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Neo Deco – 09-04-24 Drawing

Corné Akkers

Netherlands

Drawing, Pencil on Paper

Size: 8.3 W x 11.7 H x 0 D in

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About The Artwork

Solarised Look This graphite pencil drawing ‘Neo Deco – 09-04-24’ is the first one after a couple of pastel drawings. Seized by my currect oil painting in progress I kept the posting pace going by some live model sketches. Meanwhile I had this piece under way and I didn’t have a clue what to do with it. So each time at Brugman’s where I teach I worked at it, bit by bit. Originally I had something surrealistic in mind. Soon I changed the set-up and decided to opt for yet another solarised look. Actually, my last one ‘Sands Time – 23-03-24’ looks a bit like this one. The thing is that I didn’t want to loose the brilliant shadowy patterns on the model’s body. Some motifs and especially the lighting are great enough to only celebtrate these by a bit artistic enforcement. Willy Zielke The drawing is inspired by a 1930s photo made by Willy Zielke. Lately I have been browsing again online looking for pictures from the art deco era. A couple of pictures one night stood out because of the clean cut lighting he used. Certainly my cup of tea so to speak. My addition to the scene is the aforemention solarization and thick linear contour delineations. My aim was to create contrasts between soft tonal transitions and abrupt ones. I also let the body vaporize into the negative space. You can see that in the left arm, above her right breast and in her leg. This way all contrasts are present. There is light versus dark, soft versus harsh transitions and angular versus roundish. Personally, I like the hair locks the best. They look funny and strange in solarized forms.

Details & Dimensions

Drawing:Pencil on Paper

Original:One-of-a-kind Artwork

Size:8.3 W x 11.7 H x 0 D in

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1969, born in Nijmegen. My work can be seen in many countries all over the world. Corné employs a variety of styles that all have one thing in common: the ever search for the light on phenomena and all the shadows and light planes they block in. His favorites in doing so are oil paint, dry pastel and graphite pencil. He states that it’s not the form or the theme that counts but the way planes of certain tonal quality vary and block in the lights. Colours are relatively unimportant and can take on whatever scheme. It’s the tonal quality that is ever present in his work, creating the illusion of depth and mass on a flat 2d-plane. Corné combines figurative work with the search for abstraction because neither in extremo can provide the desired art statement the public expects from an artist. Besides all that, exaggeration and deviation is the standard and results in a typical use of a strong colour scheme and a hugh tonal bandwith, in order to create art that, when the canvas or paper would be torn into pieces, in essence still would be recognizable.

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