I have always painted in more than one style, reflecting a broad set of reasons for picking up the brush. These vary from a desire to capture the colour and light of the world around me, to interests in pattern and design, sequences, capturing movement, and occasionally making social comment. This variety of objectives, combined with variation of medium and technique, has created quite an eclectic body of work. I also teach painting, and years of analysing and solving painting problems of students seems to have extended my own interests and capabilities, further encouraging this eclecticism.
These depicted objects have been collected and composed with symbolic importance. They convey a narrative through their symbolism. These works are meant to highlight the fragility and transience of human life, depicting versions of mortality and femininity, as well having emphasis on the emptiness and meaninglessness of worldly possessions.
Klijn’s paintings are emotional and atmospheric, smouldering even, with an underlying sense of danger and darkness, while remarkably retaining a sense of light or shelter – a calm region for his figures and the viewer to inhabit.
Job often alludes to an underlying fear and insecurity ruling his work due to his lack of formal training in painting, but also recognises that this plays to the style and final look of his pieces.
Job states that he “starts his paintings by trying to create a ‘background’, a rough sky, a portrait of ‘weather’ that reflects a mood or sense of moodiness that eventually leads to a more specific idea in what direction to take it”.
“I use as much recycled material as I can and my process involves a lot of adding and subtracting of layers, texture, soil, thinning, scraping, burning, swiping etc, until there is a feeling of emotive ‘rightness’. The result often being a multitude of trial and errors”.
This penchant for brooding turbulence and turmoil as a subject, is in the end, tempered by a residual warmth and richness achieved by the process of the art making. Attentive labour and restoration, building complex layers and beauty.
Sometimes, depending on the works ‘idea’, Job will add a figure.
“I sketch endlessly from collected images that show poses I like to achieve, often mathematically re calculating the proportions of limbs and bodies to marry them together in one final sketch”.
Not all of the ‘moodscapes’ include a human form but most do. Job’s figures exude purposefulness, not seeming overwhelmed in their surrounds. They are clean cut, well dressed, stylish even, clearly comfortable and in control in their environs.
Materials from another past with a promising future!
Exhibition 27th Jan – 19th Feb 2022
I first listened to Mose Allison at the Wellington Public Library. I remember being seemingly transported into his mind.Ironic but without any nasty, lessons on how to live and be. But with no sense of “LOOK, (Look at Me) AT ME. Being washed, clean, without water, without “I have the Answers”. When I get lost , jaded or blue I turn to Mose.
Paul revels in the spontaneity and randomness of everyday life. “Painting for me,” he states, “is the cat’s tail flicking around the corner.”
Happiest in “the heat of battle, overcoming obstacles and challenges – battling on until all the forces that disrupt completion of a painting are overcome”, resulting in something beautiful, but perhaps just as significantly, a byproduct of his experience.
Unencumbered, believing that ‘real art’, does not need a message, Paul creates by arranging lines, shapes, and patterns of words. Underpinning ‘the quirk’, Paul’s work comprises of what appears initially to be a restrained colour palette, but reveals on closer inspection, a myriad of tonal nuances.
More than just a purveyor of the absurd, Paul’s thoughtful use of colour, form and space creates balance and abstraction culminating in the sublime.
‘When art does not know its own name, when it does not have to be anything at all – it is free!’
Exhibition 27th Jan – 19th Feb 2022
‘I got hooked on the ukiyo-e (woodblock prints) style through an exhibition of Ando Hiroshige’s fans at the Victoria & Albert Museum in London – bold flat expressive colours, clean line drawings and stories of another era and culture. I have tried to imagine how Hiroshige (1797-1858) and his contemporary Hokusai may have shown views of modern Wellington, Auckland, Queenstown, Wanaka, and Taranaki if they were alive today’. – Alistair McDonald