Poligious Issues artists

Poligious Issues participating artists

2009-02-25T05:11:00.000-08:00

Besides the core participation within the artistic development of the Poligious Issues project of the 10dence art collective and it's particpating artists, Weijers and the collective invited a range of American, Dutch and German based artists in order to participate in the artistic development of the audio-visual production connected to this project. Together with the artists directly involved within the 10dence art collective, this international group of around 20 artists will take an artistic stand within the realization process.

An overview of the artists include first of all the members of the 10dence art collective; Ron Weijers (NL), Joe Davis (US), Nikolaj Dielemans (NL), Anton Vrede (NL), Ben Game (NL), Pieter Zandvliet (NL) and Toni Dalton (US). The invited artists participating within the Poligious Issues audio-visual production are Rob Scholte (NL), Willem van Veldhuizen (NL), Joke Schot (NL), Irene ter Haar (NL), Frans Huisman (NL), Karin de Visser (NL), Mathias Will (D), Marita Beukers (NL), Matt Sesow (US), Carmin Karasic (US) and Rolf van Gelder (NL).

Within the menu, we provide an overview of all the artists participating within the audio-visual project Poligious Issues. Next to a written introduction of each individual artist a compact introduction of the artists work is shown.

All artists will fulfill a keyrole within the realization of this unique audio-visual exhibition project.

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Matt Sesow

2009-02-19T07:04:00.003-08:00

Washington USA

Matt Sesow was just 8 years old when he learned about the cruelty of chance and the pain of being permanently disfigured. Playing in a field near his Nebraska home, he was struck by the propeller of a small plane attempting to land at an adjacent airstrip. Though doctors succeeded in re-attaching his severed left arm, he ultimately lost his left - and dominant - hand. Nearly two decades passed before Sesow - then a software engineer based in Washington, D.C. - began sifting through this traumatic experience by taking up painting.

Two more years went by before the self-taught artist displayed his labors in public for the first time, selling 14 works on the sidewalks of Georgetown. Sesow started painting full-time in 2000, producing images of such biting, frantic, slashing impact that they led to exhibits at the Corcoran Gallery of Art in D.C. and the American Visionary Art Museum in Baltimore. He also struck a chord with such influential contemporary folk art collectors as Baron and Ellin Gordon of Williamsburg.

It also demonstrates time and again that these homely if often wildly inspired talents can be the equal of any academically trained artist - and perhaps connect with ordinary viewers more strongly because of the way they embrace the whims, worries and wounds of everyday life. Sesow's gripping vision of two addiction-addled inmates in "Out of Detox," for example, doesn't shrink from expressing the manic, self-destructive existence led by its subjects. They look fundamentally disturbed - and Sesow underscores their beleaguered conditions with his thrashing brush strokes and the unnatural blues, reds and greens he chooses for the color of their eyes, tongues and skins. What singles this picture out even more is the evocative gesture of shared pain and companionship with which these strung-out souls hold each other. Even in their besieged state, they still manage to connect with one another - and stir feelings of a shared humanity with viewers. Humankind is one of the folk-art world's favorite subjects, in fact, and it's a fertile ground for commentary.

Irene ter Haar

2009-02-19T07:04:00.001-08:00

Overveen NL

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Irene ter Haar was born in Rotterdam, 1952 and is living in Overveen, the Netherlands. She studied at the Rietveld Academy for a teaching degree in drawing and painting and fine arts, painting and monumental design over the period 1974 until 1982. Since graduating, she focused primarily on commissioned portraits, not only in the Netherlands, but all over the world. As of 2005, she changed her focus and concentrated on free creations. Recently, she started 'the Garbage Collection'. This is a recent series of acrylic paintings that, although figurative stills, are almost abstract. The source of inspiration is our daily garbage, as witnessed by the fast transience of matter and events in this modern age. 'The Garbage Collection' portrays those small, fleeting moments that pass inattentively, unnoticed and forgotten. In the world around us, innovation and consumption rule. Vast emphasis and attention is channeled towards the design and creation of evermore new products and ideas. But, what and whoever appears to count today, no longer counts tomorrow.

Who, still has an eye for the fascinating composition and design of for instance, an old newspaper or wrinkled cornflakes wrapper in a garbage bin, more beautiful than any designer could devise? Exciting shapes and colors don't have to be sought afar; they are all around us and everywhere we look and are often found in fatuous details and in most unexpected places. Within her paintings she wants to try to revive or recreate what's actually been disposed of and become waste. A figurative still life sometimes appears to transform, almost becoming an abstract world in itself. Not the world in a grain of sand, but in a garbage bin. Sometimes, as the silent witness of the transience of matter and events and sometimes, simply a representation of the beauty that coincidently comes to exist when one no longer pays any attention.

