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 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!
VIEWING EXPERIENCES, ORIGINATING FROM THE WONDERING ABOUT AN OBSERVATION
I am a Dutch visual artist and art curator. I studied Monumental Arts at the Gerrit Rietveld Academy in Amsterdam and Drawing and Art History first degree at the Amsterdam University of the Arts.
My works are based on an identical grid or are variations on a type, reduced to the essence. Eventually, the artworks do not refer to anything other than itself.
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. 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.
e noho ma ka lua pele / living on a volcano
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 an area where people started building houses on top of a black lava plain for economic reasons. Punatics they are called. They build tight and funny and live self-supporting, off-grid. The series now consists of Pre-Punatics, Punatics and Post-Punatics. The subject leads to new modest reduced work. Eventually, the artworks do not refer to anything other than itself.
“3D Grids”, grids and positioning:
“The mathematical arrangement of our environment within a coordinate system gave man an instrument to conquer the world and expand our power. The greatest power was then in the center from which all lines were drawn and towards the borders she took away. This created a hierarchical space. It seems that dividing is at the basis of all reality itself, both that of man and that of the outside world”.
The underlying idea for all my grid works is individual positioning.
“Some years ago I visited Toscane in Italy during the Summer Holidays. Over there I saw a lot of orange plastic grid fence, used for keeping people from falling into holes in the street. At that time, this product wasn’t used yet in the Netherlands. I was fascinated by it and photographed it many times. At home I didn’t know what to do with it, until a few years later everything fell into place. In the summer of 2019 I had an exhibition with a big 3D Grid 2007, 5,70x120x80 cm, hanging on the wall. I made this big piece years before. While installing it, I saw the many possibilities of this work and I wanted to explore them. So I started a new series”.
The “3D Soft Grids” are a renewed attempt to create a “non-hierarchical” space through a uniform grid.
I make drawings, paintings, three-dimensional work, art installations, work commissioned and exhibitions. I exhibit in the Netherlands and abroad.
Gerda Kruimer, Penséesauvages Dourdan 2018
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