The paintings of SANDER REIJGERS are about the matter of the paint and the suggestion of growth in the matter. Movement and transformation of matter also play a major role in ROLAND SPITZER's images and installations.
The opening is on Saturday 24 March from 3.30 pm. You are most welcome here! SANDER REIJGERS Layer, after layer, after layer, after layer… Sander Reijgers is fascinated by the material and the action. Imperturbably he applies layers of paint on top of each other and is limited by the time (the paint has to dry in between) and the shape that the paint takes. Reijgers follows the process very patiently and is almost subject to his own work. The paint follows the action and the paint roller with which it is applied. Very organically, apparently monochrome compositions are created that reveal their rich color hue up close, because there are still countless colors underneath the top layer, partly visible because of the holes that the paint roller has left open on the canvas. The structure of the canvas is also created completely autonomously by the endless repetition of the action. Bumps, paint lumps, anything is allowed, as long as it arises from the action. At the end of the process, the image is separate from the maker and the material. The end result appears to be a simple act, which, on closer inspection, is much more layered and represents months of work. Text by: Jochem Rotteveel ROLAND SPITZER Form creates context. I perceive the human experience as a stream in which people swim and constantly orient themselves on the basis of existing forms. Through my work I try to freeze this flow, so that a moment of stillness and therefore space for reflection is created. By researching form and context, I portray the contrast between existing frames of reference and unknown forms. My work is in flux. It is a transition state, in which the form fades and the viewer is confronted with something unknown. Through this confrontation, I challenge the viewer to search for his personal content, in which his own capacity for association is the only guideline. Through my work I try to get behind the facade of the spectator's perception. My work arises from a playful communication with my work and during the process I, just like the viewer, follow my own association. In this I make drastic changes in form and materiality and often combine tragic elements with sweet colors.