Works of Art mvomieke 2020

Online exhibition

Bronze I

made of bronze, about 40 cm hight. casting by myself, 2018

When does art go beyond the point that you experience it as liberating or pleasant to (enter) the road?

Does it leave you in despair and do you meet your own demons or does it bring liberation, inspiration and solutions?

It stirs my curiosity about: what makes an image touch me? When do thinking and thinking start to mix?

Something I am not yet sure of is the question of "How 'autonomous' is autonomous" and how essential is autonomy? Autonomous is a 'standard' inherent to the aesthetics of the 20th century and thus influences ideas about art and thus the function of art. In my opinion it also has a somewhat "authoritarian character"; when many limit themselves to the role of art critic, this calls me to a feeling of itch ... as well as the dividing line 'conceptually artistic versus artisanal'. By whom and with what right is something qualified as (autonomous) art? I will keep it to you: there is a lot to argue about "taste" and that can be very pleasant!

Bronze II

What makes me happy? My sources of inspiration are very variable. Go from high art to lowbrow. Whether a work was made 400 years ago or now, I derive elements from it to do something with it. Drawing, sculpture, installation‌. I do not find all those divisions so important and also strange, they are all just art forms, the ones not of a higher or lower order

Bronze, 40 cm, casting by myself, 2018, Inspired by nature

I translate that: what can I do with that ?! I often get surprised when I see images I know from the internet in real life. The size, the fierce or dullness of color, the grain, the construction, the material, the carriers‌

to quiesce

dence concrete, 2018

Study man

Study

Herring

dense condrete with stones, wrapping paper, sisal rope, shellac, 40 x 35 cm, 2018

little milk bottles, ceramic heaps, baked scoops of clay, skewers, oil paint, 50 x 50 cm, 2019

What do I want with these "collections"?

For example, what has been done with consumables in earlier times?

How does my process work and how do I describe it?

Do I have a message or is it more of an urge inside? Where does it come from?

baked ceramic heaps

Inspiration

Gates in the caves in ancient times bottles of chewing gum, sisal rope, dense concrete stones, shellac, 2019 75 x 40 Do I need multiple techniques and which and why? Why do I choose certain media? How do I make it my own?

wire steel, gears, work gloves, ceramics, oxides, casting plastics, oil paint, 150 x 50, 2018 Inspired by sevaral works of Picasso.

In the design process inspired by Pontormo descent from the cross terra cotta clay, slaps of bathroom insulation, sisal, jute, leather, peel mandarins, doll wig, molten plastics, 40 x 25 cm, 2020

In fact, every work of art contains a secret: that of its creation. The artist's secret knowledge. Which is hidden behind every work as a mechanism behind the dial of a Swiss timepiece. I want to uncover such secrets. The artist's ambitions are strongly colored by the fashions of the times. Artworks express something, something intangible, an atmosphere, a feeling. It is an expression of how the mind responds to things. Bring the inside out. Connecting times together.

photography, Inside, 2020

Narcissus

Everything is related to each other, I like to mix things up. Literally too. I like to play with the material and ideas also come from the making itself. I also document myself thoroughly, often just after the visit. Above all, I want to go my own way, apart from labels and old or modern ideas that certain expressions are "more or less". I try to pick mine out and maybe I am naive in that: in the end what suits me will surface, maybe more in the long run‌.

boxes of cardboard, hand carved, lined with different materials, 15 x 15 each, 2015

Serie

Caravaggio Narcissus

The sea at Sardene

John Isaacs milk and blood

making mushrooms out of steel and plastics, tile adhesive, shards of mirrors, strips of tulle, steel wool, strips of linen, wax, set on fire. pieces of plinthgold powder, 1.20 x 60 cm , 2018

Insect hotel

coffee cups, plastic party glasses, recessed cavities, cast, glue, wood, acrylic paint, 1.20 x 20 cm, 2019

baked ceramic heaps , hand-poured concrete tiles, sisal fisherman rope, jute, ropes of insulation blanket , beachcombing Being free in materials, with the flow of work, enjoying what comes out of your hands. Even if you know what you want, it always changes.

