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MINISCULES International Art Exhibition curated by Wilma Vissers 10 September 2016 / 09 October 2016 Galerie Badweg 3, Bolsward - Netherlands


International Art Exhibition curated by Wilma Vissers exhibition dates: 10 September 2016 / 09 October 2016 vernissage speech: 10 September 2016 - 16:00 by Judith Spijksma (Fries Museum in Leeuwarden) gallery opening days/hours: Friday, Saturday, Sunday, 13:00-17:00 and by appointment

Galerie Badweg 3

Badweg 3, 8701 XG Bolsward - Netherlands tel: 0031 - 515 336451

“Miniscules” Op 10 September 2016 opent “Miniscules”. Dit is een internationale groepsexpositie bij Galerie Badweg 3 te Bolsward . De opening zal worden verricht door door Judith Spijksma, werkzaam in het Fries Museum. Deze expositie is een internationaal samenwerkingsproject tussen kunstenaars afkomstig uit Frankrijk, Nederland, USA, Turkije, Bosnië Herzegovina, Duitsland en Australië. Het is een initiatief van Wilma Vissers (nl) Het is een vervolg op een expositie die plaats heeft gevonden in 2013/2014 bij TAS in Groningen. De titel “Miniscules” is een speelse variant van het woord klein in het Frans, Engels en Nederlands. Het motto voor deze expositie is : 1 Een kunstwerk te maken dat in de hand palm kan passen. 2 Het kunstwerk moet met of zonder de maker over de wereld kunnen reizen. 3 Een knipoog of een ironisch commentaar op de kunstgeschiedenis te maken waarin alles groter, nog groter en groots moet zijn. Het kleine formaat maakt het voor de toeschouwer mogelijk om een verbinding of relatie met een kunstwerk aan te gaan, doordat het van heel dichtbij bekeken kan worden. De kunstwerken zijn abstract en passen binnen een richting in de schilderkunst die concrete of formele kunst genoemd kan worden. Van iedere kunstenaar zijn twee kunstwerken aanwezig. De expositie “Miniscules” , vindt plaats van10 -9 tot en met 9-10 bij Galerie Badweg 3 te Bolsward en is een internationaal samenwerkingsproject, op initiatief van Wilma Vissers (nl). De opening zal worden verricht door Judith Spijksma, werkzaam in het Fries Museum 10 september 16.00 uur. Voor meer informatie: Wilma Vissers ( )


“Miniscules” On 10 September 2016 opens “Miniscules”. This is an international group exhibition at Galerie Badweg 3, Bolsward in the Netherlands. The opening will be performed by Judith Spijksma who works in the Fries Museum. This exhibition is an international cooperative project between artists from France, Netherlands, USA, Turkey, Bosnia-Herzegovina, Germany and Australia. It is an initiative of Wilma Vissers (NL) and it is a sequel to an exhibition that has taken place in 2013/2014 at TAS in Groningen. The title “Miniscules” is a playful variation of the word small in French, English, and Dutch. The motto for this exhibition is: 1 To make a work of art that can fit in the palm of your hand. 2 The work of art should be able to travel the world with or without the artist that created it 3 To make a nod or an ironic comment on the history of art in which everything should be big , bigger, or even grand. The small size makes it possible for the spectator to have a very close relation or connection with a work of art because it can be viewed up close. The works of art are abstract and could be categorized as concrete or formal art. Each artist has two works in the exhibition of “Miniscules” These are the artists: André Geertse (nl), Maria de Werker (nl) , Wilma Vissers (nl), Janet Meester (nl), Christine Jacquesson (fr), Erdem Kucuk-Koroglu (tr), Emma Langridge (au), Sue Post (usa), Niki Lederer (usa), Jill Vasileff (usa), Connie Goldman (usa), Sam Still (usa), Richard Bottwin (usa), Tony Harding (fr), Kathy Goodell (usa), Munira Naqui (usa), Wahida Azhari (de), Cyndy Goldman (usa), Christine Boiry (fr), Louise Blyton (au), Jan de Boer (nl), Eun Yeon Yang (de), Gaston Bertin (fr), Bogumila Strojna (fr), Dennis Meier (de), Dorothea Fischer (de), Tineke Porck (nl) , Arleta Cehic (bih), Fabian Westphal (nl), Jan Enno de Jong (nl), Michael Perlbach (de), Marja Griede (nl), Saskia Zwiers (nl), Arjan van Es (nl), Kevin Finklea (usa). For more information contact Wilma Vissers ( )




