Fabian Luyten

Can you describe your work? 

Its about scale, love to create meeting points (partially functional conctructions) in public space, indoors/ outdoors, the artpieces are architectural in the broadest sense of the word (physical, social, mental), how does the surface work in these constructions, 

how is colour related to it, how does it affect the viewer. 

(For further info: there is an english version of a text available on my website: 'the multi-perpectives constructions of Fabian Luyten'. 

www.fabianluyten.com

What are you working on ? 

A public sculpture near by a large new building for 70 demented patients. 

The building is a new nursing home.

What inspires you? 

Daily life (city, village), mental and social conditions of people, inter-human fabrics of a community (that also architecture to me).

What you hope to evoke from your viewers? 

To underline and question the mental and physical presence of the viewer through their body scale and daily living conditions.

How your work has grown and changed?

More and more working in real life public spaces.

Do you experiment with different materials a lot or do you prefer to work within 

certain parameters? 

Each design of a sculpture needs to be durable as long as possible in outdoor conditions, therefore i need to examine different materials related to what i want to achieve artisticly, like plexi, stainless steel, paint, concrete, glass, wood, electric lightning in the sculputeres if needed and so on. These practical decisions are incorporated as much as possible during design process.

Can you tell me something about your residence in Rijksakademie? 

Very intense and very international, fantastic to meet big artists in your own studio with your own work, great technical working conditions.

Is there anything else you would like to add?

Thank you for your interest in my work and keep it genuine! 

www.fabianluyten.com

Philipp Kremer

Can you describe your work? 

I can describe figurative painting, comparing it to film. 

You have a plot, setting, subject on the one hand, and staging, formal decisions on the other. 

Through the interaction you can balance out a complex content. 

The subject could for example be placed in a different time, while the production and execution tells quite precisely the era of creation... 

Or you can talk about dark, sad things but show an optimistic position at the same time, by being playful and funny on a formal level. 

From that point of view you could call my work “physical one-image-silent-movies”... 

What are you working on ? 

My last work is a wall installation in my studio at the Rijksakademie in Amsterdam where I combine several subjects and panels to form a scene that covers the walls. 

I  followed a baroque idea of integrating paintings into the whole design of a room and saw the contemporary equivalent to that in stretching out the painting  from the bottom to the top of the wall, creating a “theme room”. 

The panels were: a girl with a horse, a sunset, a muddy field, a tractor in front of a farmhouse. 

What inspires you? 

Mainstream culture and the way it works with stereotypes interests me as an image that we as a civilisation create of ourselves. 

When it is made in a very just, efficient way, laying blank the method, or when it uses cliches as modules creating a content that is in the end particular and abstract, it touches me... 

Trying to trace it in an exaggerated way, with the effort to put a lot of heart and devotion to it, I deal with it in my work. 

What you hope to evoke from your viewers? 

Provocation is not easily possible today, so at least I can irritate, or squeeze the mind a little... 

But I want to be honestly feeling in the same time, it becomes a “subtle provocation”. 

I am not searching for a one-time effect, I want to iconify this ambiguity, I think there is a relevance in images that represent ambiguity. That is what I try to do with painting.

How your work has grown and changed? 

I wanted approach my work from an abstract view on painting. 

Trying to avoid narrative associations, I developed constructions with lines playing with logic, related to the human by being obviously 

hand-made. 

When I began to introduce narration into this game again, it got more complex: I can now lay more sensitivity into the colours and the brushstrokes, and be more playful choosing the subjects.

Do you experiment with different materials a lot or do you prefer to work within 

certain parameters? 

I do experiment with painting, I play with other media, made comics and electronic music. 

Within the process of one work I strictly follow my initial plan, which always leaves space for inspired, descriptive decisions.

Can you tell me something about your residence in Rijksakademie? 

It is a special place with many interesting people and the exchange is very enriching.

To have the contact with artists from so many different places is arousing. A good place to develop my work, with fantastic facilities. 

Is there anything else you would like to add? 

Thank you.

www.philippkremer.de

Victor Florido

Can you describe your work, content of your work?

I work trying to create atmospheres in my paintings, moods. I´m interested in the uncanny, and how familiar things in their usual context can become theatrical and threatening.  I usually take the canvass as a stage, where a story is being told, but in which we`re left with one still image to look at.

