inspiration from all kinds of wacky shapes and colours found in the natural world, from wiggly cell structures to exploding galaxies. Simone is endlessly fascinated by the absurdity of existence. Why is there “something” instead of “nothing”? It is incredibly weird and beautiful that in billions of years matter could organise itself into atoms, molecules, galaxies, planets and even life. She finds an analogy between painting and the creation and evolution of nature. Colour, transparency and layering are essential parts of her pieces.
Colour, transparency and layering, are important for Edgar Knoop (1936) as well. He was professor of applied colour theory at the academy of fine arts in Munich till 2000. At DRAW we show his ‘Horizontes’, collages of torn cardboard on paper in unexpectedly daring colours. The works arise from a combination of the accident of the tearing of crimped cardboard and the precision and control of the pasting of these clips to each other. In this work colour is used as a substance.
We will show drawings and cardboard works on paper by José Heerkens (1950). She divides her board or paper with thin vertical lines. Between these lines she applies colour nuances, in a balanced way with accents that question and confirm each other. She searches the right colour until she finds the one she has in mind. Her works can be read as letters, reading from left to right and from top to bottom. They are personal messages from her to you, the viewer.
We have monochromatic works by Coen Vernooij (1952), grey lines, close to or jutting from the wall, built of thin metal rods with iron glimmer paint or a powder coating. On the wall the metal constructions are like simple line drawings, but complex to comprehend. His sculptures, standing on the floor, invite to be looked at from all sides. With every step you take they change in an unpredictable way. The bars define a space, a place that still needs to be filled in. Both hanging and standing works are very clear abstractions, reduced to their ultimate essence.