‘Art Now’ weekly shows a new artwork from the art collection EUR. Art now, digitally on the screen, for inspiration, as consolation, imagination, reflection, or as a distraction and extender of reality. Art now in times of 'intelligent lockdown.'
Art Now 3: Anouk Griffioen
Anouk Griffioen ‘Museum of Nature 3’, 2018 - Charcoal on linen, 210 x 332 cm - Art Collection EUR
The third work of art in the series Art Now is 'Museum of Nature 3' from 2018 by artist Anouk Griffioen (1979). The monumental charcoal drawings by this artist bring together different landscapes and subjects. Griffioen creates a world into which the viewer can easily disappear. In her art, she addresses the conflict between man and nature, city and landscape and the ever-expanding growth of the cities that compromises the quality of life. By bringing vegetation back into the cultivated environment, Griffioen appeals to our deep-rooted longing for nature. A place to leave the beaten track and come to new insights. Sporadically, a human shape seems to dissolve into the background. However, the figures never become explicit. About that she herself says; 'A figure often creates a barrier between the picture and the viewer, who becomes a voyeur, standing outside. Instead, I want the viewer to be the figure.' How wonderful is that, figuring in the monumental work of art by Anouk Griffioen. Even if only for a moment and in our own thoughts when we enjoy 'Museum of Nature 3'. In 2018 Griffioen set up a wall-to-wall exhibition in the Erasmus Gallery on the Woudestein campus. There she worked on the spot for three months on new drawings.
‘Museum of Nature 3' by Anouk Griffioen is located in lecture hall CB-1 in Theil building on campus Woudestein.
Art Now 2: Anuli Croon
Anuli Croon 'Penthouse I', 2015 - acrylic + metallic acrylic on canvas, 170x250 cm - Art Collection EUR
The second work of art in the series Art Now is 'Penthouse I' from 2015 by Rotterdam based artist Anuli Croon (1964). The artwork was purchased in 2019 in the Art Collection EUR. What Croon says about her work:
My figures are stylized, mutually different, and individual-like by their poses, hands, and noses. They are prominent and indifferent, man and woman at the same time. They do not tell a story, do not explain themselves, and do not carry emotions. The paintings thus become autonomous constructions that are open to multiple interpretations. 'Penthouse I,' which now hangs in the Erasmus University boardroom, is based on the reclining figure, a common theme in the history of the visual arts. The character is in the middle of lying, falling, or leaning back. The background looks like the skyline of a big city'.
As Croon herself points out, the figure in Penthouse I is reminiscent of the classic reclining figure. With displaying the figure in this way, the artist follows a long tradition. But just as well, the artwork refers to cartoonlike figures and contemporary advertising with pattern-like elaborations, which places the artwork right in the here and now. Seemingly emotionless, the large reclining figure in Penthouse I looks at the city from a higher point of view, withdrawn as if she belongs there, only not right now...
Penthouse I' by artist Anuli Croon hangs on location in the Boardroom on campus Woudestein.
Art Now 1: Stan Klamer
Stan Klamer 'South China Sea', 2014 - mixed media on paper, 50 x 65 cm - Art collection EUR
The first work of art from the series Art Now is the 'South China Sea' from 2014 by artist Stan Klamer (1951). In the drawing, which Klamer made during a period of study in Southeast Asia, he 'mapped' what he saw there. Yet it is not a one on one observation he has depicted in the work of art. Time and again, he photographed the harbor from different points of view. The pictures inspired him to make the drawing in which we also discover rectangles. These small telephone screen size rectangles are silent references to the way the work originated. In Klamer's flat worlds, the abstracted reality is made into cartography, and large areas are made visible in one instance. In a second glance, the viewer is taken into the refined details. Klamer creates unique places, islands, and harbors from which we can depart, or where we can come 'home' again. And that is precisely what Stan Klamer's drawings do, they invite us, without moving, to make a personal journey.
Stan Klamer's drawings can be seen at various workplaces in Sanders and Mandeville building on campus Woudestein.