Mathias Will

2009-02-19T07:03:00.002-08:00

Hamburg D

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Mathias Will, born 1965 in Gießen, Germany. He currently lives and works in Hamburg. In 1993 he studied as a guest Student of fine arts, at the "Hochschule für bildende Künste, Hamburg" and worked on the realization of film projects and produced "OWO" a documentary essay about a journey through Mongolia and participated in the Festival for documentary film in Leipzig, Germany. Since 1993 he published texts and short stories with several publishers like Rowohlt, Autorenhaus, Verlag Plinke, Dölling und Gallitz Verlag, Mairisch Verlag, amongst others. In 1997 he wrote the screenplay and directed the release of his first feature movie: “Gesichte". From the year 2000 on he studied the direction multimedia designer at the School of Audio Engineering (SAE Institute, Hamburg) and initiated working as a designer for print and web, as well as video editing. In 2003 he released the video the examination of a single family house, as a taking of an architectonic inventory "Von Menschen und Häusern" and in 2004 and 2005 he participated in the exhibitions: "E.A.A.", with a text and a video installation, "puzzelink-evidenz" and the "Einstellungsraum" in Hamburg. In 2005 he realized the performance at "Haus Jona" for the Exhibition"ohne festen Wohnsitz" called "shelterless".
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Mathias Will initiated and founded the St-Pauli film festival in Hamburg in 2005. Recently he worked together with Ralf Jurszo on the development of artistic tours by feet and released his short experimental film "Erbse", an electronic cooking recipe. In 2008 he produced "Pension for words", an interactive installation, where people can get rid of. His texts focus on special concepts of the world, outlaws and complete poetic worlds. He is interested in the fringe and not so much in the middle. It seems to him that new things are often developed at the fringe and seldom in the center. Further more he states that in his opinion, a mixture of extreme distance and nearness is needed to be able to write down poetry.

Marita Beukers

2009-02-19T07:03:00.001-08:00

Rotterdam NL

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Marita Beukers (Rotterdam 1948) studied photography at the art academy St.Joost in Breda in The Netherlands from 1968 until 1973. Directly after her studies she fully concentrated on her motherhood, but she followed various workshops in the field of photography and painting. In the year 1997 she finally committed herself in full to a professional career as a photographer and started participating in a long list of exhibitions showing her work. Currently she shows her work within four to five exhibitions yearly.

Her photographic work captures in a natural and direct manner her egocentric views on the world we are living in and show her fascination for structure and detail. Daily issues and items
become abstractions standing way above their actual function. Point of interest within her work is her well developed feeling for balance. Marita Beukers started several years ago to experiment with photographic collage within her work. The results, once again are a fine example of her highly developed feeling for balance in composition and color. The material she uses for her collage work, is fully developed by herself using her skills as a photographer. Now some years further in her development, she searches the challenge to make exciting photographic collages in connection with (mostly self-appointed) themes. Themes like 'cities', 'music' and 'food', currently create the conceptual ingredients for her photo-collages.

Rolf van Gelder

2009-02-19T07:02:00.004-08:00

Eindhoven NL

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Rolf van Gelders' life as an artist has been a continuous struggle between logic and emotio (Apollo and Dionysus).He has been brought up with computers and math: everything should be logical and have a pre-defined reaction on every action. While creating his traditional, abstract paintings he tries to switch off the logical part of his brain and let emotion rule. While creating new media art he gives room to the logical part of his brain and tries to use it in a creative way.

His art always has multiple layers. Some of them are hidden and have much deeper, and often darker, meanings. He wants his audience to have something to explore, discover and experience while peeling off layer after layer. Some of the layers, most likely, never will be revealed but that's okay with Van Gelder. Life is full of mysteries that will never be revealed…

For Rolf van Gelder, creating art is a way of self-reflection, meditation, maybe even therapy, and a very personal way of communicating with other human beings. It's a way of 'saying things' that cannot be said through human language or any other regular communication tools. It's communication on a different level.
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Rolf van Gelder studied electrical engineering at the College of Technology (specialization in information science) and works as an Internet developer/Internet specialist at the Eindhoven University of Technology, The Netherlands. In 1995 he founded CAGE (Cyber Art Gallery Eindhoven), one of the first virtual art galleries on the Internet, in which, apart from the work of Rolf van Gelder, artworks of emerging artists from all over the world are presented. He is actively involved as a visual artist using various techniques and in collaboration with new media artist Carmin Karasic (Boston, MA, USA) he is increasingly involved in the creation of new media artwork.

