YOUNG NEW PAINTERS
Opening 14 January 17:00-19:00
Exhibition dates: 14 January – 25 February, 2017
Ornis A. Gallery proudly presents artists Tanja Ritterbex (1985 NL), Janine van Oene (1988 NL), Tamina Amadyar (1989 AF), Jens Einhorn (1980 DE), Koen Doodeman (1987 NL) and Bart Kok (1985 NL).
Tanja Ritterbex certainly succeeds in confronting the viewer with the chaotic overflow of imagery, with which we are confronted everyday, all day. She aims at transforming quasi-familiar features of daily scenes into otherworldly artistic narratives. Do not be fooled by the semi-naïve, almost excessively aesthetic outlook of her work. This standoffish outlook is misleading, for there is always a more profound tale that is being told through the deeper layers of her paint and in the darker backrooms of her colourful sceneries.
Ritterbex lives and works in Berlin, Germany. Institutes of education in which she is being involved include De Ateliers (2014-2015, Amsterdam), Kunstakademie Düsseldorf (2010-2013) and Academie Beeldende Kunst (2002-2006, Maastricht). In 2016, Ritterbex has been awarded the Royal Award for Modern Painting. Recently, her work has been shown in a solo booth at Art Rotterdam 2016 with Ornis A. Gallery, Parkstad Limburgprijs in Schunck, Heerlen (2016), DSM collection, Heerlen (2016), Ornis A. Gallery, Amsterdam (2015), Showroom Mama, Rotterdam (2015), Bonnefantenmuseum Maastricht (2016, 2015, 2013), W139, Amsterdam (2014), and CFA Gallery, Berlin (2014).
During the transition from the HKU to De Ateliers in Amsterdam, Janine van Oene has become more and more focussed on abstracting and conceptualizing her work. An important precondition for this development was a more critical reception of her own work. This also included a more critical reflection on the artistic process itself and on the position of her work in the context of art history Experimenting in and searching for abstraction posed a new challenge: the connection between Van Oene and her work had to be preserved, despite the constantly changing artistic process. This complex challenge forced Van Oene to look for a unification of emotional or symbolic subjects and formal features such as colour, form and movement. Even a (semi) abstract suggesti- on has the ability to recall a specific memory. The work of Van Oene gains its power through the powerful combination and complementation of abstraction and emotional recognition.
Van Oene lives and works in Amsterdam, The Netherlands. Institutes of education in which she is being involved include De Ateliers (2014-2016, Amsterdam) and Hogeschool voor de Kunsten Utrecht (2011-2014). Amongst others, her work has been shown in Potlatch / The Offspring, De Ateliers, 2016 and Art Rotterdam 2016 with Tegenboschvanvreden. Van Oene has been nominated twice in a row for the Royal Award for Modern Painting (2015, 2014). Furthermore, she has been granted the Buning Brongers Prize (2014) and the Mondriaan Fund: Post-academic Development Artistic Practice. Her work is part of many corporate and private collections, amongst which are: DNB Art Collection (NL), KPMG Art Collection (NL) Royal Art Collection (NL), and AMC Art Collection (NL).
In the work of Tamina Amadyar, all sorts of paradoxes are questioned: figuration and abstraction; memory and contemporary reality; oriental and western tradition and concrete representation and geometrical forms. Her memories of spaces provide the artistic base from which she works. Amadyar lives and works in Cologne, Germany. She completed her studies at Kunstakademie Düsseldorf in 2014. In January 2015, her work has been shown in the group exhibition Straight Up at Hooper Projects, Los Angeles. Last year, her work was shown in the solo exhibition EVERY DAMN DAY at Farbvision, Berlin. Upcoming January, her work will be shown in the solo exhibition 10,000 hours at Galerie Guido W. Baudach, Berlin.
“Jens Einhorn has been using a maelstrom of fabrics, chains, strings, plastic bags, sand, and other unconventional materials to evoke a chaotic dynamic of things. Einhorn’s paintings function as hardly readable maps, but maps nonetheless: their composition can be read, trajectories can be followed: yet, it is unclear where they lead.
After studying at the Leipzig Art Academy with Astrid Klein, Einhorn enrolled at the Düsseldorf Art Academy, where he obtained his Meisterschuler with Tal R. Recent solo exhibitions include We Are All We Have, DUVE BERLIN, Berlin, DE, 2015; Electric Eyes, Luce Gallery, Turin, IT, 2015; and Too Much Future, Bruch&Dallas, Cologne, DE, 2015. Einhorn has taken part in group exhibitions at Annarumma Gallery, Naples, IT; COSAR HMT, Düsseldorf, DE; Contemporary Fine Arts Berlin, DE; Museo Nazionale di Capodimonte, Naples, IT; Potemka Contemporary Art, Leipzig DE; C. Rockefeller Center for the Contemporary Arts, Dresden, DE; and Galerie Kleindienst, Leipzig, DE, amongst others. He lives and works in Berlin, DE.” [Credits: DUVE Gallery Berlin]
“Koen Doodeman treats patterns as historically determined givens that evolve continuously, and as autonomous forms, removed from their context. He transports textile patterns, drawn from various sources, to the canvas plane. Here, Doodeman often combines several patterns and creates a new context within the changing medium. Here, he puts the pattern’s evolution on hold. A pattern consists of a cell and its recurrence. It therefore has the potential of endless repetition. Because of repetition in the production process Doodeman can step away from the forms and study them while he is creating them. Moreover, this distance enables him to zoom in on detail and simultaneously use it as reference point for the bigger picture.” [Credits: Rijksakademie van beeldende kunsten, Amsterdam]
Doodeman lives and works in Nijmegen, The Netherlands. Institutes of education in which he is being involved include Rijksakademie van beeldende kunsten (2015-2016, Amsterdam) en Hogeschool voor de Kunsten Utrecht (2005-2009). In 2014-2015, his work was to be seen in the exhibition DRESS ACT (solo show) at PS Projectspace Amsterdam. In 2014, Doodeman was awarded the Royal Award for Modern Painting. His work is part of many collections, amongst which are: KPMG Collection (NL), Collection De Heus-Zomer (NL), and Royal Art Collection (NL).
The paintings of Bart Kok are based on the belief that the concept of painting should always be painting itself. Every sub concept or imagery is subservient to it, but at the same time paint relies on these sub concepts or images to endorse or underline the painterly process. By using different subjects, he wants to question the relevance of the depicted image and how it needs to be painted. Kok considers the act of painting to be a philosophical enterprise where figurative and formal elements are combined to form a complex system. His works are often built up in different layers and touches of paint, each claiming their own place within the canvas. Poetic brushstrokes alternate with filth, absurdity, humour and self and self-mockery. They are put up against each other in a way that contradicts or accentuates. His work is neither figurative nor formal. It is rather exploring the area that lies between abstraction and representation. Artists that inspire him are among others: Roger Raveel, Walter Swennen, Marc Chagall, Raoul De Keyser, Mel Bochner and Jonathan Meese. [Credits: Bart Kok]
Kok lives and works in Antwerp, Belgium. Institutes of education in which he is being involved include Sint Lucas Antwerp (graduated with honours in 2015) and AKV St Joost, Breda (NL). ). In 2015, his work was to be seen in the exhibition IN HET MIDDEN at TAC Contemporary Art Center Eindhoven (NL). In 2016, Kok was awarded the Royal Award for Modern Painting. He is currently participating in MANAMA (research in Art & Design) at St. Lucas Antwerp