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(currently in exhibition) 'Witnessed Winter' (Read description important!) Painting

Dries Ketels

Belgium

Painting, Watercolor on Other

Size: 19.7 W x 15.7 H x 0.2 D in

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1479 Views
18

Artist Recognition

link - Showed at the The Other Art Fair

Showed at the The Other Art Fair

link - Artist featured in a collection

Artist featured in a collection

About The Artwork

In this watercolor you see an abstract winter landscape. For this particular scene the artist searched for the essence of a winter feeling, not necessarily embodied in a visual representation (colors, form, etc.) but rather embodied in the methods used to paint and the material aspect of the painting. During his studies the artist developed a new painting method that allowed him to paint with chemical reactions in order to give them an artistic goal rather than the traditional scientific goals. In this painting the artist paints with various crystallization processes. It is very interesting to see how similar these structures are to the crystal structures we find in Ice (if you look at Ice under a microscope). These structures are in some way the larger version of these microstructures in ice. So it is actually possible to give some sort of frozen character to the winter-landscapes so the viewer can actually feel the winter through these structures. Of course there are some ‘traditional’ visual elements in the painting that are linked to the winter as well (bold trees, etc.), but these figurations are bounded to the human perception of winter. The crystal structures and the static character that results from them is not (only) bound to the human perception, it’s a more universal and objective interpretation of the winter, therefore more eternal. With or without trees, humans, stones, etc. these crystal structures will still be there whenever a winter appears, they are an essential part of winter. This watercolor is created with the use of water and fire. A stronger contrast while painting is probably impossible. I want to conclude with this special remark (the rest of the discovery is up to you): These winter-scenes require a particular atmosphere. For this particular winter-scene (these particular chemical components) it is actually essential to paint it during a colder period of time (during the winter). Now, what to read next?: - an article about his works in Beautiful Decay: http://beautifuldecay.com/2015/06/24/lightning-strikes-artist-uses-electricity-create-captivating-portraits/ - Go to his website to see the latest creations: http://www.driesketels.com/ PS: This style of painting is very dangerous (don't try this without the essential knowledge). The methods needed to paint these paintings are protected with patents!

Details & Dimensions

Painting:Watercolor on Other

Original:One-of-a-kind Artwork

Size:19.7 W x 15.7 H x 0.2 D in

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Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

When I create a series of artworks I ask myself often the following question: “What would the art world, two centuries ago, have thought about this particular series?” Whenever the answer to that question is “They would surely love it.” I know I’m doing something wrong, that it's not progressive enough and not 22nd century oriented. It is my method to get rid of the ballast. In order to get forward we need to get rid of the ballast that holds us back, things that were very useful in the past but that are now out-dated, not ‘beautiful’ anymore, … is ballast that we need to let go. It’s the good old destruction-construction model, destroying parts of the past in order to build the future out of these ‘old’ building blocks. One of the most important attitudes that helped me in developing 'Abstract Realism' and becoming what I am is the simple act of going left when everybody else is going right. It’s the only way to discover the new and push the boundaries forward. Just like life, this creative process is a balancing act, what do we keep of our past and what do we let go. Watercolor is the medium of the future for painting! I strongly believe this. It’s simply the medium that can blend in most easily with all other fields of humanity (science, economy, etc.). Oh yes, before I forget. I should also implement some of the traditional stuff in a statement with terms like: self-motivation, autodidact, ambition, etc. and perhaps a philosophy difficult enough so you don't have the guts to say I'm wrong and strange enough so you can see that I'm an artist. All of that just to show you that I'm serious with my art. Well, let me put it like this: I'm very serious! The best of luck for all of you,

Artist Recognition

Showed at the The Other Art Fair

Handpicked to show at The Other Art Fair presented by Saatchi Art in London

Artist featured in a collection

Artist featured by Saatchi Art in a collection

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