'Sprekend Beeld', an exhibition with a performance during the opening. Using his sculptures, Coen Vernooij and two helpers will perform a performance together, entitled 'Three of a Kind'.
Coen Vernooij (1952) shows work that mainly consists of two or more of the same works, which, as it were, communicate with each other non-verbally. In this way he tries to personalize the works of art and give them their own face, even though they are identical. Vernooij is increasingly doing performances in which the work is literally taken in hand, creating a relationship between the work and the artist. In addition, he has created a work especially for this exhibition that consists of 5 identical works that visitors are invited to hang in different ways. In this exhibition the visitor is no longer someone who looks at a fixed composition, but someone who is given an active role in the game of changeability.
Vertical and horizontal lines, or actually surfaces, in the paintings of Els van 't Klooster (1985) fit within a frame and are in balance with their colors. The whole is clearly constructed and designed. The properties of 'shape' and 'color' are in balance, there is both light and space in the works. It is a compelling change of sizes and colors, which together form a 'fabric' in which every color and every size has its place. For this exhibition she only shows round works on panel. A round shape does not fit into the space, but remains free-standing. In this way, she tries to break the circle with her “straight” compositions, to find rapprochement/connection with the space where the work is located.
In Roos van Dijk's (1989) abstract geometric paintings, the formal and tactile properties of the material play a major role. Characteristics such as materiality, shape, color and scale influence her actions and thoughts during the making process; you could call it a collaboration. A method she developed during the Master's program in Art & Design (painting) at the Frank Mohr Institute and a period of work in New York by entering into a visual dialogue with found objects with paint and brushes and using other unusual materials as a canvas. In 'Oblique Light (1 to 6), hard-edge lines and painterly gestures accentuate the surface of the six corduroy canvases. On the one hand, Van Dijk uses the pictorial space of the canvas to create a subtle illusion: a parallel world of recognizable geometric shapes and colors. On the other hand, she emphasizes the flat surface and the materiality of the painting.