A01=MER - B en L with Exhibitions International
Author_MER - B en L with Exhibitions International
Category1=Non-Fiction
Category=AGA
Category=AGB
Category=AGC
Category=NL-AC
Category=NL-AG
COP=Belgium
Discount=15
eq_art-fashion-photography
eq_bestseller
eq_isMigrated=2
eq_nobargain
eq_non-fiction
Format=BC
Format_Paperback
HMM=240
IMPN=BAI NV
ISBN13=9789089319975
Language_English
PA=Available
PD=20200113
POP=Schoten
Price_€50 to €100
PS=Active
PUB=BAI NV
Subject=Art Treatments & Subjects
Subject=History Of Art/art & Design Styles
WMM=240
Product details
- ISBN 9789089319975
- Format: Paperback
- Dimensions: 240 x 240mm
- Publication Date: 13 Jan 2020
- Publisher: BAI NV
- Publication City/Country: Schoten, BE
- Product Form: Paperback
- Language: English
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In his paintings, Koen van den Broek investigates the human experience of the environment. His paintings are readily recognisable. They are descriptions of the landscape, urban architecture, constructions or details thereof. His works show traces of human presence: circus tents, highways, bridges, sewers, pipes, fragments of houses or cars, sidewalk curbs... His personal collection of photographs, snapshots that he takes on his countless journeys, are his artistic points of departure.
Koen van den Broek opts for unsightly motifs, fragments that are recurrent in any town. The artist seeks out anonymity, the general rather than the specific. His oeuvre consists of painted versions of his snapshots. The relationship vis-à-vis photography is essential to his work. Transformation and variation with respect to the original photographic shot is crucial. Playfulness, diversity and duality - rigid delineation versus wild brush strokes, depth versus surface - are all characteristic of his work. Koen van den Broek questions the viewing schemes of photography. His paintings are anti-images, reactions against the recordings of a piece of apparatus: the camera. His painterly focus is paint, colours' spatial effect and the reduction of motifs to their most naked form. His paintings show fragmentation and randomness, in contrast to the controlling and the summarising effect that photography brings.
Boundaries dominate his work: both in investigating the frontiers of the painting as surface, as in his preference for boundary-related motifs: gutters, bridges, corners of buildings... He paints the void, the pause, just the moment when all is still. His images seem to be holding their breath: they show the instant when something has just happened, or is just about to happen.