AndrĂŠ Geertse Arjan van Es Arleta Cehic Bogumila Strojna Christine Boiry Christine Jacquesson Connie Goldman Cyndy Goldman Dennis Meier Dorothea Fischer Emma Langridge Erdem Kucuk-Koroglu Eun Yeon Yang Fabian Westphal Gaston Bertin Jan de Boer Jan Enno de Jong Janet Meester Jill Vasileff Kathy Goodell Kevin Finklea Louise Blyton Maria de Werker Marja Griede Michael Perlbach Munira Naqui Niki Lederer Richard Bottwin Sam Still Saskia Zwiers Sue Post Tineke Porck Tony Harding Wahida Azhari Wilma Vissers



The main themes in his works are colour, light and space. His work involves a painterly research of abstract and minimalist principles and includes paintings, drawings and artist books. It gives form to the inquiring wonder about relationships and interactions of lines, forms and colours.

“Ave Maris Stella” no 48 and no 01, acrylic on wood, 24 x 10 cm, 2016 (each work)



Untitled, crayon, 19 x 23.5 cm, 2016



“Everything that has happened so far, is the sum of continuity and discontinuity. In Discontinuity we have the nucleus of continuity. Life as such, never dies. Death as such, allows further life. I locate and assosiate lost items which become signs that lead me to the truth and become part of new birth.� Arleta Cehic

Untitled, diptych, acrylic on wood, 17 x 14 x 2.5 cm - 16 x 16 x 2,5 cm, 2016 (each work)



The cubic form is the base and also the constraint of my exploration. I have produced several works using optical illusion, which raise questions about perceptual phenomena and our construction of reality. I use traditional materials to create my works (metal, wood‌), as well as non art specific materials, such as PVC sheeting or adhesive tape as used in the construction industry.

Sculpture dĂŠsirante / a desiring sculpture, metal paint, 14 x 8 x 3 cm, 2005 Cube, metal, 14 x 8 x 5 cm, 2010



Trained in the sciences, i was soon attracted by the abstract and playful spirit of mathematics. My art comes from the study of material and colour to create a minimal, often mono-colour, space in search of rythm, emptiness and light. Recently I have focused more closely on the interaction between my work and the surface of the wall.

Untitled, acrylic on wood, 11 x 11 x 3 cm, 2016 (each work)



From my studies in biology and geology, i am near microscopic pictures, stylisation and observation of shapes and colors. In my painting I try to translate the links between micro and macro cosme. For the works in Miniscules exhibition, i call them ex voto 2016 mer mĂŠditerranĂŠe because they represent all people die into. Recycled Wood for the boat, color like semaphore. Only for no forget them.

Untitled, wood, acrylic and metal pigments, 15 x 10 x 11.5 cm, 2016 (each work)



Phasis Series Phasis n. / a manner, stage, or aspect of being; phase [<NL <Gk phasis, appearance] Phase n. 1. any of the major appearances or aspects in which a thing of varying modes or conditions manifests itself to the eye or mind.

2. a stage in a process of change or development 3. the particular appearance presented by the moon or a planet at a given time. Lunar Phase Lunar phase refers to the appearance of the illuminated portion of the Moon as seen by an observer, (usually) on earth. The multiple panels allow for time elapsed and changing points of view. These pieces speak to the constancy of change, the predictability of uncertainty... Phasis I, oil on panel, 7 x 8.5 cm, 2007



Cyndy Goldman is born and raised in San Francisco, CA and is an interdisciplinary artist.She began as an Art Therapist with a private practice from 1992-2002.In 2002 she began her self-taught art career as a modern contemporary painter in the design industry.She has exhibited in the Bay Area, Los Angeles, New York, and Europe, as well as featured in internet curated shows.Her work has been acquired by collectors in Los Angeles, New York, Palm Springs, Hawaii, and the Bay Area. Her process relates to responding to mixed media materials with nothing but a vague idea and watching that idea unfold as a painting, drawing, design or sculpture. She approaches her work without preconceived ideas and pushes her practice together with living. Art is an everyday part of life which keeps her engaged, alive and content treading the consistent learning curve. She lives and works in Oakland, CA with her daughter, and her Latin Jazz musician partner. “Block� (2 pieces) sculpture, wood,acrylic,polyurethane, 1 x 3 inch, 2016



Reducing elements to establish a space. A space of possibilities which carries no emphasis. Periphal. Focusable. Dennis Meier

KyĂźshĂź II, acrylic marker, artist pen on rubber, 10 x 16 cm, 2013-16



In my work I combine two or more items, so that the “In-between” becomes significant and every onlooker may experience his own way of seeing.

