Art by

Dikker & Thijs

In the Dikker & Thijs Art Gallery has put changing exhibitions of photographs and paintings on show.

Alicja Nowicz
A trip of mind: pen drawn compositions of intermingling creatures, little monsters, ground faces, strolling heads and cups

Hotels are remarkable spaces in postmodern tourism and travel. They are inevitably connected to mobility and are considered liminal spaces where out-of everyday life occurrences may take place. Whereas hotels are physical spaces- temporal stops during a travel- we can also talk about mental spaces-  states of mind which allow artists for creating in certain ways. How to let a head “travel” and how different states of mind may affect artistic production has been a question of many artists. For instance Stanislaw Witkacy Witkiewicz - a Polish artist, writer and philosopher creating in the interwar period - was one of the first ones to experiment with various psychoactive substances in order to see their effect on the process of drawing portraits. However, I have a special liking for his pencil drawings done in a “sober” state of mind which represent fictional creatures interlacing with each other, usually at a backdrop of a simplified landscape. Although little is known about the setting in which he made them, they seem to be drawn in “his free time” during breaks between making of his “serious” art.

When I was asked to develop a set of drawings for the Dikker & Thijs Fenice hotel, I set out to find a right state of mind for creating the pen compositions of of intermingling creatures, monsters and undefined objects, which before I made spontaneously during lectures at art school. It became an interesting journey for me to discover the right circumstances in which my mind could drift freely, without much control, to be able to make those loose drawings. I tried working at a desk in my studio which didn’t work out - having too much concentration, the drawings became too controlled. I attended to shift my focus and started to draw when watching films. However, later I discovered, that for making right drawings I not only needed to have my focus somewhere else, but also I had to be among people- it finally worked out as I went to draw in public spaces eavesdropping discussions, attending public lectures or meeting friends. This became a way to set my mind on a “mental trip” and let my hand engage in a creation of  irrational compositions.

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Anne Mathen
Willem Elsschot-series

Anne Mathen was born om the 14th of February 1959 in Diest, but she was brought up in Germany. She studied law at the Université Libre in Brussels and lives and paints since 1986 in Schoten. Anne Mathen has an atelier, where she works surrounded by many visitors. This according her saying: being away without leaving everyone behind.

In 2011 Anne Mathen produced a serie of paintings on the paper of the books written by the Flamish writer Willem Elsschot. The paper can still be seen as backgroud and in this way she shows the work of Elsschot comes to us in words and images.

The complete Willem Elsschot-serie can be seen at her website.

Annelies Damen
‘The Indies were our paradise’

Photographer Annelies Damen created her latest photo series during her trip to Indonesia in October last year. She travelled throughout Java and Bali to visit places where her grandmother lived, worked and spend her holidays. The photo series of Annelies Damen consists partly of a poetic travel story in 31 images and partly of double images, in which old portraits are combined with the contempary landscape. The series were exhibited in the Gorcums Museum.

Annelies: My Grandmother Riek came from the Dutch East Indies. She was always telling stories about her former paradise: with the smells, the tastes and the flowers. About fifteen years ago Grandma started talking about the difficult times she had experienced in the Indies: the World War II and later the Japanese prison camp. She spoke of the happiness she felt when she found out her husband was still alive and how they found each other again in Bangkok.

Then came the difficult years when the Indo-Dutch people (people of mixed descent with Dutch citizinship) were forced to leave the Republic of Indonesia.To me my grandmother was an original, strong and inspiring woman. She travelled with my family around the world until the age of 95. She loved to read many books, knew exactly what was going on in the world and was always very interested in my whereabouts and projects. In April 2010 my Grandma passed away at the age of 96. In October 2010 I travelled for a month through Java and Bali to visit all the places that were important in my Grandma’s life. I wanted to smell the scents and see the colours she always talked about. With my camera I made a visual story with my grandmother Riek as my sole inspiration. In my thoughts she travelled with me.

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Baukje Spaltro
La Dolce Vita

Het werk van Baukje Spaltro toont haar bewondering voor het Toscaanse landschap. Ze schildert panorama’s vol zinderende kleuren als gekleurde abstractie van de eigen waargenomen werkelijkheid, vertolkt door figuratie waarin kleur de identiteit en bezieling in het beeld bepaalt.

Baukje Spaltro exposeert in binnen- en buitenland bij galerieën en musea. Haar werk is opgenomen bij kunstinstellingen en bedrijfscollecties.

