In the new exhibition at Galerie Helder, Melissa Moria and Willemien Mostert take centre stage for the first time. Both employ an unconventional painting style, and colour plays a significant role in the landscapes of both painters. However, for each of them, inspiration is fuelled by their own unique techniques. In terms of results, we see scenes in rather contrasting colours juxtaposed with subtle, poetic abstraction.
Melissa Moria (1991, NL) investigates the presence, changeability, and fragility of the surrounding nature. She attempts to capture fleeting moments and translate the intangible into tangible, sensory experiences. A central theme in her work is the ‘silent struggle’ between urbanization and nature.
Moria employs a labour-intensive, tactile approach. She prepares natural pigments from locally collected and dried flowers, leaves, fungi, etc., with which transparent dyes are transferred onto the canvas. Steam techniques are used for the somewhat firmer organic materials to create different shades. Finally, oil paint provides the more robust colour accents.
She paints intuitively in layers, containing traces of movement and physical exertion. This results in varied landscapes with rich textures and depth, inspired by her impressions collected literally on the spot.
Willemien Mostert (1982, NL) focuses on the structures and patterns within natural and human systems. The basis for her abstract landscapes is formed by variations in the sky, clouds and sun, the interplay of calm and threat, grandeur and mystery interwoven with archetypal and mythical stories.
Her first step in creating an artwork is the random folding, deliberate creasing, indeed crumpling of the canvas. The resulting light-dark gradations inspire her to apply a first colour using sparkling spray paint. She repeats this step with only a few other colours, so that the mixed colours emerge naturally. Finally, the canvas is stretched tightly onto a sturdy aluminium frame.
In contrast to the purely black-and-white-grey works, the colourful paintings can be described as exuberant. The artist's cheerful and spiritual nature can also be detected in the titles assigned to her works. The depictions appear airy; they are nowhere painted ‘densely,’ yet remain translucent. This allows the viewer to wander through these landscapes in contemplation.