Autumn exposition sunday november 11th
Yvonne Halfens’ recent work consists
of figurative images. She makes, among others, small portraits no
bigger than 6 centimeter. The outward resemblance is not what matters
to her, but the recognition of humanity,
“Actually I try to catch a complete human being with a little
piece of clay.” Apart from these portraits she also makes humanoid
figurines. Figurines with their own character-sometimes they miss
an arm or a leg, they have no head or only a head, but they are never
just realistic. They are studies of how people move through life,
poetic and with a certain languor. Shapes that are recognizable but
also seem to stem from some shadow world. Halfens’ figures sometimes
play a part in a story or an allegory. Her work has been influenced
by, among others medieval (religious) images, the symbolism of which
is put before their expression and their being true-to-life.
www.yvonnehalfens.nl
The abstract oil paintings by Nico Huijbregts have
been made pensively, after much deliberation, as much as was needed
to bring about a balance of color and of the different elements on
the plane. Their atmosphere is reminiscent of the work of painters
like Morandi or Rothko. But through the often extremely thinly applied,
transparent layers of paint one can still see the traces of this probing.
His recent work is less tranquil: the forms and colors in the paintings
have become more capricious and more and more crowd each other, but
in spite of this more boisterous tone a feeling of harmony prevails.
The exhibited drawings are small, post-card sized pieces. As if with
a knife the pencil scratches have been carved in the paper, close
together, into mysterious, dark landscapes.
www.myspace.com/nicohuijbregts
The common theme in Neha Danya’s work is the
contrasts she witnesses daily. It’s as if everyone, made numb
by the quantity of visual material, and the speed with which one image
succeeds the next, has forgotten the difference between image and
identity. Even though between those 2 terms, melded into an optical
illusion, there can be a huge gap. An image rarely relates a complete
or reliable story. Reality has degenerated into a dazzlingly shiny,
glittery layer of shallow pretence. A layer that will only crack when
a single image is ripped from the deluge of images, to silently tell
its story, in oil on canvas. Which story hides behind a reality that
at first glance seems no more than an immense torrent of seductive
images?
At what point does beauty turn into something nasty?
www.myspace.com/nehadanya
or mail to neha_@gmx.net
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