  • Baukje Spaltro (Milaan, Italië, 1967) woont en werkt in Amsterdam

  • Opleiding - PostHBO cursus Hogeschool Amsterdam Project Management (Amsterdam 2002)

  • Masterclass schilderen Academia Belle Arti di Brera, prof. F. Breschi (Milano (I) 1997)

  • Cursus ‘Kunstmarkt verkennen’ (Amsterdam 1995)

  • Masterclass schilderen Phil Bloom en Jurriaan van Hall (Amsterdam 1993-1994)

  • Cursus ‘Kunst is ondernemen, ondernemen is ‘n Kunst’ (Amsterdam 1991)

  • Hogeschool voor de Kunsten Utrecht, Theatervormgeving + Schilderen (Utrecht 1986-1990


'Ik streef naar een dichterlijke balans tussen figuratie en abstractie, kleur, voor- en achtergrond. Ik bezin me op kleur en vorm zonder de figuratieve schildersstijl te verloochenen. Het schildersdoek is voor mij een imaginaire ruimte. Een tijdloze plek die berust op herinnering en verlangen. Met een gelaagdheid die refereert aan heden en verleden. Mijn kleurkeuze is het belangrijkste aspect. Zo, dat de kleuren niet te harmonieus of te contrasterend zijn. Ze vloeken nét niet, maar reageren trillend op elkaar. Deze trilling is voor mij die zacht waarneembare fluistering tussen heden en verleden.´


´Ik gebruik een door mijzelf ontwikkelde schildertechniek. Ik begin met het verleden, een fel fluorescerende onderlaag (acryl). Hierop breng ik een schets aan (houtskool, grafiet, wasco, viltstiften e.d.). Daarna schilder ik met olieverf elke dag een klein stukje van de voorgrond. In het begin zijn de oliekleuren grijs, dat komt door het contrast met de fluorescerende ondergrond. Ik ga door tot dat punt, waarop ik een evenwicht tussen voor- en achtergrond bereik. Hoeveel van de achtergrond hou ik zichtbaar? De beginschets treedt steeds meer op de voorgrond. Het verleden lijkt ver weg en onbelangrijk, maar is de basis voor de ontwikkeling van heden en toekomst.´

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Bob van Blommestein
Connecting art with gastronomy

“Bob van Blommestein is a sublime aquarellist with an uncanny eye for detail. His perfect treatment of textures recalls the work of the renowned Flemish masters. His still lives with foodstuffs are truly delectable”. – Erik Hermida, General Manager KunstRAI and Onderneming en Kunst."


​Bob van Blommestein presents an overview of the watercolours he has painted in the past 20 years. He started drawing at an early age and later on worked in oil, watercolour and pencil. Since 1994 he has mainly painted still lives in watercolour in which he delicately places fruit, fish, shellfish and crustaceans in an intriguing light. Bob van Blommestein (1943) studied at the Koninklijke Academie van Beeldende Kunsten in The Hague and at the Rietveld Academie in Amsterdam. He has taught drawing and the history of art at the Barlaeus Lyceum in Amsterdam and was a visiting lecturer at the KVBK.

Bob van Blommestein has illustrated cookbooks – a.o. Exotisch koken met Hugh Jans – and provided illustrations for Avenue and Bijenkorfmagazines. He has also illustrated literary works of J.H. Leopold and Louis Couperus and the translated sonnets of Michelangelo for Sub Signo Libelli publishers and has made watercolours for ships of the Holland America Line. In the past few years he has dedicated himself mainly to painting remarkably detailed watercolours.


With refined brushwork he lets perishable foodstuffs challenge the imagination. He makes food and culinary attributes move: lemons dance, fish fly, chilli peppers lift themselves up and pomegranates burst open. He carefully places his subjects, gives them light and relief, fashioned in chiaroscuro. The Dutch classicist and art critic David Rijser calls Van Blommestein a postmodern hedonist. He transforms the symbolism of past artists into a contemporary and highly personal perspective; drawing inspiration from Antiquity and the many countries he has visited.

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Caroline Bijl

Caroline Bijl (1960) lives and works in Amsterdam.

  • 2012 April Marseille, Masterclass Editing Christian Caujoll

  • 2008-2011 Photo Academy Amsterdam – autonomous, portrait

  • 2010 July Lyon, Masterclass Richard Dumas.

