A varied presentation in which the diversity of work on paper is central.
The contemporary shift to digital images, social media and virtual reality means that less and less material passes through our hands. Despite these changes, paper retains its attractiveness. The works in Paper Upgrade show the advantages and possibilities that the materiality of paper has to offer, out of a desire to research, edit, print and (re)construct the medium. In Paper Upgrade, several generations of artists enter into a dialogue with each other through their work. Thomas Birsak (1988) is a visual artist and designer. In his collage-like work he investigates the manifestation of the material and personal identity in the digital world. He does this by combining digitally acquired images with references to the physical world. Within the combination of the two, Birsak's own Dutch-Indonesian identity is repeatedly the subject of his projects. Based and inspired by the design of traditional Indonesian batik technique (designated by UNESCO masterpiece Masterpiece of Oral and Intangible Heritage of Humanity), Birsak makes our collective historical memories tangible. Birsak has exhibited at the EYE Film Museum and the Van Gogh Museum, among others. Francis Konings (1956) has a preference for black and white drawings. She applies the fragile lines, originating from the pencil, to the paper very subtly. The images of incomplete cities are dominated by a remarkable complementarity, which reveals itself in the composition between form and residual form. The white of the paper takes on a shape as much as the part applied in pencil. Form and contrast form are proportional to each other and provide visual tension. Ko Oosterkerk (1928 - 2012) From behind black and white surfaces, rendered in bands with various shades of gray, nature tumbles out. Scratches, stripes and fine fraying give the impression that she is about to burst. In the 1970s, Ko Oosterkerk's work became lighter in color and more geometric in shape. He will also use other colors than black and gray, although it will not be a color mixture, he will always limit himself to one basic color. Oosterkerk had important exhibitions in, among others, the Groninger Museum, the Stedelijk Museum Amsterdam and the Van Abbemuseum in Eindhoven. Jan van der Pol (1949) made a series of linoleum cuts in 1998, entitled 'Horapollo'. The linocuts are related to texts from the book of the same name (published Paris, 1551) that was compiled by Jacob Kerver. The series of prints offers an unbridled range of landscapes, portraits, buildings and abstract motifs. Autobiographical moments, portraits of girlfriends and photos of strangers on T.V. are mixed together. The colours, based on the Pantone color chart, forge the images together. In this way thoughts are connected with experiences, expressionism with geometric abstract art.