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Fox the Fox - 04-05-22 Painting

Corné Akkers

Netherlands

Painting, Oil on Canvas

Size: 27.6 W x 39.4 H x 0.4 D in

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About The Artwork

An Elaboration of a Screw-up Fox the Fox -04-05-22 is an elaboration of a graphite pencil drawing Nude – 04-10-15 I made years ago. After my last oil painting Wag the Dog – 24-04-22 I thought I’d do another surrealist theme. See if I could do this one in one week and so I did. Sadly enough I kind of destroyed that drawing by overspraying it. At that time I was using acrylic varnish as an alternative for regular charcoal and graphite fixative. The result was that the layer sprayed on top of the drawing soon started to become yellowish. Consequently I never put it up for sale. Redoing this one kept lingering in my mind though. This oil is an attempt to shuffle shame from that uncanny spraying experiment under the carpet. Troubles Were Bound Even though the set-up went swift soon I found myself in trouble. You see, last Saturday 29th April I went to the Prinsenhof at Delft. A friend of mine pointed me to an ongoing exhibition of the works of Bram Bogart. He and Jan Sluijters whom I met a couple of weeks ago in Singer Laren convinced me experiment this time. Like them I would like to apply thicker patches of paint, especially in this one. This could deliver me a solution I was struggling with. The contrast in the upper part of the body is way smoother than the hairy foxy parts. A thicker coat of paint could mask this. So I thought. The result looked like a forced attempt to combine surrealism with expressionism. To me it seemed like a crossover between italian and japanese food. They only taste good on their own.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:27.6 W x 39.4 H x 0.4 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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