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Tulip vase 'Radijs' in red. Underglaze on earthenware. 12 x 7,5 cm.
Maurice Christo van Meijel
Venray, 1967, currently residing in de Koog (Texel)
(Rob Perrée, September 2016)
For Maurice Christo van Meijel it is a constant challenge to develop the to shape the spatiality of the landscape on paper in a way that reflects reality transcends. Until a few years ago, he did this by absorbing the surrounding landscape and to take it, as it were, to his studio and abstract it there into two planes hitting each other abrasively on what was once the horizon. This created a space that
evoked associations with a theater that has just been abandoned by the actors. In his recent work
begins its abstraction process at a later stage. He now literally cares about nature again then to fragment that figurative representation, to cut it up and by means of a stamp technique as if it were a collage. It is even more so than with his earlier work landscape for Van Meijel a space with which he can play a formalistic game with which he takes on formal challenges, challenges where reality is lost but where the suggestion spatiality is enhanced.
Maurice Christo van Meijel says he is inspired by the landscape, but he has not the need to control, capture and, later on, the landscape that surrounds him on Texel workshop, in a traditional mold. He handles it loosely. The horizon is the starting point. The top and bottom of the work meet there and create tension. They have to put each other under pressure, they have to make the search for balance visible. By applying From a downward drip technique, the skies in various works are a kind of curtains
become. Front curtains. On the one hand, they screen off, but they do not completely deprive the viewer view of the skies. The stretch of sand that extends to the horizon is given the allure of the curtain a stage. The round shapes on the beach, which are undoubtedly derived from in origin
piles of sand, or from shells, lose that original meaning and become like actors on it
theatre. They have no identity, they just have an organic appearance, but they appear to be themselves
to move. As if they visit each other. The whole gives the impression as if it were a lively, surreal
play is staged. Samuel Beckett's minimal theater grudgingly insists
(text Rob Perrée, 2011)