Carmin Karasic

2009-02-19T07:02:00.003-08:00

Massachusetts, USA - Eindhoven NL

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Carmin Karasic uses computer based and emerging technologies in her art to increase social awareness through art activism. She believes it is a cyberartist's responsibility to provoke reevaluation of our existing systems through technology. Because future communication technology will enable total wireless connectivity, she is specifically interested in the interaction with pervasive computing.

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Her art investigates alternative views, new connections and interaction between edges. Her artworks consciously examine the hyper-real, because presentation has become more important than personal opinion, observation, or even reality itself. Human beings are inspired by the factors that drive their decisions and the impact of their individual actions in the world, just as the flap of the butterfly's wing impacts wind currents. The digital mirror in this project creates a space for self-reflection and reevaluation.
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Ultimately, her ambition is to contribute to the positive social engagement of new technologies through art. Synergy between artists, scientists, and engineers can lead to new cultural insights and potential innovation, rather than reinforce old assumptions. She wants her work to contribute to invention and digital enhancements.
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Carmin Karasic was educated in Math & Computer Science (BS) at the Suffolk University, Boston, MA, USA (1981) and in Visual Fine Arts (MFA) at the Art Institute of Boston, Boston, MA, USA (2005)Currently she is involved and is associated with the Electronic Disturbance Theater as a founding member of art activist group, the Boston Cyberarts as assistant director, MAD emergent art center as project manager for Eindhoven based new media art events and Rolf van Gelder, web developer and artist collaborator.

Joke Schot

2009-02-19T07:02:00.001-08:00

Rotterdam NL

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As a photographer Joke Schot has made it her business to capture music and arts related translucent moments. Thousands of images later, she's still enamored with the process and with the artists who blend their energy and talent with hers. Since the end of the eighties Joke Schot has been a regular at the North Sea Jazz Festival. The Rotterdam based photographer visited the festival primarily to catch her favorites on stage but through the years, she has developed into a photographer that captures the atmosphere of a concert in sequences. As featured photographer for World Connection, the record company that also makes bookings for world music acts, she got and grabbed the chance to make longer features. Joke Schot preferably visits smaller concerts and festivals, thus being able to really get in touch with the musicians and artists. Working for the Dutch recording company World Connection, and their focusing on 'world music', brought her the chance of participating with her work as a photographer in the international success of artists such as Mariza and Waldemar Bastos.
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Joke Schot dedicated herself to 'capturing the moment' of some of today's most exciting jazz performers on and offstage, revealing images infused with the spontaneous intensity, raw energy and collaborative spirit of the live jazz performance. Today, Joke Schot presents an impressive portfolio. Her keen interest for both jazz and photography didn't meld until she was inspired by seeing the extraordinary photographic works of Herman Leonard, Jim Mashall and Bill Claxton. Being as unobtrusive as possible in deference to the performer, she adapts her technique to each club or location setting. She is in constant pursuit of impromptu moments that display the heart and soul of what is Jazz, often capturing the intense concentration and sheer joy of the extemporaneous collaborative effort in the facial expressions of jazz musicians. Joke Schot's jazz photography is in public and private collections. Her work has been exhibited in many exhibitions, among them Pakhuis 6 Gallery in Rotterdam and the Jazzart Rotterdam exhibition during the North Sea Jazz Festival in Ahoy' Rotterdam. Her photography is currently featured in various leading national and international jazz publications and newspapers, as well as on the covers of various major record company CD releases like Marcus from Marcus Miller.

Ben Game

2009-02-19T07:01:00.001-08:00

Middelburg NL

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Born in 1958, Oldenzaal the Netherlands. Due to his urge towards drawing and painting, Ben Game studied at the 'Vrije Academie' in The Hague and the 'Academy of Visual Arts' in Rotterdam. What identifies Ben Game as an artist is courage and full powers of selftransformation. That courage, meaning not being afraid to fail, transforms paralyzingly selfconscious 'predicaments of culture' into confident 'ecstasies of feelings combined.' He has the guts, what is more, to confront himself and the spectators of his work.
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His almost primitive or childish abstract impression of human figures in contrast with abstract backgrounds, his fascination for signs, lettering, text-parts and quotes transform into something alternative to the mainstream. His painting process starts off on an intuitive basis and from that stage on, the development of his work gets more and more conscious. Ben Game is extremely productive and generates a wealth of paintings and drawings. He works on canvas, paper and wooden panels with a variety of materials. 'My work should speak for itself', no further comments from the artist himself. His work visualizes his words and thoughts. In spite of the highly expressive and pure expression and values integrated within his paintings and drawings, some people have a hard time with his work. Difficult to describe and difficult to catch within a phrase or to put a tag on. Alternative, abstract, expressive, pure, primitive, confronting, intuitive childish and honest are some search engine key-words, worthy to tag his work with, or should it simply travel the art-world as BenGames' work… Ben Games work is currently on display in selective galleries and his work played an important and highly respected role within the visual production of the previously released Tabasco Tabernacle project.

