Accident rather than design Painting by Anne Vincent Dijkstra

Starting february 10, 2021, I'm participating in an online exhibition called "Each.one" at my regular gallery Nasty Alice in Eindhoven. From september 10 to 27, 2020 my work will be part of the 5th edition of "Appél", a collaboration between six galleries from Noord-Brabant held at the Werkwarenhuis in Den Bosch, The Netherlands. Untill march 8, 2020, a solo exhibition of my work entitles "The blue room" was held at gallery Nasty Alice in Eindhoven, The Netherlands. A few years ago Iwas honoured with a grant from the Pollock-Krasner Foundation in New York! (http://pkf.org/grantees/#pk-recipients) "Because of the exceptional quality of your work and the extent of your artistic achievements"; as they put in the grant letter. I am very proud to have been selected by this renowned institution. -------------------------------------------------------------------- I am working as a professional artist since 1991. I've 'participated in many exhibitions over the years, mainly in Holland. For some years now I am creating paintings that are painted by using graduations of only one color: Prussian blue (mixed with titanium white). Based on these two I make all the tones from deep dark blue to almost white. This self-imposed restriction is aimed at the coherence of different shapes within a painting and also to give the work a less anecdotal and more monumental character. Within this limitation of color I paint a baroque profusion of spots on the canvas, that take on the form of collapsed houses, aircraft wrecks, radiographs, etc. My idea when painting is to proceed slowly and controlled, leaving a clear trace of paint that looks like congealed matter. The line that runs from one to the other painting is an interest in the cohesion of matter on any scale For my work I use pictures that I project and trace with a pencil on canvas. This results to no more than signs, because line and spaciousness are two incompatible quantities. After this initial setup, I work out forms, starting with the clearest outlines. From one to the next, I fill the canvas with spots of different brightness. The often extremely vague light-dark transitions are at odds with the actual tone of the paint that seeks clear outlines. Although I use photos, I do not consider myself to be a photo realist, because I am much more interested in the chaos of abstract shapes that impose themselves and that I translate as paint stains that (first of all) refer to nothing but themselves.