COPTIC Sculpture

aims to deceive reality by joining contradictions. This is a constant factor in her work: ' what you see is a starting point for contemplation.' Eveline van de Griend studies human identification. Her creations display a symbiosis of Cultures combined with her own Dutch cultural heritage, symbolism and the mundane reality of today's world, inspired by people or events. As she was born in The Netherlands and raised in Africa, England and Russia, Van de Griend is acquainted with the concept of contrast, cultural differences and confrontations. As a result, She questions modern day topics and issues and translates them into art with a unique sense of intimacy. Van de Griend is one in a kind when it comes to skills she knows her techniques. She has that unique ability to jumps from different media, which makes her work a pleasure to follow. She keeps reinventing herself, and that is what makes her work stand out. "˜The greatest insult is to be ignored.' She realised that in Dutch art History of the Golden Age the main focus was on white people. The 'denial' of black people in the Dutch paintings at that time, made her aware of her own History. This became the starting point of a series portraits of African/ Afro American representatives of the Hip-hop scene and African Kings and Queens. She plays with historical time-lines inspired by Dutch painters of the Golden age and invented her own and named it "˜History Shall Be Kind Me'. Inspired by a quote of Sir Winston Churchill ( British politician 1874 - 1965) In the monochrome paintings of "History Shall Be Kind To Me... " Haile Selassie is wrapped in the Royal Dutch Coat with symbols of the Dutch and Egyptian lion. And Marcus Garvey, a pioneer in the struggle for civil rights for black people in the United States deserves his new title as Master MG seated on the seat of Abraham Lincoln. The works arise from removing paint, instead of applying it. She approaches the canvas as a sculpture, color, weight gains meaning as she carefully remove the paint, a process in which the presentation layer by layer to the fabric is withdrawn. Because of the size and color the impact of these works on a photographic view is not always obvious. The manner of presentation is essential. The paintings are not stretched, but hung like a tapestry on the wall.