Hans Vanhorck

The work of Hans Vanhorck (1952) has run, over the years, along a striking route.  From  penetrative research of  visible reality he passed, via abstraction and the fathoming of myths with which society imagines itself, to the interpretation of concepts by way of painting.   

Vanhorck has learned to turn the gaze from the outside to “the inside”.   He achieves  this without losing himself in private affairs, avoiding the pitfall through which art is sometimes reduced to “autobiography”.   With every painting he digs deeper and comes closer to the foundation, the skeleton, that supports the skyscraper of culture. Vanhorck analyzes and dissects but is no archeologist or anatomist.  He does not depict random construction matter and ruins, but the living and changing organism of the society reflected in the medium of his art..

Sjer
Jacobs

From the moment Sjer Jacobs (1963) was able to pick up a pencil, he wanted to become an artist. As a regular visitor of the Free Academy he drew still lifes and portraits. He studied drawing and handicraft at the Teacher’s College in Sittard (The Netherlands) and obtained a full qualification. Because the profession of an independent artist attracted him more than that of teacher, he continued his studies at the City Academy of Maastricht.  As a student, Sjer Jacobs was involved with the world of the academy even as he designed his own path as an artist.  His work has been characterized as expressive figurative. His sculptures and his paintings are representational but not realistic. They are uniquely compelling even as they are each identifiable as the work of Sjer Jacobs.

Paula
Evers

In recent years the paintings of Paula Evers (1942) have developed along two distinct but parallel paths. In one body of work she explores standing figures in suggestive ways.  They press themselves forward, as if present when the painting was initiated.  In another group of paintings a series of landscapes arise in which the human figure seems to be totally absent.  Often, single islands of form burst through empty spatial fields.

Theo
den Boon

“Painting is like a dream giving access to an inner poetic world”, says artist Theo den Boon. (1944) Man may dream without interference but when de Boon paints in his intuitive manner, he very consciously adds figurative accents in strong colours. For the rest, he lets his compositions on linen or paper emerge naturally: “One work springs from the other, I am mainly guided by feelings or by intuition”, the artist declares. Equally important to his dynamic working process are the moments where den Boon critically regards his work, judging whether or not it has sufficient tension. It goes without saying that he looks at some parts of a painting to see if changes are necessary, yet he gives his own interpretation of each subject. Sometimes transparent pastel colours of blue or yellow are interspersed with firm stripes and spots but den Boon also makes use of strong brush strokes with eye-catching pools of paint and white patches that highlight the outline of a subject. Alternatively, the attention of the viewer is caught by graphic fragments of white background with primary colours such as yellow, red or blue. These emerge to add order in the created chaos of the composition. De Boon orchestrates his materials to instil a beguiling air of mystery in his completed works. Thus viewers are permitted to examine a dream of colour that is the private world of Theo de Boon, the gifted painter.