Works by Coen Vernooij (sculptures), Els van ‘t Klooster (paintings) and Roos van Dijk (paintings).

During the opening and using sculptures by Coen, the 3 artists will perform a performance together, entitled ‘Three of a Kind’.

Coen Vernooij (1952) shows work that mainly consists of 2 or 3 of the same works, which communicate with each other as if non-verbally. In this way personalises the works and gives them their own face, even though they are identical. Vernooij is doing performances more and more often, in which the work is literally taken in hand, creating a relationship between the work and the artist. He has created a work especially for this exhibition that consists of 5 identical works that visitors can are invited to hang in different ways. In this exhibition the visitor is no longer someone who looks at a fixed composition, but is given an active role in the game of changeability.

Vertical and horizontal lines, and the surfaces formed by them, are fitted within a frame in the paintings of Els van ‘t Klooster (1985) and are in balance with their colors. The whole is clearly constructed and designed. The properties of ‘shape’ and ‘colour’ are in balance, there is both light and space in the works. It is a compelling change of sizes and colors, which together form a ‘fabric’ in which every color and every size has its place. For this exhibition she shows (only) round works on panel. A round shape does not fit into the space, but remains free-standing. In this way, she tries to break the circle with her “straight” compositions, to find rapprochement/connection with the space where the work is located.

In Roos van Dijk’s abstract geometric paintings, the formal and tactile properties of the material play a major role. Characteristics such as materiality, shape, color and scale influence her actions and thoughts during the making process; you could call it a collaboration. A working method that she developed during the master’s program in Art & Design (painting) at the Frank Mohr Institute and a working period in New York by entering into a visual dialogue with found objects with paint and brushes and using other unusual materials as a canvas. In ‘Oblique Light (1 to 6), hard-edge lines and painterly gestures accentuate the surface of the six corduroy canvases. On the one hand, Van Dijk uses the pictorial space of the canvas to create a subtle illusion: a parallel world of recognizable geometric shapes and colors. On the other hand, she emphasizes the flat surface and the materiality of the painting.