Intersection: Four young female artists, Natasja Alers, Florentijn de Boer, Joana Schneider and Leonie Schneider
Art Rotterdam has been postponed to the first week of July. That is why we organize an exhibition throughout the gallery under the heading Intersection.
Natasja Alers, Florentijn de Boer, Joana Schneider and Leonie Schneider meet each other in the gallery. All four of them are talented artists, young and female.
All four of them are talented artists, young and female. Under the heading Intersection Natasja Alers, Florentijn de Boer, Joana Schneider and Leonie Schneider meet each other in the exhibition at Rademakers Gallery.
Shiny, juicy and plump, the ceramic works resemble a string of intestines or dripping sausages draped into a tower. The unique ceramic objects are attractive and repulsive at the same time, sensual and raw. The collages of human body parts and the exuberant colorful and shiny glazes ask to be touched and at the same time the maker offers a glimpse into her inner emotional life.
The specific color combinations of the "visceral" glazes refer to internal organs and define how the human body can relate to a sculpture. Natasja Alers plays with that tension, those paradoxical feelings.
The artist, graphic designer, DJ, and co-director of the Grauzonefestival in The Hague, has been fascinated by the material clay and the human body from an early age. Her sculpture of sumptuously draped breasts on display at the exhibition symbolizes the celebration of the body and creates a sense of transience, according to Natasja. And for the EDITIONS series she made a work especially for Rademakers Gallery in an edition of fifty pieces (at € 350): a raw lumpy vase with nipple prints of herself entitled Nipple Vase.
Transience and movement
After a series of abstract works combining fragmented elements of magical realism, manga comic books, lush landscapes with unknown flora and otherworldly civilizations, Florentijn de Boer's new layered "flower still lifes" are more figurative and homely in nature. The world has literally gotten smaller. Just like in flower still lifes by old masters, Florentine's new works are about transience, but also about purity.
The artist freezes time on the canvas; the flowers, shapes and patterns stop for a moment in their development towards irrevocable transience. At the same time, she introduces the suggestion of moving matter into the works, as if a wind breeze lights up a piece of fabric or makes the flower leaves vibrate.
Transience is also depicted in paintings where the textile patterns are reminiscent of summer beach chairs, umbrellas or tablecloths whose colors have been faded by the sun. Blurred outlines recall an original object that has been there in the sun for a long time but has been removed and left an empty space. In this way the artist also makes visible the effect of the sun as well as the passage of time.
In contrast to the old masters, the flowers in the compositions of the contemporary artist are isolated, drawn from their original context - nature - and the underlying landscape consists of repeating graphic patterns for which the reliefs, mosaic floors and tiles in Italy are sources of inspiration. shapes and which she bends to her will, as in the work Touch Nothing Never Nowhere. By digitally cutting, pasting, enlarging and resizing, mixing elements and allowing shapes to 'overlap', parts are no longer visible or appear. In this way she plays with spatial and depth effects.
The sisters Joana (1990) and Leonie Schneider (1993) use different techniques and materials to create monumental works in which family and 'home' play a role in a completely different way than Florentijn de Boer does.
As a contemporary artist, Joana Schneider uses traditional techniques from Dutch craftsmen and natural, sustainable or recycled materials. Just as the fishermen in the harbor of Katwijk are her teachers to make her expressive and theatrical masks from colorful recycled fishing ropes and nets, she studied the age-old techniques of the thatchers.
It offers us food for thought about phenomena such as handicrafts and craft that are no longer appreciated in our contemporary (digital) world, as a result of which knowledge and the age-old culture threaten to disappear, but also about typical male professions such as fisherman and thatch. As a tribute, she made "Die Rioetdekkerin" a portrait of a female thatcher on a roof. For the Flux series or the dune and prairie landscapes with bright shiny colors and color gradients, she has been using a self-developed machine and a self-invented technique to wrap shiny yarns around the fishing ropes for a year now. However, she recently discovered that she could wrap not just one color but several colors around one rope, creating beautiful smooth color gradients and surprisingly giving the work picturesque qualities, as if Joana were painting with yarns. Another unexpected surprise was that despite the manual work the artwork looks digital; the individual colors are reminiscent of pixels. It gives an extra layer to De Rietdekster.
Where Joana paints with yarns, Leonie Schneider paints an entire family story on textile in one image. Her fictional characters seem to have switched from a comic strip into her large narrative, detailed constructed works in which memories and objects from her own childhood play a role and in which her exuberant visual language splashes from the canvas with exotic colors and patterns.
Her narrative is a mix of fictional elements and Schneider's own "patchwork" family with her sister Joana and a half-sister. In the series of paintings she tells a story about six brothers and sisters; in each painting one of them takes the lead.
Just as a writer feels a bond with his or her characters, Schneider builds a bond with these family members. She paints their emotions, circumstances and interactions in full scenes in which humor, power, ego, discomfort and violence also play a role. It is remarkable that there is no trace of parents. The artist finds an interesting fact that children are forced to be condemned to each other, have to take care of each other and deal with the responsible parental role.
Woven painting in Textile Museum
Leonie also shows a woven painting. The Textile Museum | TextielLab asked her last year to weave the work Halbgeschwister. The special result, in an edition of four, is woven in a mix of mohair, acrylic, cotton and recycled yarn. A copy will be for sale at Art Rotterdam (July 1-4, 2021) where Rademakers Gallery will show more new work by Leonie and Joana Schneider.