ART GALLERY O-68 AT LONDON ART FAIR 2019
Form and Function in self, other and the world around
Wieteke Heldens (1982) and Simone Albers (1990).The works of these two Dutch artists is aesthetically pleasing. This may be the same first association when looking at their work. However, a closer onlooker is captured by the deepness radiating from these works, inherent in the narrative sprouting from them.
Wieteke’s inspiration, almost her obsession, lies in the fact that everything is temporary, the marker, the paint, the number of creases to be lined, the artist herself, you and me, even the earth. But as the marker ink disappears an artwork is created. Call it the second law of thermodynamics, which states that the entropy of an isolated system never decreases. Wietekes’s art works spontaneously evolve from a certain object, for instance a brown bag, its first meaning, towards a work of art in which all the creases in the crumpled paper of the bag have been drawn with a marker pen, its second meaning. The third meaning, Wieteke says, is happiness for the artist. As much as disappearance and appearance are important for Heldens’s art, the history in between them is important, the history of the paper bags, of herself, of the world, of you.
Wieteke’s approach functions in her narrative to you, whereas Simone’s approach functions in her narrative about us.
Simone Albers’s exhibition in Art Gallery O-68 (September 2018) was entitled “HEAVY META”, strong metaphysicality, if you wish. She is fascinated by the evolution of the cosmos and the complexity of existence. Using natural scientific research and philosophical theories, she investigates the mechanisms hidden behind the directly perceptible world, seeking to understand this complexity. Her work creates spaces, sometimes fictitious, where spectacles of different objects reveal themselves, unfolding a new story. These objects are not representations of objects from nature, dead or alive, but rather archetypes that underlie these natural forms. They are self-contained, universal forms that replace the images of natural objects, especially organisms. Created by simple movements of the painter, they are mutually equivalent, arranged, transparent and layered. Applied with a brush or poured onto canvas, paper or on the museum floor, the paint generates its own landscape. In this way the painterly action becomes a metaphor for the creation of natural entities, resulting in ambiguous figures. These figures interchange between matter and energy, microscopic and astronomical, abstract and figurative, physical and metaphysical. This work is an ode to the history, the evolution and the nature of the universe as an autonomous force. Apart from paintings Albers presents an installation.