It is with great pleasure that we open the new art season with a double exhibition of five female artists. Four of them present their abstract paintings in the exhibition ‘Intuitive Abstraction’. And in the front room of the gallery, we introduce a recently graduated photographer with a series of works from 'El Último Islote'.
When you look at the carefully crafted works by Geertje van de Kamp (1986), you may get the impression of a rather rational decision-making process. It is work that excels in order and geometry. Further information shows that emotional and cultural considerations also play a role. Order seems to dominate, but through cultural meanings of shapes and colours.
Colours, shapes, overlap in compositions and patterns reflect her inner landscape. Elka Oudenampsen (1967) brings something to life. Investigating what colour does, what the eye notices. Contrasts provide new experiences and put everything in a different perspective.
Annemarie Slobbe (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 come out well. She allows herself to be taken in voluntarily by all time and space, to make work in the flow.
Inez Smit (1967) starts with a first draft, which is interrupted during the further process by a new starting point, whereby the repercussions of the previous one remain visible. In a different shape, line thickness or colour, the 'pattern' seems to be continued with a different approach. The resulting arrangement does not arise from a preconceived plan, but from the painting process itself.
In the photo series 'El último Islote' by Sabrina Charehbili (1992) we are given a different view of the usually detested plastic in natural environments:
“For me, plastic is a material that I transform into a new reality, in which organic and inorganic elements come together. After transformation, plastic has become an image that naturally fits into my world. By playing with light and movement I look for dynamics and abstraction. Not the burden of plastic is central, but a hopeful view: the beginning of something new.”