Frans Huisman

2009-02-19T07:00:00.001-08:00

Schiedam NL

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Frans Huisman is an artist with a strong affection towards drawing. A continuous flow of abstract and antropomorph signs finds it's reflection in a large collection of art publications. Within these drawings, his fascination and interest towards anatomics, motion, time and space are clearly visible. These drawings generate the protocol of a search for an universal language in which human measure and the survey of space and relations take a central position. These drawings create the foundation for almost all of his multi-disciplinairy activities as an artist, like animation, painting and sculpturing.
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The universal character of his work was the immediate cause for Cemeti Gallery, Yogyakarta, to take him in as an artist in residence in 1994. In Indonesia he mainly worked on sculptures in Djati (teak from Java). In the meantime his sculptures are acquired in Boston, USA, Barga, Italy and Schiedam in the Netherlands. In Boston he mastered himself in 2000 with the digital editing of drawings and his first animated movies became reality.His more recent works consist of a series of neon sculpturesthat combine lightning, drawing and wood.

Frans Huisman lives and works in Schiedam, the Netherlands since 1999.

Willem van Veldhuizen

2009-02-19T06:59:00.006-08:00

Rotterdam NL

'It might sound strange, but the first time I experienced a tremendous shock of recognition, I was at a commemoration exhibition of Mark Rothko (1903 - 1970). Even-though my work did not develop in the direction of this kind of abstract expressionism, still it was Rothko's work that gave me the impulse to go my own way. I saw that it was possible to decide on my own manner in the art of painting'. What struck Willem van Veldhuizen in Rothko's work was the search for balance on a flat surface, the appeal of a large colored area as well as the vibration of colors on such a large canvas. In his paintings, this fascination is translated in large floor areas of museum interiors. Museums provide Willem with the right kind of rooms: they are prestigious and attentive to architecture while at the same time subservient to accommodate art. It is not that he literally copies the rooms, but by choosing a different composition he creates fictional spaces and alters the view to complement and intensify the image. By visiting various modern museums, he is offered the motive for a new painting. 'When I'm standing in such a room, I'm impressed by the atmosphere, the peace, the coolness of it all, it strikes me emotionally. I put out my feelers as I wonder how I can shape these emotions. As it takes form in my head, the process of translating an emotional concept into a rational solution begins. The attraction towards the subject is purely emotional. The translation into a painting however is a rational process.'

In general Van Veldhuizen's paintings are composed according to an established pattern. The upper, narrow part of the canvas shows the back-wall or a glass wall through which a garden is visible. A large floor area holds a prominent place. The reality of the building or the world outside is reflected in the floors. The back part is painted with great precision; this is also the first part to be completed. Then the artist builds up the floor area according to a special technique which he has made his own. After the undercoat has been applied and the undercoat has been applied and the shadows have been put in, he 'splats' the paint against the canvas: color over color, layer on top of layer - making subtle distinctions in light and dark against the back-wall. (Parts that should not be splut, are covered with tape.) Van Veldhuizen uses this technique in such a way that the paint splats onto the canvas in elliptical drops. This is highly important to create the perspective effect. (During the final strokes, the tiles become visible).Finally the artist applies approximately 40 layers of glaze onto the floor area to create this typical glossy three dimensional effect. Discipline and great technical skills are required for the kind of paintings that Van Veldhuizen makes. Because of this method, it takes up to 3 or 4 months to finish a painting. Van Veldhuizen mastered this technique by self-tuition.

Furthermore he (made a close study of) submitted the paintings of Peter Blake, one of England's best-known pop art artists, to a profound study. According to Van Veldhuizen, Peter Blake displays a fabulous technique. Influences of classical- and classic-modern masters (beside Rothko) can be recognized in his work in various ways. He relates to Saenredam with his preference for sacred rooms, tranquility and colors in harmonizing tones.

