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VELP – Normally ‘Stichting Kunst in het Kerkje’ organizes exhibitions in Kerkje in Velp. Now the foundation presents something special outside the walls of the Church. An outdoor exhibition in a large landscape garden in Escharen on 1.3 hectares with large trees, beautiful corners and open spaces. This exhibition can still be seen on Friday 30 September, Saturday 1 October and Sunday 2 October. All these days from 11.00 to 17.00. The address of the sculpture garden is Heesakkerweg 1 in Escharen. (photo collage: Grave_Brabant)
The exhibition is organized by the curators, who are also sculptors: Fieke de Roij, Jan Herbrink and Jacqueline Hochstenbach. Other participants are Adriaan Seelen, Winfried Scholz, Gerlinde Habekotté, Hugo Galama, Janny Smit and Rene Klunder. Art in the Church thus offers a varied assortment, including stone, wood, textiles, metal and combinations of these. It is mostly abstract work, including installations. And with artists from all over the country.
Adriaan Seelen’s passion for sculpture arose more than 45 years ago, when he carved a statue in stone for the first time. Not at an art academy, you didn’t do that there, but at home during the summer holidays. He had found a piece of limestone and he began to work with it. Without knowledge and with almost no means to tackle the stone. Somewhere in him was the urge to do something permanent. Beat by beat and frame by frame become increasingly clear. He tries to inspire simple material to amaze himself and inspire others.
Wilfried Scholz sees movement as the indispensable basis for his designs. Even his still images, figurative and abstract, are based on movement. His palette of materials used consists of wood, stone, metal and plastic, but also all kinds of materials that he spontaneously picks up from his environment. He also uses analog techniques and electronics. He maintains activities in disciplines such as industrial design, interior design, product design, drawing, architecture and music.
Gerlinde Habekotté enters the space of imagination with her thin, almost mysterious openwork sculptures, from which a cheerful poetic language speaks. She needs monumental sculptures that take up a lot of space and yet are not massive. Sometimes she chooses the installation form and has a lot to do with large spatial projects. She is primarily a blacksmith, but she also goes into other trades. The most characteristic thing about Habekotté is that through transparency (literally and figuratively) she leaves room for spirituality or mystery.
Hugo Galama’s sculptures often deal with doubts, fears, motives, forces and contradictions in people. He develops this into seductive, theatrical fantasies, which he largely materializes in abstract forms. To emphasize the impermanence of the ever-changing reality, he prefers to work with perishable materials such as cardboard and wood. He does not use formal imagery, but mainly looks for images with an expressive character. Through his intuitive play with contrasts, shapes, textures and colours, he hopes to stimulate the viewer’s imagination.
Janny Smit’s work always has a textile basis. Fabric, rope, yarn and wool, also combined with iron, wood or street finds. The sculptures are always organic with human forms and never realistic. The use of fabric, design and color invites you to associate. Humor and a philosophical thought are never far to seek in her work. In her installations, she creates a world with shape, color and volume, where you can move as a person, and you can create your own world as an imaginative observer. As a bonus, there is also a sculpture made by Hugo and Janny together, especially for this exhibition.
René Klunder enjoys the physical work of sculpting. The chisels, the hammer, challenging to shape the stone. Characteristically, his images are usually brutal, brusque edits, architectural and damaged, not an intact whole. There are views, passages, stairs and exits. Perhaps his unconscious motive: always a way out. His ideas for an image often come from worldly events that inspire him and sometimes result in a statement, such as the pandemic we are still in, but also the war in Ukraine. Sculpture and expression continue to fascinate.
Fieke de Roij
Steen continues to inspire and challenge Fieke de Roij for more than 25 years. An ever-new search for images that will fascinate, not impress. Her images are clear and abstract. They arise intuitively by combining shapes and materials. While working, she is constantly looking for simplicity, tension and balance. The traces of the manufacturing process remain visible, often in the structure of the chisel stroke, but also in fracture surfaces or the surface finish. This gives the photos a personal signature. With clear lines and surfaces, De Roij is looking for a powerful form.
Jan Herbrink’s sculpture can actually be traced back to a form of spatial planning. In his work, he is driven by a need for order, calm and regularity. This approach probably has to do with his background in architecture and urban planning. He has a penchant for sculptures in stone, sometimes with a turn to wood. Sculpting in stone is a slow process. It requires a lot of time, patience and persistence and remains exciting until the end. Although Herbrink usually works from a plan drawn up in advance, the final image is almost never the literal elaboration of it. It happens along the way.
With the twisted and twisted forms in the wood and the stone, Jacqueline Hochstenbach tries to show how difficult it is for people to stay standing, how many turns and detours are needed, nothing happens by itself and nothing takes the shortest route. They are not simple curves or squares, but a labyrinth that points up layer by layer! Balancing has been elevated to an art. In her pictures, she tries to show the original form of the material she works with. But she also wants to invite people to look beyond their noses and let themselves be surprised.
For more information: www.kunstinhetkerkje.nl.