A gallery named Sue

29 - 09 t/m 12 - 11 - 2017 - Going Forward II - 100 Years after De Stijl 100 Years after De Stijl, elements of its principles can be found in the work of each one of these artists. Taking it further and adding their own set of rules they are going forward. Now a 100 Years after the founding of De Stijl they seem to have found liberty in altering form, color and material to a point of calm, balance and rhytm comepletly and delibarately in their own way. Going Forward II with Richard van der Aa ____José Heerkensé Heerkens ____Jorrit Paaijmans ___Werner Windisch

Going forward II Jorrit Paaijmans 2
inDRain#07 | 240x280 cm | ink-paper | 2012


Richard van der Aa presents pictures of paintings, a suite of consonant, reductive works that examine the point of tension between painting and sculpture, object and image. In describing van der Aa’s work as a “metalanguage of painting with which to ponder its own object,” artist Daniel G. Hill writes, “We find ourselves at the margin between the pictorial and the concrete, questioning our comfort with distinctions and categories that enable us to make sense of the world, not with unease but with the pleasure of wonder.” (Margins of Tolerance, essay, Oct. 2016).


José Heerkens' minimalist work is usually inspired by nature or architecture. The Notation series, which she started in 2010, refers to the notation of colours, measures, lines and forms on the canvas, like a musical score.The silence space of empty linen is therefore important in this painting as it provides rhythm to the music painted by the artist. In each of her minimalist abstract paintings and drawings, José Heerkens carefully lays down nuanced hues that subtly contrast with their white or raw linen backgrounds. “In every painting I search for the balancing dialogue between a line and the movement of color,” she says. The colors fall within meticulously delineated grid systems, though each set of colors does not always follow the same system; the lines seem to push and pull on one another. Heerkens explains that the vertical lines provide structure while the horizontal lines orient the compositions outward, emphasizing both the contained physicality of the painting and the imagined continuation of the lines beyond the canvas.

Drawing is often described as an expressive art form that exposes the hand of the artist unmediated. By contrast, Jorrit Paaijmans is not interested in showing anything personal in his drawings. In his search towards a more objective manner of drawing, he has gradually erased his own artist’s hand from the drawing process entirely.

Paaijmans’ work is best described as an in-depth exploration of the drawing discipline in the broadest sense of the word. His aim for an objective, formally abstract way of drawing urged him to radically move away from traditional drawing materials and techniques. He started to make drawings on paper with makeshift tools such as a syringe [Algorythm#01, 2009], which over time developed into proper instruments like a semi-automatic pendulum installation [Prototype#02, 2009] and also experimented with drawing in a performative setting [Prototype#03, 2010]. In his explorations, Paaijmans’ focus shifted from the result - the drawing itself - to the process of drawing. While investigating the act of making a drawing and dissecting this process, Paaijmans deconstructs drawing itself to its basic elements.

Werner Windisch' monochromes are a feast of color. He uses a wide variety of materials, as well as different painting techniques. In addition to the color effect, the object-oriented plays an equal role in Werner Windisch's works. By repeating the immanent markings and process Werner Windisch becomes one with his objects.

08 -06 t/m 27 -08 - 2017 - Going Forward- 100 Years after De Stijl Guido Winkler (NL), Hernan Ardila Delgado (COL), Henriëtte van 't Hoog (NL), Jan Maarten Voskuil (NL), John Tallman (US), Justin Andrews (AUS) & Billy Gruner (AUS).

100 Years after De Stijl elements of its principles can be found in the work of each one of these artists. Taking it further and adding their own set of rules they are going forward. Now a 100 Years after the founding of De Stijl they seem to have found liberty in altering form, color and material to a point of calm, balance and rhythm completely and deliberately in their own way.

Jan Maarten Voskuil en Guido Winkler
Jan Maarten Voskuil & Guido Winkler
Henriëtte van T Hoog
Jan Maarten Voskuil, Guido Winkler & John Tallman
John Tallman and Billy Gruner
John Tallman & Billy Gruner
Hernan Ardila
John Tallman & Hernan Ardila
John Tallman and Billy Gruner
Billy Gruner
Henriëtte van T Hoog
Henriëtte van 't Hoog
16 - 09 t/m 23 - 10 - 2016 - an infinite sum of sinusoidal functions Matthias Grothus, Johannes Langkamp and Abel Wolff

Het manipuleren en misleiden van de blik is al lang een specialisatie van de beeldende kunst. Die is afhankelijk van het feit dat mensen blijkbaar graag gemanipuleerd willen worden. In de tijden dat Bernini zijn Apollo en Daphne voltooid had (1622-26) was er nog lang geen sprake was van film en fotografie en dus ook niet van het maken van snapshots. Toch zou je dat werk tegenwoordig kunnen omschrijven als een soort snapshot of een still uit een film. De 17de-eeuwse kijkers zagen Daphne op het moment dat ze al vluchtend in een laurierboom veranderde, juist vóór het moment dat er een verbaasde blik op het gezicht van de wulps rennende Apollo moest verschijnen. Het moet een schok voor de 17de-eeuwers zijn geweest: iets wat niet mogelijk was leek hier toch bijna echt te gebeuren. Je kon er omheen lopen en constateren dat alles klopte, anatomisch waren de figuren zo echt als echt kon zijn en zelfs het marmer leek de zachtheid van de huid en spanning van de spieren tastbaar te maken, maar vooral: de beweging zelf ontbrak maar werd in het hoofd van de kijker in werking gezet.

Lees hier de gehele tekst van Bertus Pieters, Villa La Repubblica

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