SBK Art voucher, art as a present

IN THE OPEN

11/04/2015 - 07/06/2015 @ SBK Breda

Danielle van Broekhoven, Ellen Grote Beverborg, Hjalmar Riemersma and Matthieu van Riel

Every memory is incomplete. Yet  Danielle van Broekhoven (Tilburg, 1975) tries to keep the memories of places, walks and travels alive through painting. You could call them landscapes, but it is not a requirement for her that the end result refers to a specific landscape. They are paint works, struggles on canvas, experiments in paint, which the artist has found good to show. Nature is only a handhold that she appears to need as a painter.Ellen Grote Beverborg (De Lutte, 1960) grew up in Twente and has been involved with the landscape since her academy days. Her atmospheric paintings are filled with plants, flowers and animals. They often have a 'weathered paint skin': transparent layers of paint, opposite thick pasty touches, they keep each other in balance. Some of her recent works mainly consist of the color white. These refer to a rarefied ethereal in-between world, and at the same time form a contrast with the more colorful earthly landscapes.Hjalmar Riemersma (Leeuwarden , 1970) has been exploring the Alps in his work as a visual artist for years. The iconography and timelessness of this mountain region fascinate him. A golden eagle, ibex, mountain marmots, ancient mountain huts and trains are archetypes that appear frequently in his work. In his paintings and serigraphs he goes in search of the boundaries of the enchanting. He creates his own landscape ideal, a longing for an Arcadian world that touches on reality but mainly exists in his imagination and that of the viewer.Matthieu van Riel (Gilze, 1958) makes paintings on the interface between abstraction and figuration. The Dutch landscape, but also that of Jotunheimen in Norway and Sweden and the Alps form the basis for his paintings. There are piles of photos in his studio. Made during his many walks in forests, polders and rugged mountainous regions. These photos only serve as a reminder, because his paintings are not concerned with depicting reality - in itself an impossibility to represent space and light, or trees, or a glacier, let alone a mountain massif - but with showing the experience of light and space and other sensations in the landscape.