  • 2009 December Marseille, Masterclass Klavdij Sluban.

Caroline Bijl’s photos are poetic evocations that tend to suggest more than they show. They depict fragments of an imagined or fractured reality. Whether in black and white or in colour, they capture everyday things or situations that she simply encounters, seeks out or creates. Her pictures invite the viewer to dream, to muse, to remember. Caroline Bijl’s pictures are the result of a radically intuitive process that is often provoked by the absence of the other. Her work conveys a keen sense of longing and loss, desire and solitude.

Pinhole photograph’s

These photographs were made with a small wooden box that has a tiny pinhole in it. Inside the box is a roll of film. During shutter time, the pinhole opens and the film is exposed to the light. This technique is essentially the same as the camera obscura. As there is no lense, photographs cannot be framed with great precision. There is no depth of field either, which is why everything looks equally (un)focused. Due to the minimal size of the pinhole, shutter time may run up to several minutes. Hence the frequent use of a tripod. Sometimes Caroline uses the extended shutter time to make ‘transparant’ pictures, as, for example, in the series entitled “Je n’ai que de vagues souvenirs”. The same technique allows her to superimpose one photograph upon another, as she did in her series about Vondelpark remembrances.


In her studio at the Prinsengracht in the center of Amsterdam, Caroline also makes commissioned portraits, using the light of the old masters such as Rembrandt and Vermeer, or the ‘available light’ that streams through the tall windows.


This year Caroline started a new project called Winterreise (working title) – a series of pictures inspired by Franz Schubert’s Lieder. This series also draws on paintings by Caspar David Friedrich.
“Mountains are so huge and overwhelming,” Caroline says, “that they make me feel tiny and insignificant but in a consoling way. There is something very comforting about these huge masses of mountains. They put things in perspective.” These photos are made with a large format pinhole camera, a technique that requires utter concentration. It is essential first to observe very carefully, and then to decide intuitively which shot to make.

At the occasion of the 150th anniversary of the Vondelpark Caroline invited four other photographers to take pictures of the park. They called themselves the Lucifer Collective and chose as a theme History and Memory – representations of collective and/or personal memories of Amsterdam’s most popular park. She also invited five authors – among them Anna Enquist and K. Schippers – to write some sort of literary comment or reflection upon these photo’s. The project ended with a huge outdoor exhibition of 50 photo’s scattered all over the park, and with a book entitled You, Now! 150 Years Vondelpark, containing (among other things) these five authors’ contributions. As much as I need to remember, I need to be able to forget, an autonomous rendering of personal remembrances of the Vondel park.


“Portraits of my daughter Isa wearing my mother’s clothes.” In October 2011 Caroline Bijl’s mother passed away. Having to sort out her mother’s personal belongings was a particularly intense experience. More than anything else it was her mother’s clothes that provoked strong memories and emotions. This is what made Caroline decide to make a series of photos of her daughter Isa wearing Caroline’s mother’s clothes.


Artists: Frans te Spenke and Diane Zeegers.

Diane Zeegers (1958) studied at the Charles Montaigne Fashion academy in Amsterdam. Frans te Spenke (1949) obtained his certificate in the discipline drawing in 1978. Amongst others he was teaching on schools in Amsterdam and Amstelveen.

Last couple of years Frans and Diane are often working together and signing their paintings with DAFAZ. Their work is named and inspired by famous orchestral works.


Click here for more information and for an impression of the work of DAFAZ.

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Fieke van Dieren

In 2009 Fieke van Dieren graduated from the Royal Academy of Art in The Hague in graphic design.

Fieke combines (studio) photography with graphic techniques, such as charcoal, collage and illustration. By manually, as well as digitally, composing images, new and often alienating images are called into exsistence.


The images are not meant to be understood in a single glance, but they allow the viewer to participate in the discovery of the story behind it. In the often mysterious images, each detail can give birth to a new story. Solid themes or topics are not departure points for Fieke. The images arise from a feeling or atmosphere, where an element can provide the platform for the emergence of a new reality.

