Jan Kuhlemeijer Presents: Perifery

Jan Kuhlemeier (1993) lives in Zandvoort and has a studio at the Nieuwe Vide. In this exhibition he has chosen to present his own work together with that of three chosen colleagues. Inspired by pioneers of abstract painting like Bram Bogart (1921-2012), Kuhlemeier experiments with various materials besides paint: ‘I’ve started to view the seepage of material over the edge of the panel as extremely important because it breaks the square’s stiffness. Painting today has become a porous discipline’.

Periphery is a group exhibition with a point of departure somewhere on the fringes of the abstract art domain.

Vincent Uilenbroek (1980) places inferior residues of material from his studio in a new context, distorting its hierarchy. By integrating framing edges he gives value and meaning to residual forms.

In essence Uilenbroek’s work is about the process of painting. Images that are ordinarily considered to be the leftovers of a process serve as starting point for new abstract imagery. Residual forms on the walls of the studio for example. Materials the artist works with, like stencils, sheets of paper and masking tape accidently gain a painterly quality. Inadvertent compositions are framed and thereby gain dominance. Emphasis is continually on the area inside or outside the frame. A white plane suggests the absence of a painting left behind as a negative in space. Minimal, abstract, graffiti, process and installation art are all epithets that can be used to describe Uilenbroek’s work.

For his latest series, ‘When the stones come to rest’, Ide André (1990) worked mainly with stones and bricks. He used stones dragged over soft fabric as transmitters of paint similar to the techniques used in printmaking or graphic design. Besides the fact that stones are objects that refer to nature, culture and even politics, for Andre they also relate to traditional stacking and balancing, actions he has integrated in his work method. He sees stone balancing as a theoretical metaphor and practical guideline for exploring the fundamental principles of his practice as painter.

Daan den Houter (1977), is currently an artist in residence in Los Angeles. In his work he incorporates many contradictory elements and so creates images that come into conflict with themselves. His paintings are a quest after the essence of painting. The ‘Endless Painting’ strives to be limitless but is doomed to fail. His ice paintings are in a state of constant flux. They change like a sunset, incapable of halting a moment in time. A concrete copy hung next to its painted original is searching for the transition between painting and sculpture. The ‘Painted-Over Painting’ has been painted over 124 times by different painters since 2002. The painting is unmistakeably a painting but it lacks the essence of a painting: ‘A frozen moment in time to which you can always return’. On show in the Nieuwe Vide are ‘Klatsj’ paintings, canvases cheerfully thrown against the wall.