Sander Reijgers (and Niels Post), GeSchwitter; Galerie Helder, The Hague

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Presently, Sander Reijgers shows paintings at Helder gallery.

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He makes paintings that may also be described as colour reliefs or, in another way, as icons.

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Layers of paint are applied on top of each other.

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Originally Reijgers made his paintings evolve into a kind of objects, but his latest works start looking like maps or miniature renderings of strange, flat and barren landscapes.

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Icons were once (or are still) revered, as the hand of the artist was supposed to be the medium of God.

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You may exchange God’s hand for intuition and there you have Reijgers’ way of painting.

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His works are both radical and diligent and every painting bares its own history of abstraction and re-abstraction.

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Last weekend Niels Post added a text, probably taken from some digital spam, but transfiguring into a kind of holy quotation accompanying Reijgers’ icons.

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Go and see Post’s complete text and Reijgers’ wonderful paintings, as the exhibition is in its last week.

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[Click on the pictures to enlarge]

Contents of the pictures courtesy to the artists and to Galerie Helder.

 

Bertus Pieters

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Everything in its Right Place, Jochem Rotteveel and Sander Reijgers at Helder Gallery, The Hague

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At Helder Gallery there is a particularly colourful show at the moment with works by Jochem Rotteveel (1976) and Sander Reijgers (1977).

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Rotteveel works with duct tape and so his works are also reliefs, while

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Reijgers shows paintings that could work as sculptures made out of acrylic paint.

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In spite of the unruliness of the material Rotteveel’s works have a lively and lyrical quality, while

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Reijgers’ smooth and flexible material produces introverted works. However,

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this contrast works well in the exhibition.

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Reijgers shows both transparency and closeness in the way he conceives his paintings. As usual

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conceiving is both making and thinking, which is THE great aspect in Reijgers’ works on show.

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Comparatively there is hardly any closeness in Rotteveel’s recent work, with which he tries to show a maximum of transparency. The way

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the works are made, their content and meaning become clear almost at the same time, while

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Reijgers’ works show the long way they have gone.

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As summer is drawing to a close and

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into a, hopefully, brilliant autumn, this might be the right show to accompany that process.

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(Click on the pictures to enlarge)

Bertus Pieters