ART TAIPEI 台北國際藝術博覽會

關於

    【獲獎】

    荷蘭國家藝術基金會獎金( 1996,1999,2002,2006,2009,2010,2012 )

    蒙德里安藝術基金會獎金(2006, 2012)

    MK獎提名(2013)

    維姆·伊扎克斯獎提名(2010)

    【收藏】

    Frans Hals博物館(哈勒姆,荷蘭);斯希丹市立博物館(斯希丹,荷蘭),Boijmans van Beuningen博物館(鹿特丹,荷蘭);CODA博物館(阿珀爾多倫,荷蘭);福爾林登博物館(瓦瑟納爾,荷蘭);Sanquin 收藏(阿姆斯特丹,荷蘭);霍弗拉肯市建設基金(荷蘭),荷蘭Gemeenten銀行(海牙,荷蘭);Collectie Achmea(阿珀爾多倫,荷蘭);荷蘭國家收藏館(阿姆斯特丹);DELA 系列(埃因荷芬,荷蘭);威廉哈克博物館(路德維希港,德國);布爾諾萬尼克畫廊(捷克);幾何馬迪博物館(達拉斯,美國);曼海姆 Versicherung 收藏館(曼海姆,德國); 藏家遍佈歐洲、日本、中國、澳大利亞、南美和美國

    【代理畫廊】

    Sebastian Fath| Contemporary(曼海姆,德國),dr Julius|ap(柏林,德國),NL=US Art(鹿特丹,荷蘭+Glen Ridge,美國),Pentimenti 畫廊(費城,美國),本特利畫廊(鳳凰城,美國),彼得布萊克畫廊(加州,美國),虫二藝術(台南,台灣)

    【創作歷程】

    揚‧馬丁‧沃斯奎爾(阿納姆1964年)將他的繪畫延伸到三維空間。他精心製作的部分彎曲的木結構基於簡單的幾何原理:圓形、正方形和長方形。他用亞麻布拉伸框架,通常塗上色彩。憑藉最少的手段,他部分地立基於二十世紀建設性、極簡和具象藝術的傳統中,設法發展出廣泛的作品。 

    他的作品被貼上了空間物體、雕塑、自主設計甚至建築的標籤。他自己則堅持視它們為繪畫,緣於他的參照系是繪畫。至於空間與否,「它仍然是在畫布上繪畫,並處理平面的局限性,」他爭辯道。「相反地,你會稱卡爾・安德烈的作品為雕塑,即使它大部分是平面的,不是嗎?」

    儘管如此,沃斯奎爾不僅是一位畫家。多年來,他巧妙的畫框基本上變成了模塊化結構,有時可以以各種方式組裝。他因而不僅是畫家,還是繪畫的「建造者」,這使他與建築非常接近。

    在他最新的系列作品中,對空間的探索伴隨著對繪畫(重新)引入空白。模塊不再相互連接。儘管這種分解已經出現在動態單色系列中,但從2012年開始,以模塊之間的縮進形式出現,這種中介空間,如剪輯般,如今更為主題化。最近的第二個發展是顏色漸變的引入,標誌著他迄今為止作品單色性的戲劇性突破,彷彿他再次擁抱繪畫,而不是揚棄它。

    Jan Maarten Voskuil (Arnhem 1964) stretches his paintings into the third dimension. His crafted, partly curved wooden constructions are based on simple geometric principles: the circle, the square, and the rectangle He stretches the frames with linen and usually paints them in monochrome colors. With a minimum of means, he manages to develop a broad spectrum with his work whereby he partly stands in the tradition of the constructive, minimal, and concrete art of the twentieth century.

    His work is labeled as spatial object, sculpture, autonomous design or even architecture. He himself consistently continues to call the work painting because his frame of reference is painting. Spatial or not, "It remains paint on canvas, and deals with the limitations of the flat surface," he argues. "Conversely, you would call Carl Andre's work sculpture even though it's mostly flat, wouldn’t you?”

    Still, there is something to be said for seeing in Voskuil not just a painter. Over the years, his ingenious stretchers have become primarily modular constructions, which can sometimes be assembled in various ways. This makes him not only a painter but also a "builder" of paintings, which brings him very close to architecture.

    In his latest series of works the exploration of space is accompanied by the (re)introduction of emptiness into the painting. The modules are no longer connected to each other. Although this disintegration already made its appearance in the series Dynamic Monochromes, from 2012 onwards, in the form of indentations between the modules, this in-between space, like the cuts, is now much more thematized.