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NEW DATE Apprentice Master #1: Riette Wanders
10 March @ 8:00 pm - 28 March @ 5:00 pm
Apprentice Master exhibition #1
Why Dwell in the Blue Mountain?
11 March – 28 March 2021
Witte Rook in Breda
Riette Wanders (master)
The exhibition Why Dwell in the Blue Mountain as part of Apprentice Master season 2020/2021 will be on show from Thursday 11 March 2021 at Witte Rook in Breda. In this show, Riëtte Wanders, Maya Berkhof, Arthur Dufoor, Krijn Kroes and Larissa Schepers present the results of their collaboration. Earlier in the year, the group came together to make three constellations of their work and discuss how the individual works relate to each other, and how to translate that into an exhibition.
This series of concepts is continued at Witte Rook, and later finalised with an exhibition in Amsterdam.
The exhibition can only be visited by appointment after the lockdown from Thursday 11 March to Sunday 28 March. On Wednesday 10 March, the artists will have a private opening and work meeting.
You can book a visit to the exhibition by mailing to email@example.com
Witte Rook in Breda works as an online and offline platform that focuses on the written word, the authentic image and artistic processes. This manifests itself in offering work periodes as Artist in Residence and online magazine.
Kunstpodium T regularly works together with Witte Rook. Together with TAC in Eindhoven these three parties are also connected in the TalentHub Inversie. In the past, Witte Rook presented the exhibition and work period of Jan Naaijkensprize winner Yoel Pytowski and has hosted a great number of (former) Apprentices in their residency!
Go to www.witterook.nu for more information
ABOUT THE ARTISTS
Riette Wanders (master)
Riëtte Wanders’ drawings are executed in blacks, whites, and greys. In the absence of color, other elements like texture, structure, and composition come to the fore, and Wanders masters all these facets. But more than anything, Wanders’ work reveals in its material presence. In her previous drawings on paper this manifests as blackest black of Siberian chalk, or subtle drip of watery acrylic paint on bulging paper, giving the work an almost prehistorical (or at least a-historical) feel. In the new textile paintings, a layering of fabrics, patches, and stitches reaches a similar effect. Expressive, unapologetic, somewhat dirty, they boldly flaunt their imperfections. Paint has been applied in splashes, or with a roller, half hidden by parts of mosquito-net or crossed with lines ‘drawn’ with a sewing machine. This is intuitive chemistry; it’s as if we witness a universe in the process of self-actualisation, stopped mid-process and recorded by the artist.
Arthur Dufoor’s work departs from a radical intuitive approach, communicating raw emotions and expressive sensibility through large scale oil paintings. Drawing from diverse influences such as mannerism, baroque and post-modernist painters, Dufoor’s work always balances between the confessional and the brutal.
Although sculpture is usually a static affair, the works of Maya Berkhof are not. Her sculptures are made to be repositioned, always assuming a different pose. Much like every day is as different as the next, Berkhof’s works contain traces of coincidence and are continuously transformative.
To achieve this, Berkhof carefully considers the materials she uses in order to find those that truly breathe the character of each work. As such, her sculptures are not just solid objects, but potent subjects capable of resonating with a moment from the past, a desire, or an expectation. As their appearance is only temporarily assumed, Berkhof’s works are manifestations of a constant tension between form and function, between the monumental character of sculpture and the transformative nature of everyday life.
The works of Krijn Kroes are both a matter of what happens on the surface and below it. Combining a practice of painting and sculpture, Kroes finds a balance in changing between techniques, assuming a great deal of control in painting while being open to the unpredictable in making sculptures. No matter the medium, however, Kroes looks continuously for ways to engage his audience by generating a sense of wonder and curiosity towards the unknown.
Throughout his monochrome and reflective paintings Kroes appears focussed on their phenomenology and the perception of his audience, but this interest is not merely formal. While Kroes believes that emotions and fantasy are too often regarded inferior to scientific facts, his work is centred on its own affective dimensions, intending to trigger the imagination of his audience.
Larissa Schepers is a textile artist based in Tilburg, her current work focuses on the traditional bead weaving technique. She is fascinated by the western way of thinking and works with concepts revolving around mental health and social issues. As an artist she believes that it is her responsibility to question our norms and values and connect people to have a conversation. The whimsical subjects are in contrast with the delicate way of working and it is like her works are constantly summoning you to touch them.
With a degree in Textile Design, she focuses on various techniques such as embroidery, bead weaving and bead knitting. She believes that traditional textile techniques should be preserved and prefers to work by hand. She likes to work with materials that can not be worked with by machine. The usage of colors is important to enhance the contrasts of the hardness of the message.