I,2 : chord, canvas: 5x5cm x1cm + cardboard : 5x5 cm , : pigment + acryl, wire I,3 : remembrance, canvas 10 x10cm x1cm +two cardboards 10 x 8 cm ,:pigment + acryl



Through a series of preliminary drawings I distill a composition reconciling the given area. Playing with ‘figure and ground’ but maintaining ambiguity, I toy with assumptions and attempt to find common ground between balance and imbalance, symmetry and asymmetry.”

Untitled (cubes), enamel / acrylic on wood, 72 x 72 x 72mm, 2016 (each work)



I compose my works using visual esthetics and rhythms of calligraphy. My works consist of geometric forms dependent on mathematical ratios and i use the Golden Ratio of proportions for geometric forms and compositions. Generally speaking, i emphasize balance, rhythm, positive-negative space by composing geometric relations.

Untitled, acrylic on canvas, 30 x 30 cm, 2016 Untitled, pen on paper, 15 x 20 cm, 2016



Man Ray said: “One does not shows it, it is not produced, It is just it.� I show the things and the flip side of things to create because the language of the art is not as things but through the things about insight from the flip side of things. I express against the limits of the picturesque tradition and against the boundaries of sculptural tradition as my reflection on the painting and the sculpture. The direct presence of things on the one hand, improvised relations with materials on the other hand.The first phase is reduced geometric painting and the second phase is as the sculpture such as a painting.They are the connection between painting and sculptural elements determining art work.So to speak the mixture, 2 Dimension as 3 Dimension and 3 Dimension as 2 Dimension. The method is difficult to Traditional way from the representation... The other side, acrylic on wood, 15 x 15 x 5.5 cm, 2016



‘It is what it is (concrete thinking) even if it is not (association).’ Fabian Westphal

untitled, lacquer on wood. 23.5 x 7.5 cm, 2016



My non-figurative photographs are not computer generated. Searching for things that do not exist I take pictures of handmade paper collages. I like to think that my photographic activity is a ritual that is a crossover between painting and sculpture. Painting because there is on my part a physical involvement when making and photographing my paper collages. Sculpture because the purpose of my photographs goes beyond being decorative, their display intends to have a spatial influence in the context of their settings. When shown in a gallery they are shown as installations, at times they even occupy the floor space.It would also be nice to believe that my work is conceptual because after all, all art is conceptual...and, why not, political since all our actions are political.... but at the end it really does not matter... my work is simply about “making now special�, a desire to record the ephemeral and to share it with others. Not pictures of reality but the reality of pictures.I intend to say nothing, I know it is impossible. Inkjet Photo Prints mounted on Aluminium



The art works don’t refer to everyday or concretely situations or meanings. They unroll a beauty or reality of its own kind. The way different kinds of materials are placed togheter and the use of color, takes the art works far beyond everyday live and its trivialities.

Untitled, lacquer on wood, 23.5 x 7.5 cm, 2016



It’s not about thinking, it’s not about concept It’s about doing, it’s about let it happen Like Jazz from Miles Davis

It’s about landscape and lonelyness at the same time.



“The mystery of things, where is it?” (Fernando Pessoa)

Untitled, diptych, 2 times 8,3 x 16,6 x 0,4 cm, oil on canvas on mdf, each painting is laid on a lavastone (photo Jan Buwalda)



Through formal juxtapositions and manipulation of materials, color and imagery I utilize elements of unresolved past work to create painting and sculptural fragments in my ongoing series, The Grace of Grief. The impetus for this exploration is fueled by grief from all around-old, new, hidden, blind, paralyzing, insidious, mine, yours, theirs, ours, past, future, the grief of now, the mending of broken fences, the reconciliation of great loss, errant pieces of distorted perception- and aims to discover the wound transformed in the search for a moment of generous insight.

piece on left: (The Grace of Grief) #5, Firewood/Acrylic & Oil/Spray Paint, 3”x3”x3”, 2016 piece on right: (The Grace of Grief) #6, Firewood/Acrylic & Oil/Spray Paint, 3”x5”x3”, 2016



I am in love with the discovery process, an ardent experimenter in pursuit of the unknown. There is no object of desire other than my embrace of “flux�; I am involved with paradox, synchronicity and joining the tangible and the temporal in equal balance. I am interested in the unfolding of process and image and its unpredictability, and allowing my work to move freely from one form to the other; using optical lenses, motors, together with painting, drawing, sculpture and photography.

