1) Title: 1 Year: 2016 Technique/medium: Indian Ink on paper Dimensions(in cm): 42 x 29,7 cm
2) Title: Uncle wim Year: 2017 Technique/medium: Indian Ink and oil paint on canvas Dimensions(in cm): 85 x 105 cm
3) Title: Aunt Corrie Year: 2017 Technique/medium: Indian Ink and oil paint on canvas Dimensions(in cm): 75 x 65 cm
In the 'Family' painting series:
In order to seek for the “I” I have started with the depiction of family photos. I aim at capturing the feeling that emerges when I look at these photos. It is an investigation to the elevated “I” that knows more than I know. With ink I have been sketching this feeling repeatedly, getting nearer to its essence every time. It can be found in the introvert soul that stares at me, shining through the gaze of absence of the portrayed on the old photos.
The black ink I have purposely chosen is representative of the layers of the individual, there is more to it than just darkness.
By trying to catch the abstract concept of a feeling, I seek to let go of the aesthetic values tied to representation. I care about approaching the essence of a feeling. However, by capturing this feeling, do I not make myself visible in the work? When viewing my work, the spectator might recognise the feeling I try to seize, but that does not necessarily means he will also see me, I ponder. I seek to represent the people and objects around us not as they appear but by the feeling that is embedded in them and which reaches me when I closely observe them.
DEGANN also known as Anne de Groot(b. 1989) graduated in 2011 from Hogeschool voor de Kunsten in Amsterdam.
My paintings and watercolours are vivid and aesthetically liable images that sometimes disguise an atrabilious element. Mental vulnerability and transience are central themes in the work. The multiple layers in the paintings create an elusive form. Like light, the works are simultaneously fleeting and present. This corresponds with my perception of paintings as breathing organisms. This is why they are not made as mere artistic statements, but originate from a sincerely felt inner necessity. I search for shapes that intrigue and convince me. In my portraits I do not paint faces, but heads, which for me creates a different sense of intimacy. I see the face as a structured spatial order covering the head, which houses the soul.
I don’t work towards mimesis but towards a possible temporary essence of the portrayed, which is often introspective and removed. The transparency of the layers of paint creates discolorations on the surface. These aqueous spots that deform the shape of the heads approach that what is inside, the intimacy of the sitter’s spirit.
Submitted to Underscore Vol. 1. #underscore
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