How do you look at paint in a material sense?
What experience is there when you look at a painting with an abstract image?
From 2009 I made paintings, grids that were made with tape and then the horizontal and vertical lines with highly diluted acrylic paint on the unprepared cotton. This cotton had a strong power to absorb the paint, it sucked into the surface instead of the paint remaining on the surface. Diffuse and velvety skin emerged. This method creates surprises, you don’t always have it in hand, you never know in advance how the line shows itself. The only thing you know for sure is that with a lot of water a whimsical line is created and that with little water a tighter line is set. Constructing with tape is an action that is at odds with the flow of the water. Along the taped tape, the watery paint fan out and an irregular jagged edge is created. Between constructive thinking (wanting to control) and the natural process (making it happen) there is a tension between on the one hand. Within this area of tension, these extremes enter into a dialogue. They unite, but they repel each other. The lyricism is just appearances. The purpose of this method has to do with the transparency of the highly diluted paint and the many possibilities to build the work in layers of ever-shifting color lanes. A gridwork is created that has a strong optical effect, creating a visual rhythmic vibration. The depth effect of the painting evokes an experience as if one is being sucked into the painting. The titles ” inside outside ” always refers to the highest light and the deepest dark.
Now in 2020 this method will be picked up again after in 2013 the cotton in question was no longer available, a smooth un glued cotton with a strong absorbent ability. In the meantime, there is another cotton that refers to the properties of the time.
In the meantime from 2016 I had started to focus more on paintings where I was going to limit myself more to show the cut tape lines, lines of paint that intersect also in horizontal and vertical direction. Millimetre lines that are minusculely different determine how the painting is rhythmically interrupted and thus set in motion in all its nuances and shows a soft sizzling surface between light and dark. The effect of greys, black and white is made clear how the fine grid in the foreground is located with the background.
My paintings show that I am fascinated by the basics of painting, line, rhythm, colour and materiality give me the space to use them without wanting to use anecdotes. I am studying the possibilities of painting where I set boundaries in a system where the formal aspects of the paint can be discussed.
René van den Bos 2020