Oil, pigments in yellow and embroidery on linen. Part of our oil paintings colourfields in green, red, blue and yellow made by Hester van Dapperen made in commission.
In this series of paintings, the paintings have a cut in the canvas, these are sutured with rope and partly covered with pigments and paint, there is no effort made to hide the cut.
I am referring to the color fields of Barnett Newman, the painting Who’s Afraid of Red, Yellow and Blue III, 1967-68, collection Stedelijk Museum Amsterdam.
It has been cut by someone which could not handle the impact of the colour field.
It has been restored, but there was a lot of fuss about the quality of the restoration.
The the cut was repaired invisibly and the the picture was overpainted with a wall paint roller to cover the damage.
The restoration was heavily attacked by critics who claimed that subtle nuances in the three monochrome sections had been lost by using house paints and a roller.
According to critics, the painting had been destroyed twice: first during the attack, and again during the restoration.
I like to show the cut and stitches as a profound addition. If something has suffered damage, it does not need to be covered. It gets a history, a story that gets deeper and touches you more, a new meaning of beautiful.
Idea of paintings in 4 colors for the hallway of Noelle Kennick.
This page shows an overview of the color field paintings by Hester van Dapperen. This series color field paintings is in constant development.
COLOUR, TENSION AND ADHESION
“When the Japanese mend broken objects, they aggrandize the damage by filling the cracks with gold. They believe that when something’s suffered damage and has a history it becomes more beautiful.” – Billie Mobayed
Mutilations of historical works in museums inspired me to cut in planes of color. The knife in cloth gives a tension and requires an on-going effort of the painter. Sutures and operations with crooked needle and twine follows. The scars in combination with added paint become an integral part of the canvas. They lead the search for the essence behind the work.
Colorfield paintings are about feelings and presence of mind, the awareness of movements and shifts in emotions.
Colorfields are about the intensity of color and its effect on the maker and viewer, the personal experience. If the viewer is able to read the colorfield backwards, the viewer can follow the creative process the painter went through. Several aspects can make themselves known to the spectator.
CUTS AND STICHES, IN SEARCH OF THE EXISTENCE
“Being an artist I want to use and explore the characteristics of paint and fabric.
I like to use the fabric as a metaphor to make the source, under the surface, visible.
By using the paint and linen fabric in a visible way instead of using it as a tool to make an image, a new perception arises.
The materials I use are classic: linen, oil paint, brush, knife, needle and thread. Pigments to reach deeper tones.
Both the linen and the paint are added in layers. This creates a skin with its own identity, an infinity.
There are textile additions as patchwork, embroidery, cuts, holes and sutures.
The fabric is cut to waste, is torn, is transpierced and has been attached.
Colourfield paintings on linen with large stitches and pigments, it seems unknown and questions the spectator, where he is looking at.”For centuries we looked at the image presented to us, the visible canvas remained unseen”.
In most coloufield paintings, there is a hidden note. Prayers or wishes of people.
Sometimes it is in relief or engraved in the paint or there is a piece visible of a prayer note of a Chinese temple.
Some lyrics are a residu of the art project ‘The Wishing Tree’. An art participation project with the public in 2010
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