Miranda Rikken, Roland de Jong Orlando en Monica Maat
Miranda took classes to learn weaving on a loom. At first it seemed to add a formal, analytic quest, but increasingly she started introducing more lyrical poetic titles. As a sculptor, she was a fan of Constantin Brancusi. The endless progress is a major theme in her work. The endless rhythms that fit her weaving, crafts to bring that. She is also working on endless series.
‘zonder titel’, waslijndraad op hard houten frame, 35 x 35 cm
It excites Monica Maat in order to manipulate the observation. Besides geometric wood panels she also makes geometric works on paper and canvas.These works do have an ornamental character and are inspired by the European Renaissance. Examples are the line structures in Italian marble floors and the optical effects of frescoes, which are found in the abbeys in Tuscany. Often Her works gives a strong visual effect. Depending on the use of colors and shapes the works shows converging or diverging effects.
‘Driehoek verspreid’, lakverf op doek, 80 x 80 cm
In the silkscreen printing studio of her brother in Amstelveen, she made with him many serigraphs and learned a lot from him to graphics. She has also been introduced by her brother to Jaap Egmond [constructivism] whit whom he shared a workshop, and the work of computer artist Peter Struycken. The work of the late Jan Schoonhoven, Jan van Duijnhoven and Gerard Caris [with particular motive the Pentagon] are of direct concern to her.
'Gekanteld', 80 x 80 cm, 'Omhooggevallen', 60 x 80 cm en
‘Onregelmatige Vijfhoek om Achthoek’, 80 x 80 cm, lakverf op doek
In his images, both small works and his monumental work, thepoints of departure of Roland de Jong Orlando (NL, 1961) are archetypes like the circle, the triangle, the square and their spatial equivalents. Hence his work could be classified under the heading "Abstract Geometric Art" or "Concrete Art". When designing the sculptures the visual principle is already evident in the material: usually he uses a round or square profile, be it wood, steel, bronze or other material. This material is then cut into segments of some basic elements from which he can start by combining, organizing and manipulating.
Inquadrato Nautilus, MDF en acryl
By only using a small number of those simple basic elements (in most of his works he only uses two) this visual principle would seem to be restrictive but by playing with these basic elements he gains a maximum of freedom: the final result is often not preconceived, but the gradual "discovery" of rhythm, harmony and symmetry is his key consideration. This exploration ensures an infinite number of possibilities which these basic elements offer him: solutions which are too systematic are avoided, deviations are incorporated and matching shapes accepted. Eventually the reorganized and merged elements result in a new whole that is greater than the sum of its parts.
'Comming out -3', staal en acryl