In this picture the Pope wears a hat that the queen would not hurt. Note the thin chains that keep the flap in place. While drawing I noticed that the Pope has a significant dent in his forehead, because of (most probably) a life-long deep thought.
‘You should not adapt. That’s the advantage of being an artist’, said Ton, who is lecturer at the Royal Art Academy of The Hague. ‘Do your research and let nobody interfere you!’, he continued with words to that effect. Curious about his work, I searched for images and found them at a gallery site. The site says: ‘Ton saws wooden panels in simple, loose parts and puts these together again into a whole piece. Sometimes he cuts in straight lines, often also in graceful curls. The parts are stapled together and the edges sealed. The panels look battered and restored at once. What remains is a drawing of spores in the wood, lines and scars that form a skittish pattern. The complexity of the picture is always tempered by the readability of the act. Simple and rickety structures on first sight seem to appear more lively and sometimes almost frivolous in the play of lines, colors, materials and space after more focused consideration.” Ton told me that his work was shown at three galleries during the recent KunstRAI Art Fair. Ton is a lucky man: he does not adjust to anyone’s opinion and yet established galleries embrace him.
I made a drawing of ‘Close call – not 1 (2012), 56 cm, dd lacquer, acrylic glue, underlayment’.
In the period we painted in the guest studio at the Costa da Morte we kept our shared Euros in this wallet. I’m not sure where it’s from, but the plastic pattern seems to derive from the Moorish culture.