Hi Charlotte! This is our digital canvas

these are the doodles I made during our conversation on the phone

There is this 1 sentence that pop's up constantly in my mind when I think about our collaboration.

You used it a few times and I like it a lot!

Make something rocking!

ps: I noticed that refreshing the site regularly makes it easier to use

775 refers to the number of kilometers that separates my studio from yours.
7+7+5 => 1
a new start

a few pivotal words :

Paint

similarities
oppositions

desire of making something

Image of the day

7.02.2019

Lets see where it goes, everything can be adapted -

rocking unintentionally

28.02.2019

It has been sometime now that I haven't been busy with our rocking project. I didn't want to push things and thought it was better to let things flow and operate from out a desire rather then an 'must do'.
Just enough communication to keep this 'something' alive. A bit like a cactus plant, it survives without water for a while but can grow fast and big with more attention :).

This morning I thought about something that concern this 'something'
I remember a discussion panel I went to a few days ago about a show that is on display here in Arnhem. I was curious to understand how the artists worked together. What I realized is that what I wanted to see a total entanglement of the works.

I am intrigued by where artistic identities can get confused. And this is a field I am curious to uncover.

Paint is in essence are medium where things get mixed up, from the making of the colors till the composition.

Where could a work become 'something' neither from one artist or from the other other but operates 'individually'?

Dear Marjolijn,
good that you're mindful and remember to water our plant. I've been quite insecure wheter 'I could bring something to the party', but difference in this case might work out as inspiration and learningproces.

F... Just wrote a lot and then was kicked off. I try again:
I'm also curious about seing total entanglement of the works, but how can we achieve that if we do not share the same physical space and can work on the same object/canvas?
can we feed each other instructions? eg. a shape, a color, a sentence, a topic or smth? and then work on objects/canvasses, in our respective studios? I guess it would be nice to decide on a kind of frame for our investigation?

We do seem to work very different when on our own, you're much more abstract and me more figurative so I think it would be a great opportunity to find out how our energies would influence a work (or more) and give it an identity of it's own.

While looking for my feet (which I found at the end of my legs :) I have been busy studying bodies. Painting female nudes and more sleeping figures placed in disintegrating spaces. That is very concrete, but it still gives room for a heavy discussion with myself about colors, about compositions, about structures about all the little things making a work, let alone looking for an artistic identity...

let me hear what you think.
hugs
C

Entangled
Individual

Future Identity

ha I wrote and everything disappeared...

began on 2/3 and finished on 20.3

Hi Charlotte,

I found your text and painting very inspiring.

I was wondering myself how to bring works in the party and notice that you have been doing this all along.

I think that what frames our work is the time in which it is conceived.

In your painting of the staring woman I see a lot of questioning and the fact that a human body is displayed in its powerful nudity provokes an existential reflection.
I cannot escape thinking of myself as human when looking at the painting.

The colors are quite interesting too, is this your usual color palette?
Or what inspired you lately?

xx
24/4
omg, it's been so long, i forgot how to make a new txtbox. so i'll comment in yours...
About colors: What often inspires me are complementary colors. I find it interesting that, displayed next to each other, they intensify each other but when mixed they neutralise (turn brown/gray). And you? how do you choose colors? and why?

What inspires me at the moment is our project and the discussion and questions it gives rise to. "why do I paint figuratively?" what is it about the story or concept it points to that intriques me? - In the lecture I saw with Isabelle Graw, she says in the end: "what is at stake with painting is a discussion among producers and their critics/friends" and later- "without viewers who're ready to project and invest in paintings, there is no love for them (the paintings)"
- the painting exists only in the meeting with a viewer (here the maker is also a viewer) ... it's really strange because the point I find a painting is finished is a feeling about, now something has been communicated. For me painting is a way to communicate (sometimes mostly with myself).
I guess I love to produce these 'Vitalistic fantasies' even though IG uses it as a problematic concept... Figurative paintings are like dreams, a twisted mirror through which one can look upon 'reality' whatever that is. I guess for me there is more honesty in a painting than in a description, a painting does not claim to be obejctive, but recognizes there is a personal view involved in the making. So, you're right, through painting I also try to figure out what it means to be human. Maybe thats why the figuration is important...