Untitled, wood,glass lenses,crackle paint,gouache,brass , 1 x 2 x 5 inch, 2015



My origins lie in the very simple premise of making more with less. I had gone into the studio to make simple wooden forms. The first piece came about when two scraps from a crate were leaning up against one another. I continued from this simple arrangement, fabricating work using already cut pieces of lumber and plywood that I had in my various material piles. Plywood from old crates formed the bases of pieces completed with the cutoff from older wooden works. The rule I set for myself was to not think about it too much. Simply put: glue it, screw it and paint it. And so I did so. When I painted them, i made use of already mixed pots of paint. This was paint remaining from formerly completed works in my painting studio. This wasn’t so much about recycling and more about using what I had readily at hand. I had to augment some of these colors and in some cases mix new colors when the pieces called for it. Pinks nr. 1, acrylic on poplar and plywood, 4 x 16 x 10 cm, 2016



For many years now my practice has been committed to and informed by reductive art and it’s histories. My early work concentrated on using only straight vertical and horizontal lines to demarcate solid shapes. This structured method led me to a new concentration on the materials I was using. I became interested in reducing the materials to reveal a purity and simplicity that mirrored the minimalist forms and composition they are inspired by. I have long harboured a love of raw pigments; the amazing saturation of true colour, the intense matteness and the physicality they possess. Similarly, I am drawn to the tactile texture and historical significance of linen, which evokes in me a certain romance. Linen provided a substrate with a rawness and simplicity that partnered beautifully with raw pigments. Both materials have been chosen for their purity, which allows their innate aesthetic to resonate in the work. Minute of Night, acrylic on wood, 10 x 5 x 3 cm, 2016



In my drawings i want to express movement and space; and search to accomplish that with a minimum of means.

Untitled, drawing with ink and chalk on paper, 8.5 x 9.5 cm, 2015 Untitled, drawing with ink on paper, 14.8 x 21 cm, 2016



Marja Griede gets her inspiration from things that move her. She remains herself in the process. Her work is a continuous interactive process between the unconsciousness, the absurd and reality. She uses oragnic and fluent shapes to achieve this. She feels it is important to express the things that pop up in her mind. Her way of working is by no means a predetermined plan. It is much more an interactive process between an artist and her material, where feeling and experiencing is key. Apart from textile, Marja uses a variety of materials. There is no material too bold to capture the infinite world of the unaware, the absurd, the dreams, the emotions and the desire in her art. Untitled, 20 x 6 cm, nylon and polystyrene, 2016



I mainly produce drawings with black ink and digital photography. In both areas I try to reach the limits of the appropriate medium, thus questioning those media themselves as well as my own abilities. The works themselves are testimonies of my efforts to catch the attention of recipients by creating uncommon optical experiences as also enriching them with additional semantical references. This deliberate multiplicity of dimensions within my work creates an offer from which a spectator - in accordance with his education, interest or aesthetical penchant - can retrieve his appropriate degree of artistic density.

“In The Beginning”, black ink on Bristol cardboard, 8 x 10.5 cm, 2016 “In The End”, black ink on Bristol cardboard, 9.5 cm, 2016



My work consists of paintings that can be grouped. The serial nature of my work tracks the exploration of the theme. For this exhibition I explored the idea of intimacy, the closer interaction between the work and the viewer. It brought up questions of space, how we occupy it, our movements in space in relationship with others. I am thrilled by the potential energy of these interactions. I live and work in Maine, USA.

Untitled, 4 X 4 inch, gouache and wax on wood, 2016



Hot Mini Red and Cold Mini Blue are small sculptures created with re-purposed, post consumer plastic bottles. I harvest these bottles from Brooklyn sidewalks each week on the eve of New York City’s curbside recycling pick up. When I take the dog out for his evening walk I collect plastic bottles from these bags of recycling and use that as source material for my sculpture. The optimistic colors are a sharp contrast to the environmental impact these plastics create.

Cold Mini Blue, found re-purposed plastic bottles, wire, 10 x 10 x 10 cm, 2016 Hot Mini Red, found re-purposed plastic bottles, wire, 10 x 10 x 10 cm, 2016



Architecture and functional objects inform the vocabulary of Richard Bottwin’s sculpture. The plywood surfaces, laminated with wood veneers or painted with acrylic colors, are configured to reveal surprising shapes and patterns with shifts in the viewer’s perspective. A sense of disorientation, implied weightlessness and the element of surprise are created by the reductive forms and subvert the modernist vocabulary of the simple constructions.

