http://www.erwinkeustermans.com erwin keustermans Fri, 17 May 2013 01:48:37 +0000 http://www.erwinkeustermans.com en http://www.erwinkeustermans.com/The-application-to-colour-2 http://www.erwinkeustermans.com/following/erwinkeustermans.com/The-application-to-colour-2 Fri, 17 May 2013 01:48:37 +0000 erwin keustermans 5632851 "....Henri Lemaitre asserted that "Alexander Cozens's experiments of the 1740s and 50s presaged the art that we would later call 'abstract,'" and also cited the influence of "the Far East" on his technique.(4) Louis Hawes in 1969 compared Cozens's depictions of cloudy skies to "a Clyfford Still canvas turned on its side."(5) E. H. Gombrich and Henri Zerner both linked the blots to the famous psychological test introduced by Hermann Rorschach in 1921, and Zerner complemented this anachronism by citing the roots of Cozens's method in the seventeenth-century practice of Baroque artists who would "throw the first thoughts of their compositions in masses of light and shade."(6) The problem underlying these anachronistic attempts to account for Cozens's work is the emphasis placed on the final formal appearance of the blots, to the exclusion of the theory of artistic process that produced their f..." Cramer, Charles A, Alexander Cozen's 'New Method': the blot and general nature, The Art Bulletin › Vol. 79 Nbr. 1, March 1997 <img src="http://payload166.cargocollective.com/1/7/253978/5632851/8744399438_9c2ea78c10_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload166.cargocollective.com/1/7/253978/5632851/8744399438_9c2ea78c10_b_o.jpg" data-mid="30396798" caption="1. Seven colour gradations, rectangular grid, horizontal and vertical stroking combined." border="0" align="left"/> <img src="http://payload166.cargocollective.com/1/7/253978/5632851/8728023117_f69f2e3f2c_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload166.cargocollective.com/1/7/253978/5632851/8728023117_f69f2e3f2c_b_o.jpg" data-mid="30396804" caption="2. Cyan to white, red to black, grey in between." border="0" align="left"/> <img src="http://payload166.cargocollective.com/1/7/253978/5632851/8736525552_5f913e9318_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload166.cargocollective.com/1/7/253978/5632851/8736525552_5f913e9318_b_o.jpg" data-mid="30396802" caption="3. Seven colour gradations, with radial and perpendicular stroking." border="0" align="left"/> <img src="http://payload166.cargocollective.com/1/7/253978/5632851/8731347842_381befcc49_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload166.cargocollective.com/1/7/253978/5632851/8731347842_381befcc49_b_o.jpg" data-mid="30396803" caption="4. White to cyan, red to black, black to cyan, red to white gradations, hard edged middle disk." border="0" align="left"/> <img src="http://payload166.cargocollective.com/1/7/253978/5632851/8737936492_f458cabbc8_b.jpg" width="670" height="798" width_o="820" height_o="977" src_o="http://payload166.cargocollective.com/1/7/253978/5632851/8737936492_f458cabbc8_b_o.jpg" data-mid="30396799" caption="5. Constant saturation &lt;i&gt;&lt;br/&gt;Google images has a function to find images similar to an image that you submit. Obviously the algorithm relies heavily on luminosity and not on hue.&lt;/i&gt;" border="0" align="left"/> "....Henri Lemaitre asserted that "Alexander Cozens's experiments of the 1740s and 50s presaged the art that we would later call 'abstract,'" and also cited the... http://www.erwinkeustermans.com/The-application-to-colour-1 http://www.erwinkeustermans.com/following/erwinkeustermans.com/The-application-to-colour-1 Sat, 16 Mar 2013 07:27:29 +0000 erwin keustermans 5192850 It would have been easier if [...] had also written about colour gradations. But he didn't, so each of these works adds a little statement to colour as we know it. <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8702210523_63996f244c_b.jpg" width="670" height="666" width_o="1024" height_o="1019" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8702210523_63996f244c_b_o.jpg" data-mid="30396874" caption="1. black and blue gradation, scribbled and smudged." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8655109669_a24925d95b_b.jpg" width="670" height="673" width_o="1019" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8655109669_a24925d95b_b_o.jpg" data-mid="29327078" caption="2. pine row, dogtooth" border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8652445329_2bb7dc8a52_b.jpg" width="670" height="666" width_o="1024" height_o="1018" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8652445329_2bb7dc8a52_b_o.jpg" data-mid="29327083" caption="3. blue to black gradation with isolated spots of flat colour in the inbetween region." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8558361796_8e890d7900_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8558361796_8e890d7900_b_o.jpg" data-mid="27912308" caption="4. layering of six colours" border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8550125382_c535230e46_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8550125382_c535230e46_b_o.jpg" data-mid="27912310" caption="5. blue to cyan, dark to light" border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8544282318_430c119133_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8544282318_430c119133_b_o.jpg" data-mid="27912312" caption="6. Blue, magenta, green, yellow" border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8542038091_848d1862e9_b.jpg" width="670" height="732" width_o="937" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8542038091_848d1862e9_b_o.jpg" data-mid="27912314" caption="7. three by three two times two colour gradations using 6 colours." