This year Gerhard Hofland will show the work of Damien Cadio, Koen Delaere, Koen Doodeman, Janine van Oene, Henk Stallinga, Johan Tahon and Marjolein de Wit.
The paintings of Damien Cadio are as much about their images as they are about painting itself. Cadio retraces historical notions of beauty lost throughout modernism, and questions the idea of the still life as an obsolete genre. Koen Delaere researches the possibilities of abstraction and expression in painting, mixing systematics with sensation. Both simple and complex, the result is often extremely tactile, almost explosive and simultaneously poetic. Tactility is also a term that applies to the work of Koen Doodeman, who transports textile patterns to the canvas, assembling them into handwoven acrylics on cotton. Shifting between textile and painting, traditions intersect like the image does between the tangible surface and the pictorial space. The site specific installations by Henk Stallinga consist of special tubes, filled with warm light (led). Juxtaposed circle-like shapes form an arrangement, sometimes cutting through space. Viewed from different angles, the installation generates distinctive perspectives and light drawings and thus draws attention to acts of composing, constructing and framing. Johan Tahon provides a sculptural and spiritual dimension to the presentation. Tahon’s sculptures are rooted first of all in artworks and myths of the past. His figures are seeking neither to seduce nor to deceive, they go straight to the essential and aim to express the density and complexity of the human condition. The work of Janine van Oene is abstract in nature, but finds its origin in still lifes and the depiction of interiors. The buttery quality of oil paint, the magic of mixing and the hunt after the right color is what drives her. For Van Oene stretching a canvas and preparing the paint is like setting the table for dinner. Marjolijn de Wit explores ideas of future archeology, the interpretation of history, and our relationship with nature and the built environment. Ultimately, her collaged aesthetic fuses modern and traditional materials to concoct a meta-archeological compendium of our modern world.