“Banner #1” (blue/white) acrylic paint on wood, 22.86 x 10.16 x 7.62 cm, 2016 “Banner #2” (Yellow/white) acrylic paint on wood, 27.94 x 8.89 x 5.08 cm, 2016



I make both small and large format burnished black ink drawings on paper. Some with emphatically flat silhouettes of organic shapes as well as rectangles that are divided and or connected, others with exposed white shapes, that when engaged over a prolonged period, will oscillate between object and opening. Obsessively calculated edges define my practice. One of my pleasures is the rigor involved in creating these drawings, the burnishing with an agate stone, the layers of ink built up over time through a repetitive process, both akin to meditation, losing myself, being transported to an ambiguous world of thought, memory and instinct. The images both contain and obscure my emotions, a document of my inner experience and the life cycle of the drawing itself. There is also the pleasure of creating work facilitated by a specifically designed system of self imposed limitations and controls. 2016. + 2016., India ink on paper, 4 x 4.5 inch, 10.16 x 11.43 cm (each work)



My personal fascinations are infinity, the void, space. Strong words that must be captured in subtle, poetic images. Saskia Zwiers

Untitled, acrylic on canvas, diameter 7.2 cm, 2016 Untitled, acrylic on canvas, diameter 7.4 cm, 2016



I find ways for paint to ‘behave’, where simultaneous contrast and ambiguous space make surfaces both flat and deep. Recently I have been experimenting with placing these grids within a field.

tiny1 scavenged, unravelled, woven beach rope, 15 x 15 cm, 2015 tiny2 scavenged, woven beach rope, 15 x 10 cm, 2015



The Dutch artist Tineke Porck has evolved from a pure constructivist into a reflective minimalist . “By exploring essential elements of connection - lines, dots, crosspoints, surfaces i try to reveal fundamental values, using a personal technique and vocabulary. Pure material research is of lesser importance.�

Cubicals black and white, acrylic on wood, 10 x 5 x 3 cm, 2016



I paint because it’s a way of expressing thoughts/feelings/ideas in a medium which leaves things open & whilst writing a text uses a verbal medium - the strength of which lies in defining and narrowing down meaning, hence I prefer to remain silent.

Untitled, acrylic on board, 6.5 x 5 cm, 2016



My art is an exploration of the experience of space, void and light. Light as a source, a ground of origin, a source of information in itself, carrying a message. The lines, forms and surfaces of my works exist through their specific interdependences and coexistence with emptiness and space. Their relationship is variable, there is no unique right and definite solution, but many, unknown and changing.

Untitled, diptych, acrylic on wood, 10 x 10 x 3 cm, 2016



I am inspired by emptiness and space. Spatiality and infinite space must be present even in the smallest work. Space plays an important role: not only the space between my artworks, but also how a space is used when I present them as a large installation on the wall. I want to pay attention to the detail of each individual work of art that was made separetly, without losing sight of the larger whole formed by all of them together.

Untitled, oil sticks on wood, 17 cm, 2016 Untitled, oil sticks on wood, 12 cm, 2016



























Jill Vasileff

Jill Vasileff

Niki Lederer

Niki Lederer

Sue Post

Sue Post 68

Wilma Vissers

Wilma Vissers

Fabian Westphal

Fabian Westphal

Marja Griede

Marja Griede 69

Saskia Zwiers

Saskia Zwiers

Tony Harding

Tony Harding

Dennis Meier 70

Louise Blyton

Cyndy Goldman 71

Munira Naqui

Munira Naqui

Christine Boiry

Christine Boiry

Wahida Azhari

Wahida Azhari 72

Bogumila Strojna

Bogumila Strojna 73

Michael Perlbach

Michael Perlbach

Maria de Werker

Arjan van Es

Erdem Kucuk-Koroglu

Erdem Kucuk-Koroglu 74

Maria de Werker

Arjan van Es 75

Sam Still

Sam Still

Tineke Porck

Tineke Porck

Emma Langridge 76

Dorothea Fischer

AndrĂŠ Geertse 77

Connie Goldman

Arleta Cehic

Eunyeon Yang

Eunyeon Yang

Gaston Bertin

Gaston Bertin 78

Kevin Finklea

Christine Jacquesson 79

Jan de Boer

Kathy Goodell

Jan de Boer

Jan Enno de Jong 80

Richard Bottwin

Jan Enno de Jong 81

Miniscules Art Exhibition Curator : Wilma Vissers Exhibition & Vernissage Photographs : Wilma Vissers Marja Griede Michael Perlbach Catalogue Design : Erdem Kucuk-Koroglu Thanks : Marja Griede Maria de Werker

Copyright Š Miniscules Artists 2016 September

MINISCULES International Art Exhibition curated by Wilma Vissers 10 September 2016 / 09 October 2016 Galerie Badweg 3, Bolsward - Netherlands