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8529930900_e3fa785a60_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8529930900_e3fa785a60_b_o.jpg" data-mid="27912315" caption="8. two times two colour gradations using 24 broad strokes of blue and green and 6 layers of long sweeping red and white lines." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8514752568_4c03809278_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8514752568_4c03809278_b_o.jpg" data-mid="27912316" caption="9. 4 two by two colour gradations using 6 colours and wrist sized thin, long looping, blurred Ikat style." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8511164664_e2052e7fd9_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8511164664_e2052e7fd9_b_o.jpg" data-mid="27912317" caption="10. Red and blue, foreground and background, Ikat style." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8507339087_f1d870b3b0_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8507339087_f1d870b3b0_b_o.jpg" data-mid="27912319" caption="11. Blue and yellow gradation, edge and center, black and white enhancing, blurred Ikat style, thin long looping scribbles." border="0" align="left"/> <img src="http://payload144.cargocollective.com/1/7/253978/5192850/8504974089_82fae0e379_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload144.cargocollective.com/1/7/253978/5192850/8504974089_82fae0e379_b_o.jpg" data-mid="27912320" caption="12. Color gradation, long thin looping, blurred Ikat style, blue and red." border="0" align="left"/> It would have been easier if [...] had also written about colour gradations. But he didn't, so each of these works adds a little statement to colour as we know it. ... http://www.erwinkeustermans.com/Expo-at-galerie-Hommes http://www.erwinkeustermans.com/following/erwinkeustermans.com/Expo-at-galerie-Hommes Thu, 31 Jan 2013 13:28:07 +0000 erwin keustermans 4880712 "ABSTRACT iPAD DRAWINGS PUT ONTO PAPER", NRC Handelsblad, Cultural Supplement, February 7, 2013, review by Gijsbert Van Der Wal These days many painters and draughtsmen use every now and then an iPhone as a sketchbook, or a tablet as a canvas. The Belgian artist Erwin Keustermans (1960) went the other way around. Trained as a philosopher and having worked for many years in advertising and media, he started about five years ago to make art and showed it on line. Sensitive and thoughtful, the way philosophers do, he drew on the touch screen, using his index finger and the occasional thumb. His finger movements resulted in compositions with abstract patterns, flat and black and white, meant to be printed in limited editions. Contemporary graphics. The next step was the suggestion of space. Mr. Keustermans attuned the drawing program on the iPad as to render the tablet soft. The touchscreen became a slab of wax or clay, in which he could poke and knead. The imprint of his thumbs grew virtual shadows. Initially he thought of printing the picture that emerged in large format, but he changed his mind and drew the large version by hand using pencil and chalk on tinted paper. The iPad became the lab, pretty much in the way a computer demo of a music piece may precede a performance with real instruments. From touch screen to paper, from computer to crafts. Many hours went into the large drawings, because the light and shadows in the large thumb imprints had now to be rendered with pencil strokes. And so, in its turn the resulting hatches remind us of the patterns in Keustermans' previous iPad drawings. The strokes move and spread in different directions. The lines are sprayed on as rain in the wind, or fan out in a star, as hairs on a head. So in the end mr. Keustermans returns his pencilled finger imprints the echo of ridges they lack on the iPad." Gijsbert van der Wal <img src="http://payload129.cargocollective.com/1/7/253978/4880712/8461378670_d16ac76feb_b-1.jpg" width="670" height="906" width_o="757" height_o="1024" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8461378670_d16ac76feb_b-1_o.jpg" data-mid="27806396" caption="1. Rim of swept material indicating an interface between edge and center" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8461377440_b68b1687cf_b-1.jpg" width="670" height="903" width_o="759" height_o="1024" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8461377440_b68b1687cf_b-1_o.jpg" data-mid="27806384" caption="2. Range of decreasing imprints, additive filling with cells" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8367321751_8cf7a54deb_b.jpg" width="670" height="901" width_o="761" height_o="1024" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8367321751_8cf7a54deb_b_o.jpg" data-mid="26092191" caption="3. Burrowing versus sweeping" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8367322591_2101393d8b_b.jpg" width="670" height="898" width_o="764" height_o="1024" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8367322591_2101393d8b_b_o.jpg" data-mid="26092295" caption="4. Shallow burrowing" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8427197777_868f77fcc2_b.jpg" width="670" height="520" width_o="1024" height_o="795" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8427197777_868f77fcc2_b_o.jpg" data-mid="26092310" caption="5. Between school and the deep