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Nayul Kim approaches painting through the medium of virtual reality. In
VR Kim sculpts objects and space from memory that refer to craftsmen
designs and/or other artists work. These references function mostly as a
starting point that allow her to explore the immaterial world of VR and
focus on differences in medium specificity. Sculpting in VR results not
in a bodily form but works through bodily experience. Transformed into
painting this experience becomes memory and the start of unlimited
remediation. The work of Daniel Hofstede is testament to the idea of the
artist as scavenger, collector, recycler and interpreter. The use of
discarded pillowcases, amateur flea market art and paintings done by his
grandfather are for instance reflective of Hofstede’s desire and ability
to tell stories. Hofstede is a collagist adopting display techniques to
create novel frames of reference. Self made elements interact with found
and repurposed objects holding their own histories. Combined they become
anchored in new narratives. Marc Oosting’s work benefits from the
strategy to deploy artistic decisions made by others. To be free you
have to limit freedom. To decide to limit the responsibility of a lot of
decision making you can be free. Appropriating designs for his paintings
from tiger carpets made by craftsmen hundreds of years ago or embracing
the shape of oak leaves found on his walks, Oosting created a niche for
himself where play and intuition can thrive.