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Fernando Nocco
‘Seæ Inside – New Age Flowers’

Fernando Nocco Fernando Nocco was born in Lecce, Italy, in 1965 and grew up in several areas in Italy between the Alps and the sea of Salento, where his love for nature turned into a passion for photography. In the eighties he studied photography at the IED in Rome, where he developed his skills with large format cameras. He was the assistant of the portrait photographer Giovanni Canitano in Rome, and later he established his own photographic studio in L’Aquila, dedicating his work mainly to architecture and interior design. After a long period of working as a professional freelance photographer in Italy, Fernando followed his fascination for the northern European lights, bringing him first to settle in Amsterdam (1997). He then became especially fascinated by Iceland and captured the beauty of her nature and strong contrasts (2001-2007). There he became aware of the fragility of wild nature in the hands of human beings. Nocco’s experiences in Iceland catalyzed into a strong consciousness about water issues.

Fernando Nocco: ‘Water is dead.’ That sounds like a joke: here we have clean water coming out of our taps 24 hours a day, 7 days a week. Worldwide, the question really is: how long does water still have? ‘Water is life.’ Don’t close your eyes! Also here, it won’t take long before that will be the joke. The sea was the womb for life on our planet. We still carry that sea within us, we consist of water.

With this serie I reminisce the still lifes of the old Dutch masters, who used strong compositions of colourful flowers, light and symbols to refer to life and death – I would like to invite you to turn your look inside, to see inside, and reflect on the importance that water should have in our time.

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Hanea Wilke
'Listing to Port (maybe tomorrow)'

In travel we enter the space of the in between, the unknown, and we give way to our desire for that other place, person, thing – the not-now, the not-here. While making Listing to port (maybe tomorrow), I thought of the hotel, of travel, of ships passing through waters, of aeroplanes, and islands: but also the object towards which we travel/that which we pine for: of bodies (islands) that are eternally out of reach.  A ship that lists to one side inevitably veers off course. 

In travel we enter the space of the in between, the unknown, and we give way to our desire for that other place, person, thing – the not-now, the not-here. While making Listing to port (maybe tomorrow), I thought of the hotel, of travel, of ships passing through waters, of aeroplanes, and islands: but also the object towards which we travel/that which we pine for: of bodies (islands) that are eternally out of reach.  A ship that lists to one side inevitably veers off course. 

Thoughts on the nature of desire are woven throughout my work. Inherent within desire is absence. And the absentee is never concrete: in fact, it inhabits a fog. The state of desiring opens an abyss of the unknown into which we gladly immerse ourselves. By remaining in between the functional, the non functional and teetering constantly on the edge of meaning, my work outlines that absent body, figure, place, without ever completely delineating its form.

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Jenny Lindblom
‘Untitled (Very peasant [sic!] stay)’

In approach as much as in the resulting aesthetics, the practice of Jenny Lindblom reflects an interest in contemporary image culture. Her works are equally influenced by the filtered realities in the canon of Instagram, as by the aestheticized ones framed in art history. She lets visual motifs of commercial and non-commercial sources merge, and timely references suggest eternal questions. In works exploring notions such as happiness, success and ‘the good life’ the serious and existential is never far from banal humour. Lindblom looks at the images that surround us: at how they affect our perceptions, habits and ideals, at how we express and expose ourselves in the economy of likes and attention that has made ‘personal branding’ and ‘impression management’ strategies relevant in increasingly private spheres.

The work at Dikker & Thijs hotel shows a towel origami swan in front of a window blind – both elements that re-occur in different forms and materials in Lindblom’s on-going series ’Very peasant [sic!] stay’ (2013–). The title of the series originates from a spelling mistake found on the travel review website TripAdvisor, and connects with the issues of class addressed throughout the series. Departing from images of travels as well as the traveling of images, the focus is on our worldly and spiritual needs; the social and the private; success and failure; self-fulfilment and frustration.

Jenny Lindblom, born 1981 in Eskilstuna (SE), studied at Gerrit Rietveld Academie and Sandberg Instituut in Amsterdam. She has recently completed residencies and solo exhibitions at Künstlerhaus Bethanien (DE) and CCA Andratx (ES). She has also had solo exhibitions at Galerie van Gelder (NL) and Eskilstuna konstmuseum (SE), and been included in group exhibitions at Bonniers konsthall (SE), Museum SCHUNCK (NL) and Jan van Eyck akademie (NL). In 2015 she was awarded the High Coast grant (SE), and she in 2010 received the Koninklijke prijs voor vrije schilderkunst, the Royal Dutch painting prize. In 2016 she will be working as artist in residence at Iaspis, Stockholm, Nida Art Colony (LT) and NK Dale (NO).

