Lisette Schumacher's practice revolves around painting. Experimenting with different unexpected tools she works methodically using self-devised painting systems and techniques. Schumacher's paintings are about the elapsing of time and light and how memories can influence your experience. Her interest in architecture is often visible.
Donald Schenkel (1991) creates subtle gradients with oil paints. He seeks for smoothness in color transitions that can lead the eye into the faraway. Sometimes these colors flash purely from the canvas, at other times they are diluted into darkening twilights. Diverse surfaces like glass or canvas carry layers of paint in distinctive ways, giving rise to an ever-greater sense of depth or translucent lightness.
The works of Jan Kuhlemeier (1993) originate from his fascination for the moment of blending into a landscape and be a part of the energy that happens constantly, day in day out. This energy repeats itself over and over again, constantly shaping and changing the environment. This continuous cycle has a pattern but yet it is different every time.
Sophie de Vos
Sophie de Vos’ interest in photography was cultivated during her teenage years, when her parents bought a digital camera for their holidays. The fascination further developed when she opted to take her Bachelors Degree at ArtEZ Institute of the Arts. She deliberately chose Fine Art over a Photography Study, in order to discover and develop other mediums as well. Having in depth lessons in painting, sculpting and film making added tremendous value to her artistic practice. However, the love for photography never lessened and it’s still her main medium. She mostly uses it to discover en depict subjects about being human.
Said Kinos’ (1988) works expresses a fascination for the way people communicate with each other. Communication through language, symbols and (social) media is one of the main sources of inspiration for his work. Through a background in graffiti and a bachelor degree in Graphic Design, Saïd developed a strong passion for typography and other visual forms of communication.
His work is recognizable through high contrast, often black and white, and the use of distorted typography. Because of this, a certain level of visual overkill is brought to the viewer. In this overkill Saïd finds a metaphor for the amount of information we have to process on a daily basis.
Daniel van Dijck
The starting point of the designs of Daniel van Dijck (1986) is an exploration into the history of an object and, the way it has been used over the years. Van Dijck plays with the assumptions people may have when approaching a piece of furniture or an object by using unconventional materials or conventional materials in a renewed way. Van Dijck has developed over the years a series of product and furniture designs characterized by an intuitive and experimental method and explored materials such as glass, precious metals and ceramics.
Roland Spitzer observes the human perception as a flow, a flow in which people crawl and constantly orient themselves to existing forms. Through research of form and context, he portrays the contrast between existing frames of reference and unknown shapes. The objects are in motion. The work itself represent a state of transition, where the form fades and the viewer is confronted with something unknown.
Philine van den Hul
Philine van den Hul makes use of unique techniques and precision work to create geometric shapes, which allude to her architectural interests and incorporate her fascination with symmetry, all the while playing with dimension.