|
If you'd like to read newsletter in Dutch, please send me an email.
An artist newsletter just before Christmas?
If it's about art why not!
In this newsletter:
- Food for thought: Everything turns into its opposite on the long run (I Tjing)..
- Exhibitions
- Thank you!
- Launch of my new website.
Food for thought Everything turns into its opposite in the long run…..
When I look back at my work I can see this momentum too.
It can be about size, material, lines, nuances in color, form- and formlessness etc.
In order not to go back too far in time,
Let's start with the big graphite drawings.
These drawings ( 100x150cm), graphite on paper are much bigger than the previous drawings.
The graphite drawings are woolly and soft, the material is dry.
There is less and less shape to be seen, it turns into just a surface.
When will the drawing survive as an independant image, when does it collapse?
In this wooliness and formlessness I have gone very far.
So much so that the work called for more “sharpness”.
+Wooliness turned into sharpness.
+Big became small.
Starting with lines I drew surfaces again, now with pen and ink:
The series: “Call me a Monk”.
 
A3, Pen and ink on paper 13x18 cm, pen and ink and markers on Yupo
Again there was the need for more sharp lines.
I used very thin fineliners and later on acrylic markers of different sizes.
The lines became woolly surfaces again. Everything turns into its opposite.....
People tend to think it is textile….
 
A4, markers on black Canson. 15x20 cm, markers and acrylics on mdf
In order to reach more clarity I began to use black and white markers on a smooth and sometimes non absorbent surface.
The surface of the drawings became more open, the lines more clear.
The drawings became bigger but this didn’t work because the pattern became too much into your face.
I stayed with the 15x20 cm and 18x24 cm.
Once in a while colour introduced itself: slowly Bl&W became colour.
 
15x20 cm, fineliners on Yupo 15x20 cm, fineliners on mdf with epoxy layer
The surface became vague again because I used birch plywood without preparing it with some kind of buffer.
There was again a need for sharpness. Everything turns into its opposite…..
 Markers, airbrushink on birchplywood, 12x18 cm
The lines stay visible.
I put a first layer with acrylic paint and airbrushink on birchwood in order to control the suction of the birchwood
Straightness needs Fluidity:
With the airbrushink fluidity is introduced. On top of the drawing I made with lines I put layers of airbrush ink and gouache.
It feels like there is more space between the two surfaces.
 
Airbrushink, markers on black hdf, 15x20 cm. Airbrushink, markers, gouache on black hdf, 18x24 cm
From now on fluidity and sharper lines, clearer rhythms alternate and are trying to find a place on the surface. This is an always continuing movement.
I am the observer in the whole process of never-ending change.
My interest is mainly in the change itself and in not knowing what this change will bring about.
I don’t search for truth and embrace never arriving anywhere.
Exhibitions:
+Art et Amicitiae, Amsterdam: Is extended
+De Balie, Amsterdam: Is extended for two weeks.
Artworks can be bought at any time from the artist directly.
+Pulchri: Start February, more news about that will follow.
+Tekenkabinet: The works are available until dec 31rst in the webshop.
To everybody who has shown interest in my work:
I would like to thank you for your attention! ?
I wish you a very good time with your beloved ones!
In January my new website will be launched, stay tuned!
For the latest drawings visit my Instagram profile:
https://www.instagram.com/selmadronkers/
Selma
Fluidity needs some limitation
|