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Jina Lee’s unique work was exhibited with success in Korea. She than set her sights on broadening her exposure. For more than eight years now, Jina has lived and painted throughout China, traveling as far as the Xinjiang province in the Northwest. Jina likes birds, which are found in each work she creates, whether as obvious figures in the foreground or as subtle sweeping lines behind the central figure(s). The avian motif represents Jina as an individual, as well as linking earthly life to less tangible realities, and to another common theme, that of dreaming. The power of dreams is represented by circular clouds swirling through the lives of the subject, who often stands with eyes closed. This dream may be a fantasy, a wish for the future, or a road to destiny. Daisies often grow at the feet of Jina’s subjects, showing personal strength and the power to overcome difficult challenges. Finally, the theme of Family is perhaps the most obvious throughout her works, with many of her paintings including her real-life parents and loved ones. These pieces emanate great warmth and show the tender link between parents and children.

Her work encompasses a dynamic relationship between subtlety and passion, as well as simplicity and boldness, and bears a strong heritage of the traditions of Korean watercolor and ‘Chae saek hua (a painting style using rich colors made from stone powder). Combining these with a deep understanding of early European Renaissance portraits, and the Gongbi style of Chinese water-ink painting, Jina has brought new depth and dimension to such themes as love, longing, and loss; and to family, nature, and soul. Jina’s creations are an intimate mixture of the love and vision in her life, and of naturally vibrant, hand-made pigments. She spreads her story vividly and richly over multi-layered “Hanji” paper.

More information

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Justyna Grzebieniowska

My creative path consists of cycles of works which create a picture of my quest in painting. One could say quoting Basho’s words that this path is more of 'a process of discovery rather than a process of creation'

In the rhythm of African drums, of flamenco heel tapping, of the Argentinian tango, of waving dresses of dervishes, my new paintings are being created. Following the development of the dance, from tribal dances to modern dances, I got inspired to travel into the world of different epochs and to experience dance from all over the world. Here I come to my small discovery – creating my own choreographies on the canvas, which are inspired by various dance styles. Figure in motion, the dance has been my great inspiration for a long time. I devote my new cycle mostly to my deepest dreams; to myself and mainly to human being and to my love for dance. I wish to move choreography ascribed to the field of dance to the world of painting, to turn the stage into the canvas which could change me into the choreographer in the painting. This is due to a combination of my biggest passions: expressing myself in the painting and in the dance.

In my new works I try to change the dance of the figures into the rhythm of forms in the space. Space becomes an important part of the painting. It seems to penetrate the form of the figure, which by emerging or disappearing from the space, creates the total integrity with it. Background is no more stable, we get the impression that it is seen from dancer’s position ; it seems to wave, swirl and cut the composition, which guarantees bigger dynamism. Using texture, line, colour, light, form and composition I create my painting choreographies, in which I want to highlight the rhythm and movement as the main components of the painting.

Rhythm, which is record of movement in time, in my painting is a rhythmical cutting of its structure. The line, which is often stretched like a string, sounds, pulsates with its light, it is sometimes quivering, uneven and ragged, it vibrates with uneven sound, it sometimes is audible like a trill, flickers sometimes a short staccato, sometimes loud and distinctive, to produce forte, in some parts of the painting, however, it is scratched down sorely to the lively whitness of the canvas or it is simply a throughout hole – a scream of space.

Justyna Grzebieniowska


Bio Justyna Grzebienioswka

Justyna Grzebieniowska is from Toru? in Poland. Dance is the theme of her work. She paints all kinds of dances, but especially tribal dances that originated in Africa and later spread out over the world.

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Mario Loprete

Mario Loprete (1968), Catanzaro Italië, studied art history and is autodidact when it comes to his paintings. He works thoroughly and uses differrent techniques when paintings landscapes, while seeing the great masters of the 19th and 20th century as an example. By doing so he puts himself in the tradition of Italian landscapists.

His naturalistic and realistic way of painting reveals sun-drenched sceneries, crumbled yellow and white walls, weatherbeaten old doors, clothes hanging to dry and houses hidden in the woods. 

His brush is light and spontaneous, free, loose and soaked in light. The monochrome colours and the bright light are structural elements in all of his paintings.

For his last series BLACK he made impressive portraits of dansers, musicians and hiphoppers. "I  feel tremendously attracted to these group of people, often dark coloured and mostly living in difficul and marginal circumstances. For me it is a challenge to paint them."

