17 october 2023, Wouter van den Eijkel
The studio of... Tycho van Zomeren
Tycho van Zomeren spends long hours in his Utrecht studio, where the rhythm is dictated by the techniques he uses and the stage of the work in progress. This results in canvases that appear photorealistic but are not, and with tight framing that offers little guidance to the viewer. "I want to evoke the viewer's feelings. Light and colour have a primary impact on emotions."
Vortex is the title of his solo exhibition at Frank Taal. The paintings are inspired by the incidence of light as the sun breaks through during a thunderstorm. At such moments, the sky can display very unique colours. Van Zomeren considers a thunderstorm a vortex in the sky.
Where is your studio and what does it look like?
My studio is located at Draaiweg 51 in Utrecht, just outside the city centre, and I can bike there in 10 minutes. It's in a typical old school building from 1904, which now houses various studios. My studio is slightly over 25 square meters, not as large as I'd like but with nice high ceilings. There are large windows that can be opened, offering beautiful views of the courtyard and plenty of natural light. I've attached vertical wooden slats to the walls, making it easy to hang paintings at different heights. Above the entrance to the space is a loft that I use for storage. It's usually well organised, but can get messy during busy periods.
Tycho van Zomeren, Reflection #1, 2022, Frank Taal Galerie
As a painter, I assume natural light is essential for you. What is more important to you, having lots of space or being close to friends and/or colleagues?
Natural light is very important for me. The colour and intensity of daylight change throughout the day, allowing me to see the paintings in different lights. This is definitely a plus. Good artificial lighting is also essential because I often work late into the night. So, I've installed additional lighting in the studio with adjustable colour temperature and a dimmer. Also, having a high ceiling is crucial because it allows me to hang larger paintings higher up when working on the lower sections. Ventilation is also important.
What does a typical day at your studio look like? Do you have routines, do you play music or is it quiet, and are visitors welcome or do you prefer to be alone?
I usually start at around 10 a.m. since my concentration is not at its best early in the morning. When I first arrive at the studio, I take some time to closely observe the work I was working on last. I try to remain open to what's emerging and adapt my plan if necessary. I then set up everything I need and change into my painting clothes.
When I'm working, I don't usually have visitors. I do welcome people, but I prefer that people visit after the work is finished. I often listen to audiobooks or podcasts while painting.
The rhythm of my work is determined by the techniques I use and the stage of the painting process. For backgrounds, I use acrylic paint, which dries quickly, so I have to work swiftly and wait for it to dry before continuing. When I'm working on the foreground with oils, the longer drying time creates a different rhythm.
At the end of the workday, I clean up, take process pictures and make entries in my logbook. It's often late by then and I don't have a scheduled end time, but I try to not work later than 9 p.m.
Tycho van Zomeren, Diffraction, 2021, Frank Taal Galerie
Before attending art school, you spent a year at the Eindhoven design academy and some time studying architecture at the Eindhoven University of Technology. Has this influenced your work or has it had more of an impact on your approach?
I've learned several things that have been beneficial, such as drawing, visualising depth, working with digital image editing software, colour theory and material knowledge. It's also given me a conceptual approach. My painting process is carefully thought out.
Your current exhibition at Frank Taal, entitled Vortex, features paintings that depict the sky as viewed through branches. How did you come up with this title and what message are you conveying?
Many paintings in the exhibition are inspired by the incidence of light when the sun breaks through during a thunderstorm. The sky can display very unique colours during such heavy storms and I consider them vortices in the sky, which is where the title comes from.
Tycho van Zomeren, Nimbus, 2023, Frank Taal Galerie
One striking aspect of your work is the tight framing, offering very little guidance to the viewer. There's no narrative and your work initially appears photorealistic, but isn't. Is your intention to toy with our perception? Do you want the viewer to complete the work?
Exactly. I want the viewer to complete the work, but it's not just about toying with perception. I aim to evoke the viewer's feelings. Light and colour have a primary impact on emotions. With the gradual shifts in colour, the layering and abundance of details, I aim to slow down the act of viewing. To break free from our everyday way of seeing the world and take a moment to actually ‘see’ things, since we're bombarded with images in our everyday, busy lives. That's what I hope to achieve with my paintings.
Tycho van Zomeren, Ripples, 2023, Frank Taal Galerie
The work Ripples caught my eye in particular due to its colour scheme (red and white). It reminded me of a work by Daan van Golden, but I can imagine you weren't necessarily thinking of him when you created it. Who are your artistic influences?
I wasn’t specifically inspired by Daan van Golden when I created the work, but I do appreciate his art. I studied his work extensively during art school. My inspiration comes from many artists, such as Giorgione, Mark Rothko, Edward Hopper, Luc Tuymans, Avery Singer, Tomas Scheibitz, Sterling Ruby and Alex Dordoy.
If I were to give you carte blanche and time and space were not a concern, what kind of work would you create?
I would love to spend an entire year creating a very large painting, something along the lines of three by six metres. The scale would make it truly immersive.
What are you currently working on?
Right now, I'm mainly experimenting with different techniques. I'm not entirely sure where this will lead, but I have the feeling I'm onto something new.
