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"The examples for my paintings comprise everyday “Found Footage” materials such as sewing sample cards, paper airplanes, chewing gum wrappers or cigarette packs. All these materials are so-called communication systems; their purpose is to convey a message. Lines, colours, figuration and abstraction have been diverted so far from reality and been composed for a function that the image they form interests me. Composition is the wish to communicate. The most important thing here for me is whether the above-mentioned examples are still recognisable for the conditioned perception of the public, me first, at the moment you change these through a tiny image manipulation, by, for example, replacing the text (of the packaging) with black bars (censorship), deleting figuration from a particular packaging or showing the image in a negative form (inverting it as the opposite of positive).
All the material comes straight from my personal environment of the packaging, advertising and media for various products. I scan this material into my computer and edit it in Photoshop. The materials are composed in advance with the greatest possible care and I decompose them. I put the different image segments together again in a new image (collage) in which the reference remains latently visible, even though the codes are no longer legible as such. The result is an image with high information density in powerfully recognisable colours and shapes. What matters to me here is the play between abstraction and pop, whereby I continually make my way between manipulation and disassociation. Ultimately, I transform these decompositions into my paintings. The computer is like an intermediary between me and the painting.
For the last two years the censor has become more and more important within my image compositions. This has actually always been a component of my work but I now want to make it more visible. I place the black censorship bars over the logos of Stern and Heineken or even over my own paintings in order to create new and exciting image information for myself.
I also develop paintings in which some image segments give the delusion of a particular example (for example the colours and form of Marlboro). A new technique here is using a mechanical sander to rub down my paintings. This creates structures over which I have partial control. The new surface, where the sanding brings underlying colours to the top, is the result of my placing cardboard (packaging material) behind the painted surface. These counterfeited examples achieve an impression of a packaging or visual message. My paintings are only made using matt and gloss paint in order to stay as close as possible to the identity of the packaging world. In these works the familiar “Found Footage” examples stand as polar opposites to the painterly treatments I have added. However the viewer perceives both of these image segments as a repeated message, a part of the whole. Here, my challenge is to test the viewer's conditioned perception yet again. This image manipulation enables me to smuggle my own information into the perceived image - perception piracy."
Ronald de Bloeme, 2013
All the material comes straight from my personal environment of the packaging, advertising and media for various products. I scan this material into my computer and edit it in Photoshop. The materials are composed in advance with the greatest possible care and I decompose them. I put the different image segments together again in a new image (collage) in which the reference remains latently visible, even though the codes are no longer legible as such. The result is an image with high information density in powerfully recognisable colours and shapes. What matters to me here is the play between abstraction and pop, whereby I continually make my way between manipulation and disassociation. Ultimately, I transform these decompositions into my paintings. The computer is like an intermediary between me and the painting.
For the last two years the censor has become more and more important within my image compositions. This has actually always been a component of my work but I now want to make it more visible. I place the black censorship bars over the logos of Stern and Heineken or even over my own paintings in order to create new and exciting image information for myself.
I also develop paintings in which some image segments give the delusion of a particular example (for example the colours and form of Marlboro). A new technique here is using a mechanical sander to rub down my paintings. This creates structures over which I have partial control. The new surface, where the sanding brings underlying colours to the top, is the result of my placing cardboard (packaging material) behind the painted surface. These counterfeited examples achieve an impression of a packaging or visual message. My paintings are only made using matt and gloss paint in order to stay as close as possible to the identity of the packaging world. In these works the familiar “Found Footage” examples stand as polar opposites to the painterly treatments I have added. However the viewer perceives both of these image segments as a repeated message, a part of the whole. Here, my challenge is to test the viewer's conditioned perception yet again. This image manipulation enables me to smuggle my own information into the perceived image - perception piracy."
