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Buy Untitled 16 05 by Jan Hendriks | Artlimes
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Untitled 16 05

Untitled 16 05, 2016

Jan Hendriks

Paper, art board, acrylic paint on mdf panel

  Original Sculpture, 40 x 40 x 6 cm

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Jan Hendriks Art

About Jan Hendriks

“The work must be constructed totally from pure visual elements. A visual element has no other meaning than itself and therefore the picture has no other meaning than itself” (van Doesburg, plm. 1930)

My work

I work with simple forms (squares, lines) and materials (paper, cardboard, wood, mdf, foam panel) in simple rhythmic compositions. “Simple” means: a straight line, simpler than a plane; a square, simpler than a rectangle. Everything that is not important or redundant, can be left out. There is no colour.

My material is paper, cardboard and acrylic paint.

I prefer to work in a language of minimal elements: a repetition of the same element, sometimes with little shifts, twists or distortions. Sometimes there are more elements, that amplify each other but not confuse and that in that way form a new element. This gives me an enormous freedom and endless possibilities. It is a continuing investigation of what is possible with these minimal means and their shape properties.

The handwriting that takes shape during the process, just exists and can be there.

I force myself in a strictly consequent attitude towards handling these geometrical forms and constructions which have in themselves the rules of measurement, rhythm and relations that in the end dictate the final result.

The term “geometrical-abstract” could therefore be applied to my work. Structures arise, that continue from the edges of the work, but that I only show partially, with no accents, no main issues, no side issues.

Looking at my work.

“Although the work at first sight gives the impression of a geometrical serenity, in the result no cool, automatic work can be seen, but work of patience and attention.”

An attentive visitor of an museum or art gallery looks for a relation with the work , for instance by asking: “What is there to be seen?”, “What do I see?”, “Is there a likeness?”, “Can you see what it is?”.

When looking at my work, the viewer generally asks (me): “What is it made of?” (material) “How is it made?” (technique) and “Why does it look like this?” (composition). If you have found the answers to these questions, you have begun starting to relate with the work.

The eye seeks for support and find this support sometimes in repeating groups of elements. That is one step closer. Often there is no support and your eye keeps wandering over the relief. That is because there are no accents, no spots that ask for more or less attention and that are different than other spots and on which your eye can focus, can rest. This makes you curious and invites you to go closer to the work. The image of “cool, automatic work” disappears, now you can look at the handwriting in the work, beyond the cool and the clean.

For me this is the meditative moment, the moment of recognition. While your eye keeps on wandering over the image and discovers more and more new things, corners, structures, details, your own thoughts and reflections are taking over.

This is, what I think, happens when you look at my work. The emotional part of my work is therefore also a strong part of the experience of looking at my work. In that sense the “objective observation of the reality” of the NUL-movement, with which my work is often associated with, lies far behind me. At the same time, what is to be seen in fact, is no picture of the reality, no reference to one or the other reality, no abstract image (meaning: “result of abstraction”), but an authentic, original new image, apart from meanings or suggestions, with as only meaning: itself.

That is why my work, as I see it, suits best with descriptions used to define Concrete Art.
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