Rademakers Gallery is proud to present two young female artists to Art Rotterdam: Joana Schneider and Florentijn de Boer.
The artworks Joana Schneider made especially for Art Rotterdam are more graphic and abstract than her earlier work. The harbour of Rotterdam is a huge inspiration for her work. The area with countless containers in bright colours feels closely related to her and represents her choice of materials and knotting techniques. The tiles that make up her work are made with the addition of a new material, namely concrete, which increases the intensity and manufacturability of her work.
In addition, Schneider's work is not only inspired by other fields of labour and crafts involved in the production process, but also about the enormous value of labour for her own works of art. The physical work is an enormous effort, but also a form of liberation. That is why all the labour involved in sewing and weaving the ropes is done by hand. Here lies a sincere interest in the future of craft and labour. Schneider believes that the advent of artificial working methods will lead to a re-valuation of craft and work processes while certain knowledge can never be replaced by computers and machines.
Florentijn de Boer:
Phantomride was a popular film genre in Great Britain and the US at the end of the 19th century. The film shows a vehicle that drives forward, usually filmed by a cameraman who is tied to the front of the vehicle. The term Phantomride - ghost ride - was used because only the track and the landscape could be seen by the position of the camera; the movement seemed to come from an invisible force. This way of filming paves the way for the viewer to move around in the camera and travel through the landscapes. This principle has become the inspiration for the work Florentijn de Boer will be showing at Art Rotterdam.
In her increasingly richer and more layered paintings, she incorporates a wide range of subjects that are partly inherent to painting, such as the formal functioning of perspective space, but also more generally by telling new stories. She makes compositions from countless refined and detailed black and white drawings that show fragments of an imaginary reality. She uses these zoomed, amorphous forms from fantasy and alienating worlds, such as magic realism, science fiction films, art books, poems, graphic novels, mythology, Japanese Manga books, and the cyclic patterns in nature, which she composes in layers on top of each other. In this way new illusionary, comic-like stories arise that she translates into her own visual language.
Her works always have a provocative narrative title in which transformations of humans and animals, mythical figures and landscape-like elements play a role, such as: 'Ventriloquist' and 'In what salt rivers we want to wash this story'. But the real power of her works is that they offer freedom to associate and interpret yourself. In this way she initiates communication and reflection.
She always uses her hands as a 'brush' to apply both solid and liquid strokes to the rough linen with oil pastels, which remain deliberately visible in various places. She uses the impressionistic way of painting that is inspired by Japanese Manga drawings from the 19th century. Because of the uncontrolled and random brush strokes, these were a great source of inspiration for the impressionists.
With her publication entitled "Phantomride" she wants to further break open the two-dimensional character of painting. In this publication she has bundled drawings and details from drawings that precede the making of a painting. The publication is, as it were, an extra carrier of her stories and adds a deeper layer to the drawings and paintings.
Scrolling through the book, you recognize elements from the paintings, and vice versa. This creates an interaction and the viewer is tempted to participate in the whole. With this she refers back to the term Phantomride.