Look!

Marjolein Rothman, Bas van den Hurk, Bettie van Haaster

February 24 - April 21, 2018

Albada Jelgersma Gallery presents the group exhibition Kijk! with work by Bettie van Haaster, Bas van den Hurk and Marjolein Rothman. The opening will take place on Saturday 24 February from 5-7 pm in the presence of the artists. The exhibition runs until 21 April 2018.

Gallery Albada Jelgersma invites you to come to the gallery and look.

Contemporary life is hurried. The mind is full of things that have to be done, with ideas and with plans to follow. In contrast, the gallery offers a space to relax, to clear the mind, to slow down this fast paced life. You can calm down by sitting quietly and letting the work in the gallery speak to you. Who knows what will happen then.

Gallery Albada Jelgersma has asked three artists to show work that will suit the serenity of the gallery space.

Have a seat and let the work by Bas van den Hurk capture you. Follow the capricious and playful forms in his paintings. If you keep on looking, you see things happen, you may see figures emerge and at the same time you might become aware of yourself in the space surrounding you. What is foreground and what background?

Look at the work of Bettie van Haaster, You will experience the thick layers of paint in a specific color palette. The materiality of the paint and the abstraction appeals to the imagination, while the title evokes an image. What happens to you when you look at the work longer? What do you recognize?

The aluminum background of the work of Marjolein Rothman creates movement. She is forced to paint the brush strokes quickly, in one go. The medium does not allow for mistakes. It is a determined gesture and a steady hand. Rothman views her painting as the result of “an act, an intention and a timespan”. What do you see?

Let the works speak to you. Take your time to look and find the peace to reflect, think, or just sit. Together with the art.

About the artists 

Bettie van Haaster (1957) works on a small scale. She uses multiple layers of thick oil paint that she applies wet-on-wet. In a limited palette she creates a painting with multiple structured layers and a tactile rhythmic surface. She investigates the image that evolves on the canvas, playing with reality and the imaginary, creating a world for the viewer to interpret, the titles merely giving suggestions. Over long periods of time she uses the same palette, creating a timeline of paintings that go from one to the next, like a story that evolves. During this process each discovery is taken into the next work. The works most resemble landscapes, fields, perhaps seen from above. Though small in size, the works take over the space and viewer in a mental and physical way.

Bas van den Hurk (1965) works with various mediums in a continuous process to investigate his own art making within the current era, in a permanent dialogue with what was and what is. His father was a window dresser; that could explain his fascination with fashion, fabrics and designs. Van den Hurk uses unusual materials and techniques in his work. He replaces canvas by silk, on which he then applies screen prints, often with images from the twenties and thirties of the last century, such as a figure from the Triadic Ballet by Oskar Schlemmer. By combining different genres, Van den Hurk addresses the proposition that art would have reached its logical end point. For example, the screen prints in his paintings may refer to Pop art, his gestures to Abstract Expressionism, while in his work we also recognize minimalistic and conceptual elements. He examines the fraying edges of the medium of painting and what meaning it can generate for this day and age. Finally, within his exhibitions he seeks a coherent whole, from the placement of an object to the proportions in a space. He is concerned with the movement in a non-sustained energy.

Marjolein Rothman’s (1974) work presents an on-going research into the act of looking or gazing. By her way of painting she is deconstructing specific cultural symbols. She works in series. In the past her series have dealt with power structures, historical figures and religious artifacts. Flowers are the subject of her current series. She draws inspiration from old Kodachrome slides of flowers that she found on the street. She was struck by the saturated, almost exaggerated colors. Her works evoke the genre of memento mori, a recurring theme in the Dutch Golden age. The works have an ephemeral character; her paintings often seem to appear and disappear from their ground. They appear to be incomplete or deleted in parts. In this manner she looks for an essence, never hiding her mark making from the viewer: the brushstrokes, the drips of paint on the canvas or aluminum surface, they are all visible. In such a way her works invite to reflect on the way we perceive things.