I am always looking for inconventional vantage points as to looking at a model and this position seemed both sensual and integrous as implicitely explicit.
My model came with this pose Modonna used for one of her albums. Originally it was intented to do square sized pastels because I happen to have 4 spare square frames but today I saw a greater scheme I had to work out first.
This oil painting is based on my drawing ‘Nude – 17-06-15’. An artist often sees one thing in another. Salvador Dali saw a rhinoceros in Vermeer’s Lacemaker. I saw a horse in a women’s thigh.
Drawng often is called the primary process and I like it so much, brimming over with an ocean of ideas, that I forget about transfering those ideas to the secondary stage: the canvas. There always is something to dust off and in 2017 I used ‘Nude – 03-09-15’ to work out a bigger theme, called ‘The Widow of Aleppo – 18-05-17’, after Rembrandt’s painting Jeremiah lamenting Jerusalem’s destruction. Since the war in Syria sort of came to an end but the people still suffer, I found it appropiate to do this anew but then in oil.
This drawing is to celebrate human achievements and imagination in particular. To see one thing in another is something very real, surreal and metaphysical altogether.
Some time ago I saw underwater excavation pictures of Heracleion, an ancient Egyptian city submerged.
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A pastel of a treescape at Royal estate ‘De Horsten’ at Wassenaar, Netherlands. This one I did last Saturday for a group of pastel students and limited myself to appromixately 2 hours, synchronizing to the time span of the pastel workshop, in order for them to relate to a quick build-up without throwing too much details like leaves and branches.