Group exhibition November 2023
Miriam Prantl (Austria)
Enrique Veganzones (Spain)
Laus Heezemans (Netherlands)
November 9 – 26, 2023
Miriam Prantl (Austria)
Enrique Veganzones (Spain)
Laus Heezemans (Netherlands)
November 9 – 26, 2023
Miriam Prantl
Space, light and color are the basic components in the oeuvre of Miriam Prantl (Austria 1965), who uses them for light installations, architectural interventions, sculptures, wall reliefs and painted images.
While Miriam Prantl actually made her wall reliefs in the XNUMXs by superimposing wooden surfaces so that they created their own space, in her series of 'manifolds' (variations), she achieved a much more subtle effect through the interplay of color, line and surface, creating an illusion of space on the canvas.
Just as the vibrations of the individual notes played on an instrument ultimately come together in a harmonious melody, Miriam Prantl seeks to achieve an overall harmony through the vibrations of the colors – as defined here, for example, by the complementary contrast produced by shades of blue and Orange. The radiant effect of this color pair is enhanced by subtly shaded white areas.
'eightfolds 10b' 2020/22, oil and acrylic paint, textile on wood, 60 x 50 x 5 cm
Enrique Veganzones
Enrique Veganzones (Spain 1965) uses traditional techniques such as stucco work, gilding and egg yolk tempera, not so much as a reintroduction of old methods, but because of the laborious and slow processes they entail. In this way he avoids everything that means a rapid consumption of materials, in a more environmentally friendly way.
These slow and laborious procedures tame the will. Time enables results that have much more to do with the intensity of what we experience and create than with simply measuring time and effort.
All of Enrique's works have the same size of 34 × 21 cm, a ratio related to the golden ratio. After sealing a solid piece of wood with rabbit skin glue, linen cloth is attached to one side. The plasterwork is then laid. The painting consists of egg yolk tempera and sometimes also traditional gilding.
Enrique Veganzones (Spain 1965) uses traditional techniques such as stucco work, gilding and egg yolk tempera, not so much as a reintroduction of old methods, but because of the laborious and slow processes they entail. In this way he avoids everything that means a rapid consumption of materials, in a more environmentally friendly way.
These slow and laborious procedures tame the will. Time enables results that have much more to do with the intensity of what we experience and create than with simply measuring time and effort.
All of Enrique's works have the same size of 34 × 21 cm, a ratio related to the golden ratio. After sealing a solid piece of wood with rabbit skin glue, linen cloth is attached to one side. The plasterwork is then laid. The painting consists of egg yolk tempera and sometimes also traditional gilding.
'20210207', egg yolk tempera and gold leaf on wood, 34 x 21 cm
Laus Heezemans
The sculptor Laus Heezemans (Netherlands 1947) mainly works with Belgian bluestone, both in geometric and organic shapes. His images are simple in form: he omits details and decorations. When creating an image, he usually starts from an idea or concept, such as stillness or segregation. Finding an image/form that is suitable is done while sitting at the kitchen table, musing in bed or sketching with clay. It remains a search.
The stone contains what the sculptor wants to make, at least if he handles it lovingly. The stone is his friend, not his opponent. The sculptor must befriend the stone, work with it patiently, and look at it often, touch it, and feel it.
The sculptor Laus Heezemans (Netherlands 1947) mainly works with Belgian bluestone, both in geometric and organic shapes. His images are simple in form: he omits details and decorations. When creating an image, he usually starts from an idea or concept, such as stillness or segregation. Finding an image/form that is suitable is done while sitting at the kitchen table, musing in bed or sketching with clay. It remains a search.
The stone contains what the sculptor wants to make, at least if he handles it lovingly. The stone is his friend, not his opponent. The sculptor must befriend the stone, work with it patiently, and look at it often, touch it, and feel it.
'Ode to Jean Arp number. 2', wood, zinc and Belgian bluestone, 85 x85 x 10 cm