If you want to order a portrait by Mario Loprete, please contact Janny Nijhof.

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Marte Haverkamp

Ze blijven maar komen; gedachten. Onaangekondigd en ongevraagd. Ze tuimelen over elkaar, door elkaar en soms zelfs in elkaar. Volgens F. Scott Fitzgerald was het vermogen om tegelijkertijd twee tegenovergestelde gedachten te hebben een test van de intelligentie. Net als bij gedachten komen in een collage meerdere beelden, meerdere werelden bij elkaar. Deze werelden botsen, overlappen, ontwapenen en versterken elkaar en vormen samen een origineel geheel.

In Dikker en Thijs Art Gallery toont Marte Haverkamp een aantal collages uit de serie ‘Hoofd Stroom’ een serie van 100 collages. Daarnaast toont zij de eerste beelden uit een nieuwe serie. Op het eerste oog lijken zij hetzelfde maar door het uitvergroten van haar eigen motieven ontstaan weer nieuwe krachtige werken.

De zorgvuldig samengestelde kleurvlakken die, net als de oorspronkelijke beelden, zijn gescheurd en gesneden uit verschillende tijdschriften maken het werk gelaagder. Dit spel met kleur en vorm maakt dat de nieuwe collages van Marte Haverkamp nog eigener zijn. Kijk je vluchtig, dan lijkt het herkenbaar. Kijk iets langer en je wordt meegenomen naar een ongewone, originele wereld. Marte Haverkamp studeerde in 2010 af aan de Hogeschool voor de Kunsten Utrecht en startte vrijwel meteen Studio Marte. Een kleine design studio die

in opdracht producten kan ontwerpen. Maar vooral een eigen wereld schept.

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Maurice van Es
‘Waterfall sounds'

What I like most when I'm in a hotel is the beginning and the end. The beginning, the moment just after opening the door, refers to the expectations of all the new possibilities of this temporary stay at a new place. The end, the last look into the room before you close the door, confronts you with all the time that has now passed. From these points I feel the space between, the memories of the actual stay, the most intense.

The work Waterfall sounds shows the beginning and the end of dropping water seen in a waterfall. It tries to emphasize the impossibility of photography because there is no visible movement and no sound.

The work Waterfall sounds is part of the series Photography.

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When we talk about ‘being a passenger; finding yourself in a different place’, then I see that as exactly what everyone is constantly doing. Even someone sitting on the couch at home travels almost two thousand kilometres per hour around the axis of the earth; let alone of all the kilometres the earth travels in its orbit around the sun and the kilometres our solar system flies around the centre of the Milky Way, and so on, and so on.


‘Being on a journey’ is in this way not a defined term with a beginning and an end. However, most people experience a vacation or a stay in a hotel like this. It is an opportunity to wake up and to get more receptive to what is in them or around them.These defined, seemingly contrasting concepts – such as beginning and end, surface and depth, coverage and emptiness – I want to let merge with each other to experience that they are one. The material herein is leading and determines which image exactly arises and thus will be seen.

By letting white latex seep through a jute fabric with a large mesh size, a specific composition is formed on the back of the fabric that reminds me of something that is organic yet at the same time artificial. When the latex dries, the woven structure of the fabric is still visible on this backside. The squares of the woven structure are, in an organic pattern, partially filled with white paint and partially left open. The squares of the fabric become as it were pixels. After stretching this side of the fabric I paint some pixels with lacquer in the colours red, green and blue. The brain then constructs shapes of these pixels. This creates forms that have dynamics in them. The viewer is tempted to see a representation in the image, such as different lands or ground surfaces that flow past.

The making of an image with pixels relates to the world of computer games. A parallel world whose existence we feel, but where we will never fully arrive as long as we are alive on earth.

Gersbach Forrer

Born in New jersey, one of four children of Swiss/American parents. Childhood in Palo Alto in the Bay area of San Francisco; at the age of 10, the family moves to Switzerland. Since the early teens, creation and several exhibitions of jewellery, “sculptures to wear”. Evolution towards work with Chinese inks, later oil and acrylic on canvas. Since age 15, privileged contact with the artist-painter Raymond Perrenoud, his teaching and wisdom. Qualified MD (Lausanne and Zürich), specialized in medical genetics. Work in hospital clinics (Bern and Geneva Universities) in the field of genetic diseases, often severe, often inherited, with very limited therapeutic possibilities at the present time despite human genome sequencing and considerable progress in molecular biology. A field where human values and ethical dilemmas are a daily topic, the “technically possible” is not necessarily the right human choice for everyone.