Ronald de Bloeme, 2013
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Interview with Ronald de Bloeme on the occasion of the exhibition 'Grenzeloos' at Concordia, Enschede 2019.
expositions
Dans la collection du musée:
SCHUNCK
Centrum Beeldende Kunst
Stedelijk Museum Schiedam
Museum Voorlinden
Dans la collection corporative:
Rabobank
CV
13 juni 1971, Leeuwarden, Friesland
Lives and works in Berlin, since 2000
Opleiding | Education
1992-1996 Willem de Kooning Akademie, Rotterdam
Solotentoonstellingen | Solo exhibitions (selection)
2017 BorzoGallery, ‘Alternative Facts’, Amsterdam
2015 Tour Pop-Up Galerie (Tour de France), ‘Maillot Jaune’, Utrecht
2013 PS, ‘The Unseen’, Amsterdam
2012 Hamish Morrison Galerie, ‘Home Alone’, Berlin
2011 Künstlerverein Malkasten, ‘Kurzstrecke nach Düsseldorf’, Düsseldorf
Hamish Morrison Galerie, ‘Speisereste Kategorie 3’, Berlin
Deutsche Werkstätten Galerie Hellerau, ‘Reizleitungen’, Dresden
2009 Hamish Morrison Galerie, ‘Diktatur’, Berlin
Stedelijk Museum Schiedam, ‘Piracy’, Schiedam
2008 Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, ‘Piracy’, Berlin
Galerie Nouvelles Images, ‘True Colour’, The Hague
Pharos, Centre for Contemporary Art, ‘Best Discount’, Nicosia
2007 Spielhaus Morrison Galerie, ‘Männerparadies’, Berlin
Galerie Nouvelles Images, ‘No Flavour’, The Hague
2006 Galerie Nouvelles Images, ‘Auslaufmodell’, The Hague
2005 Autocenter, Airborn ‘Chewing Gum’, Berlin
2004 Galerie Nouvelles Images, ‘Mode für Männer’, The Hague
2003 Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague
2002 Goethe Institute, ‘Worldwide II’, Rotterdam
Galerie Buro Empty, ‘Drei in Eins’, Amsterdam
2001 Künstlerhaus Bethanien, ‘Worldwide’, Berlin
Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague
2000 TENT., ‘Line-Up’, Rotterdam.
Galerie Delta, ‘Ronald de Bloeme’, Rotterdam
1998 Galerie Delta, ‘pathfinder’, Rotterdam
Groepstentoonstellingen | Group exhibitions (selection)
2020 BorzoGallery, Art Rotterdam
2019 PARK, Ronald de Bloeme & Olaf Holzapfel, Tilburg
Concordia, Grenzeloos, Enschede
Galerie Paul Ripoche, Printjam +, Lyon
Museum Voorlinden, Less is More, Wassenaar
2018 BorzoGallery, Vice Versa, Amsterdam
Galerie Jordan/Seydoux, Sommer Hangung # 10, Berlin
Kommunale Galerie, Printjam, Berlin
Gesellschaft für Kunst und Gestaltung, Black and White Landscape, a Collection, Bonn
2017 Galerie Sabine Knust, Inside the Distance, München
Thaler Originalgrafik, Printjam 2, Leipzig
Kommunale Galerie, Translation, Berlin
Concordia, Ronald de Bloeme/Charlotte Schleiffert, Enschede
2016 Projektraum Kunstambt Kreuzberg, ‘PS in Berlin’, Berlin
Galerie Witteveen, ‘Ritme & Regelmaat’, Amsterdam
Stedelijk Museum Schiedam, ‘Het ABC van de Collectie’, Schiedam
Snap Project, ‘Snipers Choir’, Lyon, 2016
2015 Museum Flehite, ‘Cobra tot Zero’, Amersfoort
Display Gallery, ‘Starting Grid’, London
2014 Spinnerei Archiv Massiv, ‘Printjam’, Leipzig
Kunsthalle im Lipsiusbau, ‘Architect-Busdriver-Zwei Brücken’, Dresden
2013 Stedelijk Museum Schiedam, ‘Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden - Naast elkaar, tegelijkertijd’, Schiedam
Hamish Morrison Galerie, ‘Schwarz/Weiss’, Berlin
Teksas, ‘Deadwood’, Græsted
Publieke collecties | Public collections (selection)
Museum Voorlinden, Wassenaar
CBK, Rotterdam
Stedelijk Museum, Schiedam
Schunck, Heerlen
GASAG, Berlin
Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, Berlin
