GERDA KRUIMER ⎪ ABOUT

 

ARTIST STATEMENT

Various works of Gerda Kruimer based on an identical grid

 

I make drawings as autonomous artworks.

Drawing to me, is a form of visual thinking in which its intrinsic value is the endpoint of each work.

My fascination is the countless lines that make unspoken and unseen connections in the spatial whole.

In response to the created world around me, I determine my place again and again in my works, so that I exist!

 

During my study I was taught in blackboard sketching. As a final test, we had to pick an object to draw it into perspective with white chalk. The viewer should be able to see which format the object had in reality. In my turn the choice of the articles was limited. I chose a small object that turned out, was bought in a store for electrical equipment. I had an object as example but I did not know what it represented. I could not determine the front or backside. The thin lines I made, were partly erased because of the scraping of my nails on the blackboard. A transparent drawing of approximately 50 x 50 cm of an object of 5 x 5 x 5 cm arose. Due to lack of time I did not finish it completely, the teacher felt sorry that it had to be obliterated. I could not make a photograph of it.

In my last year at the Art Academy, I participated in a competition for an assignment. The location was a water-filled ditch of 9 by 90 meters. On the photographs I made of the location, I drew lines on the water between the elements surrounding the ditch. It generated a play of lines on the photos that was broken by the reflection depicted on the water. It resulted in a design for a sculpture of 7 x 70 meters.

Since then I put lines on paper. Preferably with charcoal, graphite pencil or pen and ink and more recently with acrylic pens.

My drawings originate partly as a result of the travels I make.

After a visit to the Mesquita in Cordoba, Spain I created the series, “non-hierarchical space”. This series represents a visualization of infinity through the horizontal architecture of the Mesquita.

During a journey through South America, I observed that many small towns are built in block pattern for strategic considerations. I translated this observation into a “bird’s-eye perspective” in my work. By using axonometry, I could neutralize differences in values. These drawings are boundless, unlimited and placed in the form of the square.

The lines become grids. In the “basic drawings” I place the different grids in superimposed layers. These grids are not measured out exactly as in a calculation script, they are not fixed patterns; everything beyond the edge of the drawing is unknown.

In the series, “Singularities” I abolish the overview but I try to keep the ‘non-hierarchical’. A singularity is, in general, a strangeness: something where the normal rules or laws are no longer valid or no longer can be used.

In “Simulacra”, the lines are just noticeably present. They refer to the occasionally but for a few seconds perceptive images within the constellation of illuminated signs in Times Square in New York, and within the vast landscape of Utah created by sun, clouds and wind.

“Undefined” is a collection of different works which are all partly made by using the computer. While working I photograph the unexpected, to process later on if necessary. Works get meaning because of the way they appear.

After a trip in the summer of 2017 I made new grid drawings in which I changed the system from inside. From these drawings I made small wall objects: variations on a type, reduced to the essence. The title of these small works: “Punatics”, is a reference to a small piece of abstract world in the middle of the Pacific Ocean where people have started to build houses on top of a black lava plains. They do so for economic reasons because the prices of houses there have also tripled. Their houses are not insured on the lava plains. Punatics they are called. They build tight and funny and live alternative and self-supporting.