Painting design

uses boundaries to set artistic problems. Not only the formal approach in painting is a chosen limitation, also in the choice of the painting as a medium. Painting is the most archetypical art form in western culture but inherits this reputation from past times. Nowadays the difference between autonomous and applied arts is blurring, as is the position of the artist in society.
makes paintings rather than that he paints on a canvas. The approach is like a designer's, and the goal is also comparable: producing something in a personal style. The only difference lies in the fact that the product is a work of art. It strips the message or statement but adds an awareness of all the dimensions of a painting. The frame, presentation and context is just as important als the face-side image.

The painting idea - this painting

In 's paintings image is completely abstract and based on a system. Colours, lines and forms have no relation to visual reality outside the painting, they have no figurative meaning, they do not represent. The painting only refers to and presents itself. This is just one of a lot of rules and reasons that lead to a painting. The objective is to find harmony, consistency or simply the feeling that what you see somehow fits. The reasons why are not important, you won't have to figure out the system, it should be obvious in the result. This -grammar is developed in every aspect of the painting, from the conceptual content through the visual appearance to the presentation of the work.
In the phase-series a system of mathematical ideas that derive from the dimensions of the carrier are used to make a grid. These lines echo the shape of the canvas in the composition on the canvas. The areas between the lines are filled with colour to produce a hard-edge colourfield composition. A limited palette of seven, always the same, colours is used to make divers combinations. In the z-series colour saturation is combined with hard-edge colourfields. These are monochromes with a saturation to white.
In a second line the painting as an object is the main theme. Although the identity of the painting as a painting should still be obvious, all elements of the painting are reconsidered. Thick layers of paint show the body and characteristics of the material and give, with their roughness, each painting an unique identity. The 2.3.- series are duos of simular monochrome panels. The description of one is identical to the other but they aren't the same. The differences in detail is the essence of these works.
The most recent series are in acrylic paint based on a four-colour palette (Primary Cyan, Quinacridone Magenta, Hansa Yellow light and Carbon Black) and more specific mathematical concepts like parabolas.
Although the nature of the works is not conceptual, there is a main concept for every series. The mainline is about the awareness of the unique physical existence of a painting and the purity that this directness (or lack of verbal content) brings. Recognition of that painting. The skipping of reading a painting's message and only experiencing carrier, paint, texture et cetera for what they are. This intention can of course not be gathered directly from a painting but is presented in the context of the works like this text.

Tradition

Today's art has moved beyond the tradition of skilful representation. Artists are not supposed to just show beauty or fascinate with craftsmanship. Freed from purpose an artist can produce anything he or she wants to. After the modernist era the traditional absolute guidelines of appreciation are lost. The aim of art is not appreciation. It's there, whether you like it or not! It is a person's free choice to ignore or deal with it and develop a personal opinion or idea.

Art defined

Anything can be labelled art. A work of art is not art because of quality or beauty. It is art because an artist chose to label it as art by presenting the work in an art-context. This does not mean that it is "good" by any means, it just states that it is available for criticism based on the notion that it has no function other then being art.
Free personal choice is the basic tool in artistic expression. It is formed through opinion, aesthetics, abilities and restrictions of the maker. By making art one develops a personal grammar. This grammar or style is a signature that makes a piece of art unique. It is shown in all aspects of the work: from content to presentation. Quality in profession lies in the continuity of style on every level of a work, showing a clear identity in ideas and form. Falsification is reproducing someone else's identity asif it is yours. Understanding this emptyness is understanding the depth and richdom of art.

• Production : methods and techniques →
• Studios : an overview of workplaces →

Movements and terms Bauhaus Concrete art Suprematisme Color field painting Cold abstraction/Geometric abstraction Abstract expressionime Hard-edge painting Systemic painting Formalism

1880 - 2000 Josef Albers [1888 - 1976] Max Bill [1908 - 1994] Marcel Duchamp [1887 - 1968] Lucio Fontana [1899 - 1968] Donald Judd [1928 - 1994] Yves Klein [1928 - 1962] Kasimir Malevich [1878 - 1935] Èdouard Manet [1832 - 1883] Henri Matisse [1869 - 1954] Piet Mondriaan [1872 - 1944] Barnett Newman [1905 - 1970] Ad Reinhardt [1913 - 1967] Gerrit Rietveld [1888 - 1964] Mark Rothko [1903 - 1970]

Contemporary Jan Andriesse [1950] Daniel Buren [1938] Ian Davenport [1966] Peter Halley [1953] Herbert Hamak[1952] Jasper Johns [1930] Anish Kapoor [1954] Ellsworth Kelly [1923] Imi Knoebel [1940] Kenneth Noland [1924 - 2010] Blinky Palermo [1943 - 1977] Robert Rauschenberg [1925 - 2008] Gerhard Richter [1932] Bridget Riley [1931] Frank Stella [1936] Taco Stolk [1967] Jens Wolf [1967]

scripsit - 20111205

Contact

M. Rump - Keizersgracht 97 3v - 1015 CH Amsterdam - The Netherlands
020 489 07 45 - 06 246 534 78
info@rump.org
Studio: Zamenhofstraat 112 - unit 114 - Amsterdam
http://www.rump.org

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