Can you create order in a maze of circles, lines, scratches and stripes? Not at first glance.
Seemingly thoughtless figures that I found in old diaries and notepads, I thought I could make legible, by giving them the shape, the structure that was missing. Sometimes it worked the other way around. Only then did the thought or state of mind of the period in which the lines were drawn slowly return during the 'ordering' of the lines. This mechanism of searching and retrieving, wondering why a certain figure had been given a certain shape, making a tangle of lines 'understandable', has led to a technique that I have come to call the 'one-liner'. It is about giving structure to what would otherwise remain an uncoordinated interplay of lines. After processing many old scratch drawings, new one-liners have been created, no longer based on old figures but directly made as one-liner. One-liners consist of one line. The drawing starts somewhere, not always traceable, and ends when my pen lifts off the paper. The one-liner in linguistics is a short, powerful statement that summarizes something in a catchy way. That's the point of my one-liners. Whether it is an almost endless line and a complicated drawing, or a short line, the image must appeal. The 'open' end of the drawing often gives it extra power. Some of the one-liners exhibited here are portraits. Others are self-portraits of my own inner self. Usually a self-portrait is not interesting to the viewer if the model is not a famous person or a public person. I think the viewer can recognize themselves in these 'one-liner self-portraits'. They belong to everyone because it is not about external characteristics but about emotional experiences that may be recognizable to everyone. After all, emotions are universal. Els Tjong Joe Wai (after the exhibition ONELINERS, 6, 7, 8 March 2015, Sukru Oso Art Gallery, Paramaribo)