Paper king 115×90 oil on canvas

I paint people, their body language and interactions, observing contemporary stories of humanity on the streets of international cities. Combining different nationalities in one uniform painting. Society is a society of that what we create. Social media, metaverse, politicians, convictions. To combine creator and creation in one image, to create action-reaction, to show parallel realities and to wonder about the absurdity. My paintings are a personal interpretation of the world I see around me.


I come from a background in sculpture, photography and film. My fascination with parallel realities and dualistic desires allows for opposing perspectives of society. The illusion and reality interconnecting. I want to express being human within society and I’m exploring to visualize my questions about what this might mean to me. It’s been my experience that being human in today’s society requires continual adjustments and reflections.

In my paintings I want to feel a contemporary experience. Emphasizing a situation of our daily lives. With combining individuals in a compositional rhythm I’m creating an interaction with body-language, leaving an open narrative for everyone to explore individually. I’m inspired by street-art, Asian art, Anthony Gormley and Kara Walker, who both place individuals in context to their environment, time and society.

My artwork is based on my street photography and vice versa. On the street I’m waiting for the right moment to capture a naturally unfolding composition. In my studio I’m creating my compositions. I select, cut and paste people that fascinate me, driven by their physical and emotional expression, and place them together to create a group with diversity and unity.

As a technique I use pencil and black oil paint on canvas. By using paint to draw, the length of the brush hairs determine the character of the line and by combining wet and dry brush, the painting gets a soft charcoal character. I like the development of the painting to be part of the creative expression.


Ik schilder mensen, hun lichaamstaal en interacties, het oberveren van hedendaagse verhalen van de mensheid in de straten van internationale steden. Combinaties van meerdere nationaliteiten in een enkel schilderij. De maatschappij is een maatschappij van wat wij creeeren. Sociale media, metaverse, politiek, overtuigingen. Om de maker en het gemaakte te combineren in een beeld, om parallelle realiteiten te laten zien en te verwonderen over de absurditeit. Mijn schilderen zijn een persoonlijke interpretatie van de wereld die ik om me heen zie.

Ik heb een achtergrond in beeldhouwen, fotografie en film. Mijn fascinatie voor parallelle realiteiten en dualistische behoeften geeft de mogelijkheid voor tegenstrijdige perspectieven op de maatschappij. Een onderlinge connectie van illusie en realiteit. Ik wil uitdrukken hoe het is om een persoon te zijn in de hedendaagse maatschappij en ik ben aan het uitzoeken wat dat voor mij betekent. In mijn ervaring vraagt het om een constant vermogen van aanpassen en reflectie.
In mijn schilderijen wil ik een hedendaags gevoel. Het benadrukken van de situaties in ons dagelijks leven. Met het combineren van personen in een compostioneel ritme creeer ik een interactie met lichaamstaal, terwijl het verhaal open blijft om door iedereen individueel te interpreteren. Ik ben geinspireerd door street-art, aziatische kunst, Anthony Gormley en Kara Walker, die beiden mensen plaatsen in context met hun omgeving, tijd en maatschappij
Als techniek gebruik ik potlood en zwarte olieverf op katoen. Door verf te gebruiken om te tekenen, bepalen de haren van de penseel het karakter van de lijn, en door een natte en droge kwast te gebruiken, krijgt het schilderij een zacht houtskool karakter. Ik hou ervan als de ontwikkeling van het schilderij onderdeel is van de creatieve uitdrukking.

Mack

Unfinished Women 150×180

Mack is an artist whose figurative paintings are based on a contemporary narrative inspired by society.

In her work she searches for the soul of modern man, his relation to the people around him and his moment to moment battle with space and perception, vision and placement, survival and in some cases death. She draws you into her imaginative view of modern absurdity. While at first glance she takes you on a trip into a simplistic landscape, a second look shows a use of image and background and a philosophical depth that allows the observer to create his own less than comfortable view of the world he inhabits.

The fact that she chooses to work into detail some of the elements in the painting while leaving other parts unfinished creates a visual depth that makes it possible to interpret her work at different levels.

TM

DH Mack is a painter in the true sense of the word. At first sight, her paintings are depictions of casual social relations in which people are sitting on a bench or waiting in line. As you allow yourself time to observe the characters you start to associate different parts of the painting in order to find the meaning of these relationships.

The form of the characters seems to tell you something about them. The boy in the centre of the painting that is only coarsely outlined may be detached from the other characters that are finely detailed. A shape that seemed to be part of the background suddenly pops up into the foreground and becomes a character that dominates the scene and you start to find symbols that are shared between characters.

Suddenly you realise that your leaning posture resembles that of the people standing in line and the way you cross your arms must be related to the way the old man folds his hands and looks at you. As you become part of the story, the painting begs the question how you attribute meaning to anything.

It is the hallmark of a good artist that she intentionally changes your perception of reality. After you have seen DH Mack’s paintings, you’ll see meaning in social situations in a new way.

J. van der spek