Siberian chalk op paper, 110 x 145 cm

This painting is a painting in the series of the Edda project.
135 x 185 cm, oil on canvas
This is one of my new pictures. It exists of several photos I took. And the title says it all.
A triptych. Three pictures, 60 x 90 cm
The Darwin project exists of two major themes. “The origin of species….” is one of them.
Here a detail of a new painting I’m working on. Only a small detail, approximately 15 by 30 cm. The whole painting is 80 x 120 cm.
Still al lot of work has to be done. Only worked on it three sessions. I’ll keep you posted!
Making art is a matter of doing and reflect on what you’ve done. For 90 percent I know what I am doing. But it’s all about that 10 percent. And when the “not knowing part” becomes to big, it’s totally out of control. And the result will be a very bad painting.
On the other hand, when I control everything I do for a full 100 percent, I’m not able to surprise myself (and “the audience”). And the painting will only be interesting for I short moment. You really have to take your time, when in front of my work. Get to know the painting. Explore it.
On the origin of species X13
And the series is growing and growing. Probably in october, I will arrange a special exhibition in my studio, to show all the “Origin”paintings (eight are finished now).
I thought the title was well choosen. On the other hand; are my latest paintings really about the creation of the world, about life? Or is the theme more about a sort of putrefying and ephemerality? Just before everything dies, vanishes…… To capture that moment?
And does that matter? Or can the outcome, the paintings, be the same? Despite the different angles.
In the right corner below are three yellow organic forms.The top one is still bright. But the one at the bottom is already vanishing. Dying?
70 x 90 cm. Oil on canvas.
Oil on canvas, 40 x 120 cm.
This painting, 130 x 160 cm, oil on canvas, was made during the period I worked on the painting Evolution 1 (painting of decembre).
It consists of a lot of different layers. Sometimes even with the same color (red over red over red over red). This technique (called “glaceren” in Dutch) makes that the colors increase in depth (sort of a velvet texture).
It’s very difficult to catch this on camera. But belief me, when you’re in front of this one, it almost seems possible to stick your hand inside the painting.
This is an old technique, used for instance by Rembrandt van Rijn, the famous Dutch painter (see example).