«When, after dismantling an exhibition of my almost 30-year-old bodies of acrylic paint, I add new paint to them in the studio or cut them up to create new colour combinations, when I include soup bones collected over the past 20 years and newspaper clippings of maps showing conflict zones, then I see that as a gesture of repetition and transposition, as a nod to a place and as a reflection of the phenomenon of time. Taking an image apart, deconstructing it with a view to difference and relating it to everyday artifacts means revisiting it and allowing for a new modified view that includes the past. I don’t think focusing is important, nor is a detached and objective approach. That is just a way of discovering, describing and representing details. What is important to me is touch. I’m looking for closeness and blurring and blending; I want to be in between as a point of departure for producing something visual.» Stefan Gritsch, August 2015
Johan van Oord, 'noir puissant, noir absolu’.
LINK PHŒBUS
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