What are you working on?

Right now I´m working on an installation for a gallery, recreating the spaces from my paintings.

What inspires you?

David Lynch, Alejandro Jodorowsky, J.L.Borges, Gregor Schneider, Matt Mullican.

What you hope to evoke from your viewer?

I hope people can experience the dullness of color and the lack of certainties, midway between understanding and not understanding at all.

How your work has grown and changed?

I´ve always been interested in the subjects described above.  But as I improved my skills as a painter I also became more able to manipulate narrative elements in order to make my paintings more effective.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I prefer to work with oil paint. I believe that mastering the use of one material is a big step in an artist´s development. Experimenting with a wide spectrum of artistic practices can prevent the mastering of any.

Can you tell me something about your residence at Rijksakademie?

It was an interesting experience; maybe I was a bit too young then. But it helped me to reconsider painting as a problem in itself, and to broaden up my scope of technical resources. In that sense I have to be very thankful to Avis Newman and Lisa Milroy.

Is there anything else you would like to add?

I think today´s art scene is somehow overtaken by ideas come from conceptualism. It is supposed that every artist can describe his work in 500 characters and express his views into written “projects”.  And I believe that many artists do not fit in this frame. Many times we don´t see an art piece before we ask “what is it about”. Art appreciation has become very text-dependent.   And I believe that a big part of the aesthetic experience is left blank due to this kind of one-way approach.  We should also give value to the “not understanding” in art.

www.victorflorido.blogspot.com

Charlotte Mouwens

Can you describe your work, Content of your work?

In my work I try it recognizable to alienate. I try to balance on the edge of the General and special. The dynamics of the painting itself, the material and colors are of great importance, but also the tension between the lines, surfaces, and the dynamics in the work are the basis for the resulting image.

What are you working on?

I am currently working on big collage's, all of which layers/skins of paper, rice paper, copy-sheets, etc. made Constructed from paper-mâché. To show the lively in the material itself and playing with the topics in layers.

What inspires you?

Cynicism, alienation, irony and humor have figuration and features my visual language.

What you hope to evoke from your viewer

I hope that the viewer can be include in the image and let his thoughts play.

How your work has grown and changed?

The collage's for me and hopefully also for the viewer are a different experience. 

I am more free in my collage’s than when I paint on canvas, maybe because of the frame.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I make use of mixing and combining topics in the topic, creating a tension which is open to multiple interpretations. Fiction and reality walk through each other, the border lies with the viewer.

Can you tell me something about your residence at

Rijksakademie?

The Rijksakademie was a gift to my work experience, fine intense work, with many colleagues around you. But still I could not go completely free, perhaps it is by my two children that I had next to it. A baby in my Studio that had to be fed. Paintings that I wanted to paint, I think I wanted to much of myself. Now I give myself more freedom, fortunately.

Is there anything else you would like to add?

Each work belongs to the process and the recearch, that for myself asking for more.

www.charlottemouwens.com

Bas Louter

Can you describe your work, the content of your work?
I make series of large scale drawings with charcoal, ink and pastels. 

For the last couple of years mainly portraiture.

My works are centered around images produced by the entertainment industry such as film, theater and music.

What are you working on?

I am currently preparing a solo exhibition at Fruehsorge gallery in Berlin 

taking place later this year.

What inspires you?

The books of J. G. Ballard and Los Angeles.

What you hope to evoke from your viewers?

I am not out on pleasing my audience or showing the things they already know or recognize; instead I prefer to confront them with the uncanny. Things that you claim to recognize but appear to be hollow or empty at a second glance.

How your work has grown and changed?
My work has always evolved through new uses of three- and two-dimensional values. During the last couple of years, the autonomy of the individual works has become more important for my practice, and the tension between three- and two-dimensional perspectives has taken place on the flat surface of the drawings instead of on the installation of them.

Do you experiment with different materials a lot or do you prefer to work within certain parameters?

I need parameters, restrictions.

Can you tell me something about your residence in Rijsakademie?

It was a good time, so many great people. It’s a good place with tons of facilities and interesting advisors, although in general it tends to be a little overrated since it’s so difficult to get in.

Is there anything else you would like to add?

I am preparing a new website.

www.baslouter.com