Han Schuil

At first sight the works of Han Schuil (1958) appear to be abstract paintings. And it is precisely this that inclines you to see his work as an extension of Dutch abstract painting, a tradition started by Piet Mondrian (1872-1944). Remarkably, Schuil describes himself emphatically as a figurative painter.

He abandoned classical painting very early in his career. He experimented with tin and then went on to use mainly aluminium as the support for his work. Aluminium not only has a smooth surface - Schuil does not like the texture and structure of the traditional canvas - but also a surface that lends itself to all sorts of processes. For Han Schuil painting does not simply end at the flat surface - indeed this is where it starts. He allows chemicals to corrode the aluminium of his paintings, and he folds and perforates the surface. In short he brings the surface to life and in this way lets an originally two-dimensional painting enter the three-dimensional world. The reason Schuil describes himself as a figurative painter has everything to do with the fact that his work is always based on everyday life.

Anything that attracts his attention, such as random images and objects around him, can become the starting point for a work. He stores them in his mind and then starts to work on them with transformed motifs as a result. Han Schuil does not regard the abstract as an aim in itself. Through abstraction he seeks modern icons: images with a powerful signal.

At the Over de mensen en de dingen exhibition (Z33) the artist exhibited one of his paintings on aluminium. The painted, dented surface is reminiscent of the bonnet of a car. The work has a fragile appearance despite its bright red colour and bent metal. At Z33 Han Schuil takes the next logical step in his work as a whole: the use of glass in combination with the true spatial shaping of objects. In these works painting is subordinate to the three-dimensional object.

- Katelijne Beerten


13.02 to 01.05.2005
13.02 to 01.05.2005
13.02 to 01.05.2005
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