Vattenfall, Berlin
Espacio 1414, San Juan
Galerie Neue Meister, Albertinum, Dresden
Safn Collection, Reykjavik
Sic!, Stavanger International Collection
Lives and works in Berlin, since 2000
Opleiding | Education
1992-1996 Willem de Kooning Akademie, Rotterdam
Solotentoonstellingen | Solo exhibitions (selection)
2017 BorzoGallery, ‘Alternative Facts’, Amsterdam
2015 Tour Pop-Up Galerie (Tour de France), ‘Maillot Jaune’, Utrecht
2013 PS, ‘The Unseen’, Amsterdam
2012 Hamish Morrison Galerie, ‘Home Alone’, Berlin
2011 Künstlerverein Malkasten, ‘Kurzstrecke nach Düsseldorf’, Düsseldorf
Hamish Morrison Galerie, ‘Speisereste Kategorie 3’, Berlin
Deutsche Werkstätten Galerie Hellerau, ‘Reizleitungen’, Dresden
2009 Hamish Morrison Galerie, ‘Diktatur’, Berlin
Stedelijk Museum Schiedam, ‘Piracy’, Schiedam
2008 Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, ‘Piracy’, Berlin
Galerie Nouvelles Images, ‘True Colour’, The Hague
Pharos, Centre for Contemporary Art, ‘Best Discount’, Nicosia
2007 Spielhaus Morrison Galerie, ‘Männerparadies’, Berlin
Galerie Nouvelles Images, ‘No Flavour’, The Hague
2006 Galerie Nouvelles Images, ‘Auslaufmodell’, The Hague
2005 Autocenter, Airborn ‘Chewing Gum’, Berlin
2004 Galerie Nouvelles Images, ‘Mode für Männer’, The Hague
2003 Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague
2002 Goethe Institute, ‘Worldwide II’, Rotterdam
Galerie Buro Empty, ‘Drei in Eins’, Amsterdam
2001 Künstlerhaus Bethanien, ‘Worldwide’, Berlin
Galerie Nouvelles Images, ‘Ronald de Bloeme’, The Hague
2000 TENT., ‘Line-Up’, Rotterdam.
Galerie Delta, ‘Ronald de Bloeme’, Rotterdam
1998 Galerie Delta, ‘pathfinder’, Rotterdam
Groepstentoonstellingen | Group exhibitions (selection)
2020 BorzoGallery, Art Rotterdam
2019 PARK, Ronald de Bloeme & Olaf Holzapfel, Tilburg
Concordia, Grenzeloos, Enschede
Galerie Paul Ripoche, Printjam +, Lyon
Museum Voorlinden, Less is More, Wassenaar
2018 BorzoGallery, Vice Versa, Amsterdam
Galerie Jordan/Seydoux, Sommer Hangung # 10, Berlin
Kommunale Galerie, Printjam, Berlin
Gesellschaft für Kunst und Gestaltung, Black and White Landscape, a Collection, Bonn
2017 Galerie Sabine Knust, Inside the Distance, München
Thaler Originalgrafik, Printjam 2, Leipzig
Kommunale Galerie, Translation, Berlin
Concordia, Ronald de Bloeme/Charlotte Schleiffert, Enschede
2016 Projektraum Kunstambt Kreuzberg, ‘PS in Berlin’, Berlin
Galerie Witteveen, ‘Ritme & Regelmaat’, Amsterdam
Stedelijk Museum Schiedam, ‘Het ABC van de Collectie’, Schiedam
Snap Project, ‘Snipers Choir’, Lyon, 2016
2015 Museum Flehite, ‘Cobra tot Zero’, Amersfoort
Display Gallery, ‘Starting Grid’, London
2014 Spinnerei Archiv Massiv, ‘Printjam’, Leipzig
Kunsthalle im Lipsiusbau, ‘Architect-Busdriver-Zwei Brücken’, Dresden
2013 Stedelijk Museum Schiedam, ‘Ronald de Bloeme, Daan van Golden, JCJ Vanderheyden - Naast elkaar, tegelijkertijd’, Schiedam
Hamish Morrison Galerie, ‘Schwarz/Weiss’, Berlin
Teksas, ‘Deadwood’, Græsted
Publieke collecties | Public collections (selection)
Museum Voorlinden, Wassenaar
CBK, Rotterdam
Stedelijk Museum, Schiedam
Schunck, Heerlen
GASAG, Berlin
Berlinische Galerie, Museum für moderne und zeitgenössische Kunst, Berlin
Vattenfall, Berlin
Espacio 1414, San Juan
Galerie Neue Meister, Albertinum, Dresden
Safn Collection, Reykjavik
Sic!, Stavanger International Collection
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