In his museum interiors, Van Veldhuizen quotes with pleasure his favorites in art, among others Michelangelo, Picasso, Man Ray, Newman, Rietveld and Le Corbusier. In his early work, the colors are kept restraint by putting various light tones in delicate distinctions in order to achieve a balance in beauty and tranquility.

His recent work is characterized by a more expressive use of color although the color is still subsidiary to the form. Also the interior itself contains less details. Still the balance between the inside and outside world holds the key to Van Veldhuizen's paintings.

Karin de Visser

2009-02-19T06:59:00.005-08:00

Rotterdam NL

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Karin de Visser graduated at the Royal Academy of Arts in The Hague and is currently living and working in Rotterdam.

The multi layered mixed media objects of Karin de Visser invite the spectators to take a closer look at the detailed information wrapped in the total piece. In an expressionistic way the collages, made out of metal, wood and paper, show traces left by people, De Visser states. Symbols, graffiti and advertising are returning elements in her work. Blues and jazz music are not always visible in the objects but some are completely inspired by music and the influence of music in day-today life. Since 1985 Karin de Visser has exhibited her collages and drawings in the Netherlands. The Jazzart shows at the North Sea Jazz festival 2008 have been her first stage for an international audience.

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Easton Davy

2009-02-19T06:59:00.003-08:00

New Jersey USA

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Easton Davy was born in the Bronx, New York City of Jamaican and Cuban parents, and holds an Associate Degree from the Pennsylvania School of Art. After graduating Easton Davy returned to New York City and started hanging out with graffiti street artists, immersing himself in the street culture of New York.

A trip to the Southern States, Mississippi, Louisiana, Alabama, etc., introduced him to the old “outsider” artists of the Mississippi Delta. “I was so inspired by the South that, I think, I’ve been trying to create a kind of hybrid art... southern folk art blues with New York raw street style... That’s probably why my work is so raw: I work on instincts and not so much by “traditional methods”. Using the exciting colors from his Cuban/Jamaican roots, Easton Davy creates scenes of love and pain, loss and redemption with incredible scope and depth. With an abstract expressionist style, he continues to stretch the boundaries of what can be done with paint and the human figure. The cross-cultures of his Island roots and New York City street life, show in his works, the only way he knows how... with feeling. Easton Davy more than deserves the attention he is receiving in New York or the West Coast or Paris. He is an innovative artists whose works will forever reflect his cultural heritage, the raw background of his city and loving and feeling perception of his human experience.
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Easton Davy’s works belong in every serious collection of Contemporary American Art. In 2004 Easton Davy painted during the Greg Osby concert at the North Sea Jazz Festival. He also made the cover art for Osby´s CD ´Public" on Blue Note Records.

Joe Davis

2009-02-19T06:59:00.001-08:00

New York USA
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Joe's vision is to create work that incorporates the dynamic nature of our modern society. He is most interested in the byproduct produced by the exchange of attitudes and ideas where contrasting elements collect and form a new derivative by combination. His desire is to create imagery that suggests a populace of space by several values having intrinsic harmony though there is variance in renderings and objects.
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“I want to reflect on canvas an aspect of the diverse interaction so pervasive in city life - where culture, sights, sounds, activity, and expressions are a continuous influence on our senses. In my work, renderings and symbols embody the space to produce an aesthetic value with collective imagery that draws individual interpretation.” To achieve this end he often begins by drawing on canvas using media such as lead, charcoal, and inks. Acrylic washes are then incorporated, upon which more renderings are applied and the procedure repeated until the final outcome is realized. He works primarily on bare linen canvases to accentuate a raw grounding. On occasion the same is applied to wood surfaces.

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As a New Yorker he is subject to a landscape busy with gestures and expressions juxtaposing one to the other. This approach has led him to consider his work an element of a larger space an expression present in the company of others, thereby having voice and individualism manifest in greater degree due to the relation of surrounding components. For this purpose his compositions are often simplified in sincere appreciation for amplifying what is being said.