Surprisingly.

still life I

recessed clay hollows, multilayered cast, wood, 35 x 30, 2018

Organic paper clay , 40 x 30 cm , 2018 The context of the space is part of the image. Take the shapes apart, put them back together, let them come to a new shape. The forms communicate within and with space. The parts form an arrangement with varying rhythm, cadence and space. A play with mass, transparency and permeability, closedness and openness. A non-verbal dialogue from touch and rearrangement.

Wax White and black wax, ecoline, wood Inspired by Picasso 1.20 x 1.10 cm, 2014

A person is contour

Burnt Heather carcoal, cast, filler, shoeshine, shellac 1.00 x 70 cm on board, 2014 Explore the possibilities: use of pencil, charcoal, mixing with materials such as plaster, aluminum cement, filler ... it is all possible and it all gives a different effect!

castle lan paper, east indian ink, pensil, nail polish remover, black nail polish, 20 x 30 cm, 2013

I walk along for a while

the forest is recovering

Indian ink, acrylic paint, 80 x 60 cm, 2013 finger painted change‌. change one or a few elements and the whole changes. Play with: color dimensions: contrast, lightness, saturation. From blank, blacks-grays and characteristics.

Cheers!

stained glass

crayons, ecoline, acrylic paint, 80 x 60 cm, 2013

homemade tempera, 60 x 40 cm , 2013

Homemade tempera, collage 60 x 40 cm , 2013

the Thinker

screen printing, 30 x 40 cm , 2013

In front of the window torn travel guides, crayons, ecoline, finger painted, hand dyed 80 x 60 cm, 2013.

field border tyre rips, spheres extracted from insulation material, acrylic paint 1.50 x 80 cm, 2013

wax, silicone sealant, acrylic paint

birch bark iron sponges, white , white river clay, agricultural plastic, birch trunks of the Strabrechtse heather, 2.00 m x 1.00 m, 2013

my son, oil paint, 2018

wax, tule

, 1.80 x 1.50 cm , 2013

cemeteries photography, 2013

My perfect space welded iron steel, linen, strips of plastic-coated photo material, 2013

I (1) work (1) with shapes (3) limited dynamic (5) movement, rhythm, contour, line (8) organic, experimental, meandering (13)

Unity and multiplicity.

Bounded and boundless.

Triangular, square and rectangular.

Movement of space.

A recognizable basic shape, clear, clear.

Stackable modular geometric shapes welded iron steel, 2014

clay , inserted insert a mold with vubonite , 1.20 x 45, 2011 I like working on scale, expressive lines, basic shapes. Shapes as a kind of ritual. I lay down elements based on one or more previous elements.

Together they enter into a modular organic whole. As if shapes can be added or removed at any time. Just as nature can expand and contract.

Referring to repetitive wave movements in the cycle of seasons repeating itself for a thousand years. I often have some kind of rules in my work and chaos at the same time. Connected form-in-form. Free to jump with. Rules work liberating for me. I design a framework, an environment in which something that is constantly changing can change. Take the shapes apart, put them back together, create a new shape. A non-verbal dialogue from touch and rearrangement. I experiment with materials. Looking for a non-conventional traditional form, an image with a twist.

Nature is characterized by series. Fibonacci is all around us. 1,1,3,5,8,13, 21, 34, 55, 89, 144,

233, 377, 610, 987, 1597, 2584, 4181, 6765, 10946, ... molded foot figure , smooth casting black onyx, tree trunk, 2010

The Hurdler Running rhythm in bound form welded Iron steel, wood

1m x 70 , 2014

The meander represents the beginning of life. The figure moves forward and sideways at the same time.

Depending on the context and time, the interpretation in that sense has to do with chance and regularity.

the Ascendant, 2014

soup & peas zinc plate, tin lids 1.10 x 1.00 m , 2014 Captured form-in-form. Order with a twist. There are several ways to arrive at a composition. With shifts that just give it its own dynamics, I bring the stacking of shapes and materials to life.