A figure study of the classic representation of women, or what defines the women in classic art?
On the 14th of March, when the lockdown began, I made this series of drawings. Every drawing is a detail of the pleats and flowing robes of Greek goddesses, a close up of the fabrics from the sculptures in the Parthenon.
WORLD WITHOUT END
Drawing is my exercise, it's my research and reflection, it's a test to see what pulls the heartstrings for next themes and crushes.
It was during one of these drawings sessions that I noticed a particularly clear image of a teacup. The drawing was simple and essential, but not minimal or naïve. Wrong on purpose, with characteristics and outlines defining the image. I decided to try and draw portraits and landscapes in much the same technique: freedom by imperfection.
The drawings function as 'notes', not as a realistic representation but as noticed and noted down. They are a shared history of culture and people; represented in a few lines on paper, in an ongoing series of 'notices'. The continuing project is named: Worl Without End (borrowed from Agatha Christie's saying).
I added some information with the drawings, to add the history to the image and show how time passes. The drawings are more or less arranged by series.
Notices,
drawings after the sculptures of the middle ages, from the collection of the Louvre Museum.
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 1 watercolour and conté on hahnemühle A5, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 2, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 3, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 4, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 5, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 6, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 7, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 8, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 9, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 10, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 11, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 12, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 13, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 14, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 15, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 18, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 19, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 16, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 17, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 20, conté on hahnemühle A3, 2018 |
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| Notices, 'Scupture du moyen âge, Louvre 1948' drawing 21, conté on hahnemühle A3, 2018 |
The Art of the Tea Ceremony, 1980
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 1 A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 12, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 4, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 6, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 7, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 8, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 9, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 10, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 11, A3 conté on hahnemühle, 2018 |
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| 'The Art of the Tea Ceremony, Tokyo National Museum catalogue 1980' drawing 3, A3 conté on hahnemühle, 2018 |
03 May 2018
The unraveling.
My drawings are more free than my paintings, because the paper needs less: just a few lines are enough. To test the boundaries, without looking I selected some coloured crayons and added, still without looking, one after the other dot on a piece of paper. The result is described in this post.
Portrait
of Marieke- Black crayon on off white cardboard - 16x18 cm – 2018
The unraveling of Robbie
Snelders - Black crayon on off white woodboard - 19,5x14 cm – 2018
It was Jànos Bolyai who
mentioned in the early 19th century: ‘having created a new universe
from nothing’ though his was a vastly greater one, in my way I created my small
universe. No longer would I worry ‘if I did it right’. No more failing, no more
stutters, it all fits perfectly.
The unraveling of Robbie
Snelders - Black crayon on off white woodboard - 19,5x14 cm – 2018
You see, much like
mathematics, drawings fit according to the laws of human nature and not by the
law of a perspective, or photography, but only by the nature of a piece of paper.
Unraveling
- Black crayon on off white cardboard - 2018
Unraveling
- Black crayon on off white cardboard - 2018
Unraveling
- Black crayon on off white cardboard - 2018
Unraveling
- Black crayon on off white cardboard - 2018
Chance
drawing - Coloured pencil on off white cardboard - 15,5x11 cm each – 2018
What would happen if
random colours are randomly drawn onto two pieces of cardboard? The terrible
truth is: it looks quite good. It is not bad in any way and though void of a
certain style it looks playful and cheerful. It is easy to make something look good, but what I want is something new, something only I can make, something interesting, something unusual.
I
am a painter and usually my drawings are little more than sketches to get
acquainted with my subject. They are studies. One of the very difficult aspects
of drawing is ‘to be precise’, usually it is the lack of this that makes an
artist. To name a few: Cy Twombly and Ana Mendieta make drawings in spite of
the accurate nature of a line.
Unraveling
- Black crayon on off white woodboard
- 10,5x8 cm each - 2018
How many eyes do we have?
Some noses as well, we are the one person we never actually see. So who will
tell? When you wake up, in the early morning, and your eyes are still closed;
what shape is the room? Is it still the same room when you open your eyes? Is
it what you expected to see? Or do you carry your own bedroom inside your mind?
Self portrait - Black
crayon on off white cardboard -
14,5x10,5 cm - 2018
If it doesn’t matter so
much where you draw what and how many, how does it become a proper drawing?
Well, you can choose what you want to see. You always can, but with my
unraveling you can choose ‘a little easier and a little more’ and consciously
select what you want to see. Because you don’t see it as one, all at once. Like
a story, it goes on from part to part.
Portrait
of Robbie Snelders- Black crayon on off white cardboard - 14,5x10,5 cm – 2018
Unraveling’ is a
solution, it is the answer of a never ending question, an investigation going
on, on my own terms. Like the fabric from a tapestry coming apart, the fine
lines unravel, they are no longer the edge or the ending of something.
Everything connects now, like infinte stars and a dark blue holding it all
together.
Portrait of model 24-
Black crayon on off white cardboard
- 14,5x10,5 cm - 2018
Unraveling
- Black crayon on off white cardboard - 2018
Self portrait - Black
crayon on cream coloured fabriano paper- 14x11,5 cm - 2018
Self portrait - Black
crayon on cream coloured fabriano paper- 14x11,5 cm - 2018
Unraveling
- Black crayon on off white cardboard - 2018
Portrait
of Marieke- Black crayon on off white cardboard - 16x12 cm – 2018
10062018
Not wrong.
When observerd closely and carefully, some people don't make a unified impression. Instead they are many images all happening at once. This drawing is not a free style of a portrait, it is a quite realistic result of drawing what we see when we look intensely. We are neither here nor there but always inbetween, and not solitary but connected.
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