btw, I love your reflection on the nude, the green dot on a pink background :-)
... Maybe we're complementary in our processes. You can be green, then I'll be red ;-)



8.05
Hi Charlotte,

It's getting closer and closer in exactly 14 days I'll be in Denmark :))!!!
I hope you are doing fine! These days I am painting and selecting paintings for my coming interview, trying to think of every possible questions and anticipating accordingly. I do have
some time a bit more about our project.

I can totally relate to the idea you present about communication, in the sense of a communication with oneself through the painting. What type of dialogue is taking place? The dialogue between the maker and the painting seems to be essentially visual and affective. what the painting communicates feels right or it communicates just not quite right yet.
This dialogue also is fluid and changes with time.

How do I choose color? I choose them intuitively. This intuition is guided by taste, experience and visual knowledge (that I gain by looking at other paintings for example)
I see painting as a constant research process, learning to see more and expand this communication field between what I see on the canvas and what I am able to produce.
I think the concepts or thoughts are responsible for the formation of the work.
But I am also a believer that painting show thoughts that are not yet thought. that's why for me esthetic and formal features are truly fascinating.

When talking with you or thinking about the project, I scribble and make memos.
I found that there were interesting forms that came out of these scribbles and would like to paint them.

I put some images down this text that show the exhibition space, there is a possibility to hang several layers. If I remember it correctly we talked about a transparent film where we could paint on. I'll try to find where I could buy it here.

I think we are getting somewhere, our conversation is definitely a big part of the work.
This week I will extract the sentences in the conversation that are important for me.

Bye now!
xx

NEWS

20/3

On Monday there was a shooting in Utrecht. 3 people died, it is unsure if it was a terrorist attack, possibly a familial drama

Some Images and measurements of the exhibition space

I bought a roll of 70+500cm
(Its very cheap 0,89 cents :))


the material is very thin and has the tendency to get stuck on another surface

under left on a wall and to the right on a window


14.05
hi dear.
just got back from Venice. Full of fresh inspiration and energy :-) Looking forwad to your visit next week.... getting to know you better and do some works together. (I'm into drawing with oilbars at the moment)
the foil looks as if it is painted directly on the window, which is a nice effect, but invites something in the background. It could be a big drawing that we do together?
The foil also looks quite fragile, if we paint on it here and you have to transport it do you think it will break? If yes, maybe I can find thicker plastic, like overhead foil.
Or maybe we find out when you get here, what materials we'll use and for what :-) - anyway it will never be like we imagined ...

ps, about 'getting to know you better' but also 'searching for our joint expresion...' I keep coming back to an idea of doing works blindfolded (maybe for myself to escape too litterate figuration) Eg. we could make sculptures blindfolded, using only tactile sensory inputs of how the sculpture evolves. The purpose could be to respond to our impression of each other. If we're filming the process we could show that as well. One could also make a painting/portrait the same way, while being blindfolded, one of us could be painting while the other could be instructing (and filming), telling something important about oneself that the 'painter' reacts on and maybe also directing the choice of color and area. if you like the idea, i could get hold of some clay, i do have very big paper.
its going to be fun.
big hug
C


17.6.
... back to earth, got a little carried away above :-)
I found thicker plastic, see to the left, 3 mm, it has a lot of possibilities and also comes in 140 cm wide. hugs

Experimenting and trusting the process

In this period, what I am most interested in is working with the surface, with colors and forms.
Not overly conceptualize a work, rather gather what there is to see and respond by painting.

The format:
-What there is to see is the exhibition space, now depicted with images on our digital canvas.
-the image and sentences on this digital canvas.

The materials:
-transparent cellophane rol
-paint
-brushes

9/05