Toni Dalton

2009-02-19T06:58:00.006-08:00

New York USA

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Toni Dalton studied art at the New York Studio School. A long time resident of the Westbeth, the largest artists community in the world, located in Greenwich Village, New York. Westbeth, located in the historic Bell Labs building, is designated as living and working space for professional visual, performing, and literary creative artists. The award winning design by architect Richard Meier includes performing and visual arts studios; a gallery; theaters; film, photography, and recording studios; a communal print shop; sculpture studio; and a community space used for performances, concerts, lectures, videos, and meetings of community groups. The Westbeth is an exciting, dynamic center for artists who have made important contributions over the past 25 years. Merce Cunningham in dance, Gil Evans in jazz, Diane Arbus in photography, Moses Gunn in acting, and Muriel Rukeyser in poetry are among the hundreds of artists who developed their art and careers there.
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Dalton started her artistic career as a painter and gained a well respected artistic status within the American art scene. Exhibitions and art shows at the Vorpal Gallery on West Broadway in SoHo, at Barnes and Nobles New York and the annual Westbeth gallery group shows for the last 20 years, reflect the respect she earned as an artist. Toni Dalton filled her life painting continuously until she had an unfortunate accident and became unable to continue working as a painter. In order to generate a possibility to express her creativity, she started to work out with digital painting on her Macintosh computer, photography and the production of short movies and has been doing so for the past years. Together with friend and painter Arnold Wechsler, a New York painter who has also produced art programs for cable TV, lately, they focus and collaborate on projects for the Internet. Their venture, 'Steal This Painting', is a project that pays tribute to the life and work of Abbie Hoffman. Digital Bridges, A New Media Exhibition, explores a wide variety of visual responses to new creative challenges, is frequently on show at the Westbeth gallery and their Street photography and digital graphics projects appear more than often in New York media. Digital technology has become a central part of their everyday life and is shaping their culture in innumerable ways. By using the scanner, mouse and screen as their sketch pad, brush and canvas they have embraced the potential of the computer as their artistic medium. Toni Dalton frequently uses the name 'Kaliart' for her creative work and expressions. The photographic project 'Contrast & Decay', containing her alternative views and visions on the streets of New York and related issues that most of us would walk by without paying attention, are extremely well 'seen' through the lens and the eyes of Toni Dalton. Her Images could be described as abstract paintings. With the project 'Contrast & Decay', Toni Dalton made her first appearance into the European art circuit with the participation in the Tabasco Tabernacle audio-visual project.

Anton Vrede

2009-02-19T06:58:00.005-08:00

Rotterdam NL

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Anton Vrede was born in Willemstad, Curacao in 1953 and moved to the Netherlands in 1961 and for several years he lived in Leiden. From 1971 till 1977 he studied art at the Willem de Kooning Akademie in Rotterdam together with Frank Dam, Jos Looise and Willem van Veldhuizen. His work consists of drawings, bronze statues, graphics, painting, etching, silkscreening and illustration, and his work is widely represented within the art collections of banks, foundations, ministries and hospitals.
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Anton Vrede describes his work as an osmosis between abstract-expressionistic and romantic figurative. Anton Vrede aims for a repositioning or relocation of reality controlled by his own world. The figurative aspects within his work need to maintain visible. The use of mainly light and bright tones within his work, reflect his Caribbean roots. Within his work he often shows animals; pink elephants floating by, parrots and hornbills will stand back to back with raised beaks, cats and tigers sneak around. The animals, humans and objects nearly ever represent their actual values for Anton Vrede. A human can reflect the bestial and the animal can reflect typical human aspects. Animals are frequently stated as an example to show better way of living compared to humans. They accomplish a role and often have a function like personification of human feelings. An animal is able to express and to project power, protection or fear. The self-evident ways in which these meanings interchange become stronger due to the overlapping color-fields and entangled lines within his work. This method of working is has become typical Anton Vrede signature.

Pieter Zandvliet

2009-02-19T06:58:00.003-08:00

Nieuwleusen NL
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Born 1969 in Leiden the Netherlands. Studied arts at the 'grafisch lyceum' and 'vrije academie' Pieter Zandvliet lives and works in Nieuwleusen in the Netherlands. With his characteristic use of colors and outlines, Pieter Zandvliet attempts to shake, mix and transfer his dreams, fantasy, the things that surround him and his imagination within his paintings. Inspired by a selective search of extraordinary people and events in big cities, from the underground comic book scene and from the arts and culture of Spain, Mexico, Africa, Indonesia and the United States, due to the influx of ethnic cultures juxtaposition along side traditional Dutch values, such as personal freedom to do what one wants, Pieter Zandvliet transforms his linework into imaginary but reality based figures on contradicting backgrounds. Pieter Zandvliet, doesn't make sketches, works one way out, right on the spot, is highly productive, works on walls, wood or canvas, has a quick delivery, sometimes chaotic and sometimes serene, in any case his works are pure, represent a part of his personality and are very important to him. Pieter Zandvliet started his creative career by painting murals and graffiti in the Netherlands during the 1980's and strongly explored exchanges with artists from all over the world. His creative involvement in gallery Slaphanger, an active art community where art exhibitions, poetry readings and performances took place in the 1990's up until 2002 in Rotterdam, the Netherlands, his activities as a founding member of Dada Boise Group Krimpos as well as his frequent activities as a performance artist and the widely exhibition of his work on the Internet and in galleries throughout the underground and mainstream art scene, stood at the basis of the widely respected position he gained as a contemporary artist. A continuous flow of activities and exhibitions and a numerous flow on artistic participations in creative projects, guarantee a maximum interaction of his work with his worldwide public. Pieter Zandvliets' work, is highly expressive, confronting, honest transparent & unique. His aim is transfer his thoughts and vibez through his work, reaching and sharing his creative expressions with as many as possible individuals and let his work travel all over the world. Beware, there is more to come...

