In the 'Genius Loci' exhibition, the source of inspiration of each of the three artists clearly characterizes the individuality of their work. And as different as they are in discipline, each of them tries to transform the individual inspiration to a universal level. Research and creation are based on the individual background and through motivation and stories. After all, isn't art a 'construction' that brings together perception, knowledge, memory and interpretation of the human mind and resonates in our existence?
When one realizes that nothing stays the same, then everything turns out to be in constant change. Art represents that inquiring and creative mind. With the passage of time, things change in meaning. In fact, it is a relief if we accept this movement, because it gives the 'impossible' the chance to be there anyway.
Annemarie Slobbe (NL, 1990) creates her own conditions for painting. She uses the scratchboard technique, which requires a lot of time, patience and, above all, attention. Linen and oil paint form the basis, so that the structure and texture of the paint stand out. She allows herself to be taken in voluntarily by all time and space, to make work in the flow.
Slobbe wants to take the viewer to her universe where inner silence reigns. The mostly dark-toned work draws you in, sometimes because of the intensity of the material, then again because of the way the material is processed. While watching you leave your delusions of the day for a boundless relaxation.
The objects by Eva Dijkstra (NL, 1974) have a minimalistic appearance thanks to the geometric, sleek-looking shapes. One can easily recognize her professional graphic practice in this. The works of art are not large and appear playful and light, but they do have a certain monumentality in them. Their hard core is made of MDF, which is tightly covered with canvas and painted in one or more monochrome, bright colours.
Each work finds its origin in specific data, such as the 'World Happiness Index' or the global temperature rise. Dijkstra dissects and translates these figures into carefully crafted diagrams, which are then translated into the objects. Her titles can be read as a coding for the underlying information. For example, 'D19.F1, $ ;-) Japan' means: Diagram 19 Figure 1, money-luck balance in Japan.
We can also ignore the title and just look at the exciting play of shape and colour. Then you will be seduced by the works, each individually autonomous and present without being obtrusive. Once noticed, you will keep them on your mind for a long time.
In the photographic work of Lisanne Hoogerwerf (NL, 1987) we see lonely places, strange landscapes or desolate events. Surprisingly, thanks to the lighting and the use of colour, the atmosphere is not unpleasant. Rather, it arouses the curiosity to investigate what you see: e.g., a high structure with a tent cloth on an empty, demarcated field, where a concert may have just been going on that has ended abruptly, or a party where no one came.
Lisanne Hoogerwerf graduated as a painter, but after a while she found photography more suitable to express herself in. She first makes models using all kinds of materials such as wood, sand, glue or paper. She uses paint and chalk to give colour and create atmosphere. She instinctively knows how to build up an image, e.g., by dramatically positioning an object or contrasting it with the background. Hoogerwerf uses exciting compositions in her landscapes. And her colour combinations look attractive, almost picturesque. In this way she constructs her scenes before a photo is taken of the result.