Esther Tielemans explores in her work the sculptural possibilities of painting, in which the landscape plays an important role. ‘The past inside the present’ is a series of nine monumental paintings. The works are made up of two wooden panels that fall into each other. An image in an image, as memory sometimes fragments a memory and magnifies one experience more than the other. The cut-outs suggest a spaciousness without literally leaving the flat surface. The panels that she places in her installations in space have, as it were, been pushed back to their original position; the painting.
Gijs van Lith creates very labor intensive works that stretch the definition of a painting beyond its limits. By his own definition, every surface covered in paint has the potential to be a painting. All that counts is the act of painting, the pure pleasure in applying paint that jumps from every canvas. For his most recent works he uses an industrial sander to haphazardly destroy his canvas and to remove thick layers of paint. By dividing these canvasses into grids, damage suddenly becomes a language; a mathematical composition of destruction and the wear and tear of the process is almost palpable.
Wouter van der Laan. As fragments of a larger and dynamic composition, the small panels move over the wall. In their peculiar form they show a hint of character, an individuality, and thus a relation to what happens next to, above, below or in front of them. It is a modular system of separate images, spots, patterns and prints that connect to form a sequence. As a collage, a composition emerges from this process that is unique in its context, and temporarily in its composition. When a module is removed, the coherence of the sequence changes as such. Each location, coherence and composition gives rise to a next composition.