Galerie Ramakers, The Hague

Toussaintkade 51, 2513 CL The Hague, The Netherlands

info@remove.me @galerieramakers.nl

www.galerieramakers.nl

 

 

Michael Johansson:

"I am fascinated walking around flea markets finding doubles of seemingly unique, though often useless objects I have already purchased at another fleamarket. Despite the fact that I did not have any use for them even the first time, the desire to own two of these objects becomes too strong to resist. The unique and unknown origin of the object increases my desire to want the double – the unlikelihood of this sensation repeating itself produces an attraction that is too strong to resist.

This combination of the now-familiar and the new-unknown are among the various factors that come together to create the irresistible pull of these objects. This re-iterated fascination and the overwhelming desire that follows is central to my art practice.

I am intrigued by irregularities in daily life. Not those that appear when something extraordinary occurs, but those that are created by an exaggerated form of regularity. Colours or patterns from two separate objects or environments concur, like when two people pass each other dressed in the exact same outfit. Or when you are switching channels on your TV and realize that the same actor is playing two different roles on two different channels at the same time. Or that one day the parking lot contained only red cars. These irregularities, these coincidences, are another focus of my artwork."

 

Willy De Sauter:

De Sauter is an artist who thinks in conceptual terms, yet he is by no means a conceptual artist. He is and remains a “reasoning” artist, who like American artist Robert Ryman surrenders to the surprise that is the result of his pictorial activities, which in fact should always be cause for surprise. It is therefore quite sensible to relate De Sauter’s early searching art to the art of artists who work with patterns. These patterns represent repetitive grids that dynamize a support (paper, canvas) without imposing a distinct orientation for “looking” at them. Willy De Sauter’s artistic practice is a continuation of a rich tradition according to which art is the vehicle for an abstract representation of reality. His artistic vocabulary could be characterized as a thorough abstraction of forms and structures that can be found back in both nature and in culture, more specifically in architecture. The close observation of buildings, monuments and even photographs are often starting points for de Sauter’s plastic transposition of an existing form into an abstract representation. His works and their presentation refer to architectural history and to the artistic urge to represent the very essence of reality. In de Sauter’s austere oeuvre, places are reduced to non-places. Associations with philosophy, visual art, and architecture are fused into one general and open focus on culture. While his early works were mainly composed of consistent repetitions of line patterns, he has, from the 1990s onward, focused on the realization of monochrome chalk paintings and objects. Although his work appears very minimalist in style, Willy De Sauter invests much time and labor in its meticulous production.

Michael Johansson, 180° - ØKS, 2015, pallets, boxes, ordinary items, 120 x 200 x 80 cm
Michael Johansson, 180° - ØKS (detail), 2015, pallets, boxes, ordinary items, 120 x 200 x 80 cm
Willy De Sauter, Untitled, 1997, pigment and chalk on panel, 120 x 75 cm
Willy De Sauter, Untitled, 2015, pigment and chalk on panel, 43 x 45 cm
Willy De Sauter, Untitled, 2014, pigment and chalk on panel, 3 x 35 x 24 cm
Willy De Sauter, Untitled, 2015, pigment and chalk on panel, 2 x 35 x 24 cm