Nikolaj Dielemans

2009-02-19T06:58:00.001-08:00

Schiedam NL

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Colors and shapes are melting together in waves, resulting in continuously moving pieces of art. In between elements become visible, revealing the source of inspiration for the work: jazz music. In fact these paintings by Nikolaj Dielemans are musical pieces within the frame of the canvas. With a layered structure and elements like jazz solos that finish the composition. By using clear colors the works often emit a poetic feeling in a new reality. Nikolaj Dielemans is graduated both at the academy of Fine Arts as the Academy of Architecture in Rotterdam.
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The work of Nikolaj Dielemans allows to be read as abstract tales or presentations generally poetic by atmosphere. One time on the foreground or another in the background, always leaving open space for the viewers interpretations. Within these abstractions also a more or less recognizable aspect can be disclosed. His work is multiple layered, as well as in color, matter as in imagination. Nikolaj Dielemans is fascinated by structures and textures, that through the addition of a specific meaning will create a new reality. Often in a continuous motion but than again as a still. The basic ingredients of his paintings are mostly placed within one dimensional framework in which a revelation will take place.

Ron Weijers

2009-02-19T06:57:00.002-08:00

Schiedam NL

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Weijers translates his views on contemporary issues by painting, through photography, and composing music.

"My personal quest is to find the balance between tranquility and tension."
"Painting is the ultimate medium for communicating with myself and others."
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In painting, his work conveys an intuitive visual language where interlacing signs and shapes combine by relational substance to create a mystical place. Using a refined drawing technique he has successfully liberated the line from traditional pattern. Figures and elements are thus rendered in their natural state, one belonging to the other with consistent symbolism that allow the viewer a ready grasp of their message quality and orientation. Thereby inviting viewers to consume individual components for detail and to bring them together in relation so that a comprehension of the overall image is portrayed. Complementing the subject matter is a specific color palette that effectively stimulates and suggests the desired mood. Collectively his compositions manifest color, shape, material and line into a seductive fantasy of an alternate worldview.

A prior career in graphic design has strongly influenced the artist's work and is evident in the media he favors. Weijers mainly paints on wooden panels and his work could be described as multi-layered mix media (collage, acrylic, oil pastel, graphite, objects). Through the years he has matured his painting style by means of materials used, technique and concept. His high levels of productivity continuously generate a further developing flow of work. His paintings are on exhibit in several galleries in the Netherlands, Belgium, Germany and the USA.
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By way of photography, Weijers is keenly adept at capturing the essence of subject, communicating again his conceptual vision of social and political issues. Various series such as 'Throw away your TV!', 'It's a stars & stripes circus out there', 'Get Connected with Phonarchy', 'Spray-com 2006', 'LA drive-by shooting', 'Target rush-hour' and 'Fixx the game', intend to bring forth underlying sincerity relating to the desired theme. His photographic work is shown in galleries in the Netherlands, Germany and the United States. Photographic visions on New York are in current development for publication with “Manhattan Transfer”. A series of six books is also in production to be titled “Alter Vision”.
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As a musician Weijers writes, arranges, produces and releases musical projects using the name Global Frequency. The recordings of these projects are realized in corporation with an international group of musical friends mainly in the Netherlands and the United States. During the past years his musical activities resulted in the release of ten CD/DVD's. The projects “the Break of Dawn“, “D-Mans' left wing & painkiller sessions“, “Trippin' in the temple of doom“, “Get Wet“, “Throw away your TV!“, “Evo-so-lu-tion“, “Sounds of Vision“ and the 2007 release of his first DVD “Tabasco Tabernacle“ are some examples of his urge to musically express himself.
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The audio-visual project Tabasco Tabernacle is to be seen as the start of a new era in the Global Frequency history. A co-production on song writing with the Dutch artist and musician Willem van Veldhuizen as well as on the production of the visual material generated a more than welcome added value for the both of them. In addition to Weijers and Van Veldhuizen, the New York based artists: Easton Davy, Toni Dalton and Joe Davis as well as the Dutch artists: Ben Game, Max Dereta, Pieter Zandvliet, Carolien Vermeulen and Joke Schot where invited to add their artistic skills to the visual production part of this project. The integration of all available artistic disciplines within the Tabasco Tabernacle project and the cooperation with a wide range of artists, created a true international multi-disciplinary audio-visual production. Next projects to work on for Weijers are the Poligious Issues audio-visual art project and a co-op painting project with the Dutch contemporary painter Anton Vrede. At the end of 2008, Weijers initiated the foundation of the 10dence art collective.

