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12 x 16 in ($95)
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Forest of the Stars My graphite pencil drawings Het Sterrenbos – 12-09-22 and Clingendael – 31-08-22 belong together. The latter is made on that very day, the first completed today. In the art statement to the Clingendael drawing I mentioned my friend Michelle. We agreed to do some live drawing there. However, she also wanted me to show a spot in Het Sterrenbos (Forest of the Stars) most dear to her. It’s a special section in the estate, consisting of man-sized hedges of rhododendrons. The famous Japanese garden is there and the forest itself is traversed by a star-shape pattern of paths. Hence the name Sterrenbos (radiant star patterns). Mark The actual spot is almost in the middle of the forest and consist of a single thin young tree. Not much to see at first sight. What makes it special is that this tree is planted in memory of her younger brother Mark. Part of his ashes was scattered here. So what’s left of him is in the tree now. Of course that’s the physical. All other remnants are dear memories, embedded in her, her family and friends. I never knew him myself but she told me stories of his talents, creativity and his lust for life. Too bad that the good seems to die so young. No one know why some grow cancer living healthy, while so many others don’t. The answer is blowing in the wind. Pitt Graphite Matt pencil (Faber-Castell) drawing on Hahnenmühle paper (24 x 31 x 0.1 cm) Artist: Corné Akkers
2022
Giclee on Canvas
12 W x 16 H x 1.25 D in
13.75 W x 17.75 H x 1.25 D in
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Black Canvas
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Netherlands
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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