Pulse Miami 2019
Joana Schneider, Florentijn de Boer and Marjolein Mandersloot
5 - 8 December 2019 Indian Beach park, Miami Beach, Booth 105
Pulse Art Fair celebrates its fifteenth anniversary in Miami. Surrounded by waving palm trees, rough seas and lots of art, Rademakers Gallery presents here three exceptional female artists: the young emerging talents Joana Schneider and Florentijn de Boer and the established artist: Marjolein Mandersloot. The artists have something in common: they play with tactility, textures, colors and materials. The participation of Rademakers Gallery in Pulse Art Fair Miami was made possible by the Mondriaan Fund; the public incentive fund for the visual arts and cultural heritage.
Florentijn de Boers paintings are becoming ever more narrative and layered. Also the six works she shows during Pulse Miami are compositions made of countless refined and detailed black-and-white drawings that depict fragments of an - imaginary - reality.
She uses these zoomed-in amorphous forms from fantastic and alienating worlds such as magic realism, science fiction films, art books, poems, and especially graphic novels, which she overlays on her canvases in layers. In this way new Illusionary comic-like stories arise that stem from her eternal hunger for knowledge that her brain absorbs like a sponge.
In works with an equally narrative title, such as Floating in a most speculative way and Vermilion at stake, transformations of human and animal, mythical figures and landscape-like elements, play a role, but the strength of the works is that they offer freedom to associate and interpret. Because we never get a full grasp of it, the canvases continue to fascinate.
Florentijn uses her hands as a tool to apply both solid and liquid strokes with oil pastels to the rough linen that is deliberately kept visible on various spots. The viewer is not only here to watch, but must act and complete the image himself. Florentijn also plays with the perspective of the spectator who becomes aware of other things from a distance than from close by.
She has documented the process in a voluminous publication in which riso prints in black and white interact with her narrative, energetic, associative and fluid paintings full of movement, colors and textures. In this way, the observant viewer discovers that a detail in a drawing appears in a painting in a different context, and simultaneously makes a journey through the works.
For her new works Joana Schneider was inspired by Mexican altars as you can find during El dia de los muertos (Day of the dead) on the first and second of November. Tables with paper rugs, flowers, food and drinks, are an exuberant colorful ode to the beloved deceased.
The execution, textures, patterns, and bright-colored flower shapes are reflected in "Mantis”. The construction is literally more open and organic than we know from her earlier work: the masks of colorful fishing ropes of recycled polypropylene and yarns of recycled PET bottles from the port of Katwijk. From this thick rope she already made several series such as Totem and Bruder; powerfully shaped heads with dramatic, theatrical, endearing and clownish expressions.
Also Mantis, My friend inside and SoftCore show traces of their previous life in the sea; the rough weathered rope and the nets carry traces of use and oil, and are characterized by an enormous power of expression. In the new work Joana Schneider investigates the space between the ropes.
Mantis and My friend inside evoke associations with the exuberant exotic nature, with insects with cuddly furs and shiny eyes in the brightest contrasting colors. Softcore, on the other hand, has a more pop-like character through the daring use of bright glossy colors mixed with the rough, unprocessed rope.
Marjolijn Mandersloot also plays with textures, colors and materials. Another similarity with Joana Schneider's and also with Florentijn de Boer, are her hybrid figures; animal figures who display recognizable human, almost touching features. With leather, wool felt and bronze, she creates animals with an acting talent. Postures and material expression create unique personalities that touch the spectator.
The artist deliberately omits details, sometimes creating unrealistic proportions and colors or a dented appearance, causing a pleasant confusion. Ambiguity in that recognisability invites the viewer to observe in a different way, to explore the boundaries between imagination and reality. Do we see what we think we see?
Many sculptures resemble liquid wax, soft rubber or thin textiles. But like the faithful, uninhibited young dog Goldfinger that looks like a feather-light balloon made of wrinkled gold foil, the appearances are deceiving: the sculptures are made of heavy bronze. During Pulse Miami, the golden dog is shown together with Going Out, an extremely large children's candy necklace made of wool felt.
The two elephants that enter the house through the wall also mislead the viewer. They seem to consist of a large fitting skin of thickly folded saddle leather, but this new work entitled Home Run is also cast in heavy bronze. It is precisely the surprising tactility that gives Mandersloots artworks their spell and attraction.