Roger Katwijk, Amsterdam
Today, we spend more and more time at the screens that frame our view on the world. We get bombarded by thousands of images, we have no choice but to deal with them in some way or another. How we look and understand images and their power structures could give us a more profound understanding on our world.
In the first instructional book on painting (De pictura (1435) by Leon Battista Alberti), painters were instructed to consider the frame of the painting as a window. Through these singular frames, we received a view on our state of being, our history and thus our understanding of our world. This perspectival paradigm continued to dominate through the ages of emerging technology as photography and cinema, until the the computer screen emerged. Now, multiple ‘windows’ coexist and overlap, the traditional singular perspective may have met its end.
By combining them with images from different sources through space and time, stripping the images to their bare essentials to schades between black and white a new perspective arises. When we read between the lines it can give us a more profound understanding of our own state of being and each other.
Niek Hendrix considers the images of painting, iconic or not, as an open source. He activates them by repeating them and put in a different context. This appropriation is not to make an exact copy but to create a different image of it. He paints them with a different brushstroke, a different paint, colors are let go of, appearing in shades of black and white, and also the sizes are different. He places them in front of works from different times or add a work of their own hands. In which unexpected constellations he allows the viewer to the test: they must not only look back but also give meaning again.
— Lexter Braak, director Van Eyck.