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The Higgs series: It's now happy hour Painting

Rombout Oomen

Netherlands

Painting, Oil on Canvas

Size: 59.1 W x 65 H x 1.2 D in

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About The Artwork

Particles and anti-particles, light and dark form matter. It seems now dark-particles form matter more then non-anti-particles. This series is about the light that comes from within, light that forms, that addicts life to live, to burn and die as one gets too close to the source. I guess painting is all about light, as we constantly are trying to visualize what cannot be seen purely: light. This is quite an odd pursuit, since one uses matter to show just that, which is not matter in its original form. I guess this is also the case in human behavior, at least in my opinion: man is constantly bounded to perceive its reason to live, while it cannot be revealed. As anti-matter. More works of the Higgs Series are in production.

Details & Dimensions

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:59.1 W x 65 H x 1.2 D in

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

The work of Rombout Oomen (Amsterdam, 1975) finds itself on a cutting edge of opposites. The compositions of Oomens paintings seem to be inspired by the period of the Enlighten- ment. But in the performances of its scenes, cool rationalism is the only absentee. The light that shines in his work is flaming and dangerous. The people portrayed entered somewhere in the eighteenth century at Jacques-Louis David’s revolutionary and thrilling environment. Perfumed, well cut and fit, they began celebrating a decent and enlightened ball. In Rombout Oomen’s work, they finish possessed, stuffed and tired without illusions in a bacchanal where they never found the exit. Unhinged in a circus carousel that led them drunk through the night. No reason, love or salvation remains. Only worn out lust and grotesque concepts, which per- haps give moments of thrill and instant happiness – but do not ask for how long. Rombout Oomen likes to paint in series. Such as his Slumberland Manifesto. Often he chooses large formats – wall paintings, factory size cloths in industrial buildings or just one side of a skyscraper – such as his Swan on the A’DAM-tower on the river IJ in Amsterdam. Work who does not hesitate to rather shout out something, though that call is more ambiguous than you think. As the work of Oomen is expressive, but never noisy. If you take the time to study on his euphoric pictures you will discover somewhere in the depth a hushed poignant element. You’re going to suspect that in the darkest corner of his work a Romantic element lays bare. As has been said: the cutting edge of contradictions

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