NL=US Art, Rotterdam
At first sight, the paintings of Arnout Killian seem photorealistic. He either ‘zooms’ in, or gives the viewer vistas of spaces or places. The beauty of his work lies in the ‘in between’ moments he visualizes: rooms awaiting inhabitants, homes and landscapes devoid of people, deconstructed mannequins awaiting their next garb.
His newer paintings reach another level of abstraction: from afar they look like photos of carpeting; on closer inspection we find meticulously painted abstracts. Killian gives meaning to seemingly uninteresting objects and moments by slightly manipulating reality. The paintings speak of quiet desolation, leaving the viewer with an eerie feeling of what will come next.
Killian’s work has been predominately exhibited in Europe. His most recent exhibition is ‘ENTER THE VOID’ in the More Museum in 2016. His work can be found in private, corporate and several museum collections. Killian studied at the University of Amsterdam, the Gerrit Rietveld Academie, STEIM and the Rijksakademie in Amsterdam. He lives and works in Amsterdam, the Netherlands.
Andre Kruysen’s work relates to daylight and the structure of the architecture around him. He makes interventions in spaces that influence these aspects. These interventions can result in both freestanding and space-merging sculptures. The search for a personal balance in it finds its form in his work. In the midst of his disruptive spatial interventions, Kruysen seek silence: the stillness that occurs due to the sacred effect of daylight. This contradiction is the basis of his sculptures.
Kruysen is fascinated by modernist architecture: modernist architecture was filled with hope for a new world in which mankind had total control. This attitude has also led to building in a megalomaniac scale and partly to the destruction of our environment. Nature was almost seen as a commodity and it resulted in environmental disasters like the city of Brasilia and little wonders like the villa ‘Falling Water’ by Frank Lloyd Wright. This tragedy of hope and downfall is a feature that is also visible in Kruysen’s large-scale installations.
Kruysen was educated at the Royal Academy for the Visual Arts (KABK), Den Haag and the Rijksacademie in Amsterdam. He has exhibited extensively in the Netherlands, but also abroad for example in Poland and Japan and recently created a sculpture for Art Omi in Upstate New York, USA. Kruysen’s sculptures mostly consist of different materials. He lives and works in The Hague, the Netherlands.
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Killian, a painter creates mostly two-dimensional work. Kruysen, on the other hand, is a sculptor and creates three-dimensional work. While their work is in different media, both oeuvres contain a certain ambiguity and are characterized by dualism.
Are the images of Kruysen autonomous works, real proposals for public space, or utopian models? His wall objects seem to refer to masks, but you cannot wear them. They remain facades, where vestiges of old architectural designs loom under the modeled impasto color planes.
The patterns on the canvases of Kilian are meticulously painted abstractions but seem from a distance no more than a representation of pieces of carpet. This makes the interpretation of his work ambiguous. The constant questioning of meaning, perception and the contradicting forces that underlie Killian’s and Kruysen’s work, is the common and fundamental aspect of both of their artistry.