For many years, art was for few, almost stolen moments, life was so full, mother, partner, an intense job, fascinating, full of meaning, a family, friends, traveling, a happy life, privileged, overflowing, with a hidden constant, often peaceful and beneficial, sometimes intense, sometimes a kind of internal emergency, a river looking for its sea. Then illness, providing even more love for life and also its share of mystery.

After a long sickness leave, and confronted with the impossibility to continue in such an intense job, the obvious stands out, the other passion, creativity. Almost immediately, oil on canvas takes over all the healthy days. Another world, but one where what one has become vibrates, underlies inspiration, brings sharper awareness of the world inside, a sounding board where echo the world, impressions, questions, concepts, and also emotions, dreams, revolt, colours and shapes … an internal world that wants to be born and reach out to others. The river has found its sea. The priority seems always the same, feeling alive and celebrating life, interact, love, look out for a better world … and if not finding perfect wisdom, to come in time to perceive and surrender to the greater mystery!

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van den Akker
'La Dolce Vita'

In het werk van Peter van den Akker staat het mensbeeld centraal; niet als individu maar als universele gestalte, waarin verhoudingen tussen mensen, mens en natuur, veranderende wereldculturen, technieken en communicatie verbeeld worden. In Italië worden zijn donkere mensfiguren lichter en kleurrijker, de magie van kleur. Groen en bladmotieven staan voor natuur.

Van den Akker exposeert in binnen- en buitenland bij galerieën en musea. Zijn werk is opgenomen bij kunstinstellingen en bedrijfscollecties.


'In mijn werk staat het mensbeeld centraal; niet als individu maar als universele gestalte, waarbij ik op transparante wijze tijdsbeelden en gelaagdheid in menselijke handelen naar voren breng. Zoals verhoudingen tussen mensen, verschuivingen in wereldculturen, veranderingen in techniek, architectuur, natuur. Dit in relatie tot het veranderend mensbeeld.' 'Inspiratiebronnen hiervoor zijn naast muziek, dans, literatuur, mijn reizen naar andere landen waarin ik onderzoek hoe mensen zich bewegen in ruimte en tijd, zowel letterlijk als figuurlijk.'


'Mijn werkwijze omvat vele technieken in verschillende materialen: schilderijen, gemengde technieken op papier/collages, zeefdrukken, beelden in cortenstaal, keramische objecten.'


Peter van den Akker, geboren in Amsterdam - 1949 
Kunstacademie H.K.U. Utrecht - 1965/1970 - Avondopleiding
Kunstacademie H.K.U. Utrecht - 1975/1978 - Dagopleiding

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Arps Gallery toont in Dikker & Thijs Art Gallery het werk van Ryuji Taira. Taira studeerde fotografie en werkte als commercieel fotograaf in Japan. Tevens was hij camera assistent in Tokyo. Taira specialiseerde zich in platina afdrukken op handgemaakt Japans papier. Zijn werk is onderdeel van diverse musea collecties, zoals het Museum of Photographic Arts in San Diego, Bibliotheque Nationale in Parijs, het Santa Barbara Museum of Art e.a. Zijn werk wordt nu voor het eerst tentoongesteld in Europa!

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Binnen Oosterse filosofieën is het idee van reïncarnatie een centraal punt van hun levensvisie. In hun beleving reist de ziel of geest van een persoon van leven naar leven en van lichaam naar lichaam. Steeds bouwend aan een nieuwe vorm vanuit eenzelfde basis. Aangezien het werk “Denkend aan Geesten” is bedoeld als een werk voor reizigers, leek het me gepast om deze reis van de ziel te gebruiken als bron van inspiratie voor het werk.


Het werk is  opgebouwd uit weer symbolen met eenzelfde onderliggende compositievan twee gespiegelde driehoeken. Het getekende symbool lekt in stilte zijn kleuren in het fysieke symbool. De beweging herhaalt zich in de houten vorm waarbij het bovenste gedeelte een lijn vormt en het onderste gedeelte een ontvangende vorm. Ik maakte het werk als een herinnering voor de reiziger die zich verplaatst van locatie naar locatie.In de hoop dat hij een moment kan stil staan en zichzelf kan reflecteren op de symbolen van het werk.

'Denkend aan geesten'

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