Jan Maarten Voskuil
Artist Jan Maarten Voskuil expands the borders of painting by carefully making his paintings grow into the room. His mostly monochrome, concrete works get close to sculpture, architecture, design, or installation.
Voskuil pulls and distorts his canvas by putting it on three-dimensional stretcher frames. The results are ambiguous, crooked surfaces based on geometric principles. The wooden frames are bent in such a manner to give the paintings a three-dimensional appearance and allow them to adopt the shape of sculptures. Voskuil started with strictly symmetrical and modular works. His new creations communicate with the room in their capacity as asymmetrical, complex, and more freely shaped surface constructions.
The artist, born in 1964, in Arnheim/Netherlands, restricts his works to a limited number of geometric shapes frequently resulting from the circle or the rectangle. His creations are based on the conviction that a work of art simply is an autonomous object – a „concrete thing“, indicating nothing familiar, being founded merely on itself. Voskuil’s new artistic variant extends the theories of the Dutch painter and art theorist Theo van Doesburg who introduced the term of „concrete art” in the early 20th century.
Jan Maarten Voskuil studied art history at the university of Groningen and arts school in Arnheim.
His works are in museums, public and private collections, galleries, and art rooms worldwide, in USA as well as in Australia and Japan and a large number of European countries.
Sebastian Wickeroth fills and plays on rooms with large installations of plaster boards, lacquer foils, and other materials. His objects and installations feature perfect looking, smooth, monochrome surfaces, frequently deformed and crashed through by an artistic act of destruction.
Wickeroth, however, does not destroy his things, which look aesthetic as well as industrial, after completion but he plans and constructs them as shattered objects from the very beginning. The perception of the sculptural nature of the objects, the emphasis on their transience and the experience of the enveloping surroundings are always linked in his works.
For his exhibition at Ruth Leuchter, the artist plans a large installation of stretcher frames covered with foils. Dark blue mirror surfaces capture the light and the gallery room. The typical play of shape and deformation, distortion and redefinition involves the statics of the surrounding architecture. By means of the mirroring the room becomes an integral part of the works and that is why Wickeroth can leave the “act of deconstruction” to the material itself. Like in a hall of mirrors, the irritating distortion is produced on the surface of the extraordinary material.
Initiators and precursors could be detected in the artists of the American Minimal Art with the clear-cut and simple geometric bodies of ready-made industrial materials like Plexiglas, stainless steel or aluminium. The lacquer foil in Wickeroth’s works possibly with an ironical flavour alludes to the value of the materials; after all, it fakes a polished plastic object.
The installation in the room is completed with new picture objects for which Wickeroth uses spray colour on glass. Frame and glass are rid of the conventional picture holder that practically is out of existence. Although colour is used only sparingly, approaches to abstract or associative pictorial worlds open up.
Sebastian Wickeroth, born in 1977, studied at the academy of art
in Münster, Ecole supérieure des beaux-artes de Genève and the art academy in Düsseldorf. In 2007, he was the master student of Hubert Kiecol.