Works from Weijers are in stock at: 10dence gallery - Korenbeurs - Schiedam, Galerie Ooster-Laren - Laren (NH) and Galerie LeCocon - Hamburg, Germany. Recently Weijers opened his new studio artifacts-10dence gallery, in the historic center of Schiedam and together with the artist Nikolaj Dielemans he also opened the new open studio - gallery at the Korenbeurs, also in the historic center of Schiedam.

Rob Scholte

2009-02-19T06:57:00.001-08:00

Bergen NL
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Every now and then some publicity-seeker will again pop up to complain that Rob Scholte (1958) has plagiarized his work. Time and again, threats are made to take the artist to court. This is by now the predictable response from people who do not understand what Scholte is doing, what his motives are and why, in this, his passion for provocation sets the pace.
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In the eighties, the history of art was outlawed and traditional interpretations of originality were thrown to the winds. The artist was free to draw on the archives of art. Quotation was (again) permitted. Rob Scholte knew how to use this freedom in an intelligent and, even though it sounds paradoxical, original way. According to his reasoning, it is not a case of everything has already been done, so why think up anything new. "(He invents) new arrangements, introduces unexpected correlations and juggles with meanings."
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With 'The Embroidery Show' (2005), one of his latest projects, he hangs existing pieces of embroidery, the great cliché of petty bourgeois life, the very essence of Woman's Own magazine, back to front on the wall. All at once, they show a soul, they suddenly become intriguing and mysterious. Something similar happens with the works he produced under the collective title 'Blue Period' (2004). He executes familiar logos, images or objects in blue and white and mounts them in a classical, golden frame. By this he is forcing the viewer to give them a second chance. His copy of 'Olympia' by Manet, 'Utopia' from 1988, is a copy of a masterwork that has frequently been copied, to which he adds something (socially critical) by transforming the naked woman into a wooden puppet and making the servant black. His biggest project 'Après Nous le Deluge' (1995), the painting of the replica of Huis ten Bosch in Nagasaki, is also more than the application of murals based on existing images from his art file. It is copying in a country that can (or must) count copying as one of its most significant features.
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It would be wrong to judge Scholte on his skill as a painter. This is fairly limited. He, himself, calls his style "wooden, awkward, stiff, verging on the ugly". Having others execute his work not only fits in with his concept of originality, it is also sometimes for a purely practical reason. This supposed shortcoming is unimportant to him. He is not a painter who wants to push back the boundaries in this field. He has no ambitions to be the new Rembrandt. For him, it is far more interesting to give a whole new life, as it were, to works by Rembrandt that have descended into cliché because of their mass dissemination. His are the strategies, not the skills.
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Rob Scholte is much closer to Andy Warhol than all the painters who threw themselves back into painting in the eighties. What they have in common is that they 'process' existing images in such a way that they are again uplifted into illusions, into images that have regained their glamour, into images that can be viewed and judged in a different way. Both of them do this in an accessible, but primarily, original manner.
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In 1994 Scholte lost both his legs when a hand grenade exploded under his car. In 1995 a molotov cocktail was thrown through the window of his house in Tenerife.
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His work has been shown in Galerie Witteveen Amsterdam (2004, 2005, 2006), Ludwig Forum für Internationale Kunst, Aachen (2005), Groninger Museum (2002); Fries Museum (2000), Paleis Huis ten Bosch, Nagasaki (1995), Sprengel Museum, Hannover (1994), Grey Art Gallery, New York (1993), Museum Van Bommel-Van Dam, Venlo (1992), Kunsthaus Hamburg (1991), Stedelijk Museum, Amsterdam (1990), Museum of Contemporary Art, Tokyo (1989), Aperto, Venice (1988), Boijmans Van Beuningen (1988); Documenta, Kassel (1987), São Paulo Art Biennial (1985), Venice Biennale (1990).