green sea" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8429003373_8d680e8ba2_b.jpg" width="670" height="505" width_o="1024" height_o="773" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8429003373_8d680e8ba2_b_o.jpg" data-mid="26092323" caption="6. Concentric squeegeeing, etc." border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/2reliefs.jpg" width="670" height="283" width_o="2048" height_o="865" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/2reliefs_o.jpg" data-mid="26199361" caption="7.The two reliefs" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/vinger-die-naar-de-maan-wijst.jpg" width="670" height="664" width_o="871" height_o="864" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/vinger-die-naar-de-maan-wijst_o.jpg" data-mid="27805419" caption="8.Wall drawing. &lt;i&gt;Picture by Sjoert Willemstein&lt;/i&gt;" border="0" align="left"/><img src="http://payload129.cargocollective.com/1/7/253978/4880712/8459755328_46d05f1309_b.jpg" width="670" height="502" width_o="1024" height_o="768" src_o="http://payload129.cargocollective.com/1/7/253978/4880712/8459755328_46d05f1309_b_o.jpg" data-mid="27806373" caption="9. Saturday morning" border="0" align="left"/>{ "ABSTRACT iPAD DRAWINGS PUT ONTO PAPER", NRC Handelsblad, Cultural Supplement, February 7, 2013, review by Gijsbert Van Der Wal These days many painters and... http://www.erwinkeustermans.com/Bilateria http://www.erwinkeustermans.com/following/erwinkeustermans.com/Bilateria Tue, 20 Nov 2012 14:26:27 +0000 erwin keustermans 4473206 An obnoxious race with two-sided symmetrical features. As opposed to the radially symmetrically that exude balance and eternal repetition the bilaterals stagger forward towards their extinction. <img src="http://payload108.cargocollective.com/1/7/253978/4473206/3175935235_28c25c80cd_o.jpg" width="670" height="596" width_o="815" height_o="725" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/3175935235_28c25c80cd_o_o.jpg" data-mid="23728378" caption="1. Bilaterals after Paul Sander " border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/3180655324_d4c6214f46_o.jpg" width="670" height="355" width_o="1256" height_o="666" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/3180655324_d4c6214f46_o_o.jpg" data-mid="23728386" caption="2. Bilaterals after Annette Messager" border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/3216313712_1582c3af4a_b1.jpg" width="670" height="853" width_o="804" height_o="1024" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/3216313712_1582c3af4a_b1_o.jpg" data-mid="23728390" caption="3. A ragged array of bilaterals after Piffin Keustermans " border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/3228936843_b3d3ce57af_b.jpg" width="670" height="739" width_o="928" height_o="1024" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/3228936843_b3d3ce57af_b_o.jpg" data-mid="23728396" caption="4. A ragged array of bilaterals after Carlo Zinelli" border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/3180890962_59375fe182_o.jpg" width="670" height="495" width_o="970" height_o="717" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/3180890962_59375fe182_o_o.jpg" data-mid="23728399" caption="5. Bilaterals after Paul Sander " border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/8180029538_4713940fe3_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/8180029538_4713940fe3_b_o.jpg" data-mid="23728411" caption="6. Bilaterals after Kristiane Keustermans " border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/8182796483_c6e487c28e_b.jpg" width="670" height="923" width_o="743" height_o="1024" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/8182796483_c6e487c28e_b_o.jpg" data-mid="23728420" caption="7. Bilateral with head and tail and branching limbs" border="0" align="left"/><img src="http://payload108.cargocollective.com/1/7/253978/4473206/8190672862_8a1b53e161_b.jpg" width="670" height="943" width_o="727" height_o="1024" src_o="http://payload108.cargocollective.com/1/7/253978/4473206/8190672862_8a1b53e161_b_o.jpg" data-mid="23728426" caption="8. Bilateral with head and tail and branching limbs" border="0" align="left"/> An obnoxious race with two-sided symmetrical features. As opposed to the radially symmetrically that exude balance and eternal repetition the bilaterals stagger... http://www.erwinkeustermans.com/The-middle-the-edge http://www.erwinkeustermans.com/following/erwinkeustermans.com/The-middle-the-edge Wed, 24 Oct 2012 11:32:37 +0000 erwin keustermans 4315518 And the inbetween. Go across a divide. Avoid the edge. Turn a corner. Swing around and hover. <img src="http://payload100.cargocollective.com/1/7/253978/4315518/8107953519_7cac3e32a0_b.jpg" width="670" height="489" width_o="1024" height_o="748" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/8107953519_7cac3e32a0_b_o.jpg" data-mid="22795595" caption="1. Open loop scribble towards end position,the paper cut in four pieces and each piece rotated 180°, full view &lt;i&gt;Gouache, chinagraph, negro pencil on grey Rives, approx 70 by 40 cm.&lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/8108096831_4b17a829a4_b.jpg" width="670" height="499" width_o="1024" height_o="764" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/8108096831_4b17a829a4_b_o.jpg" data-mid="22795615" caption="2. Open loop scribbling, four times with ending position in corner, edge filled in with white scribbling. &lt;i&gt;Negro pencil, chinagraph on grey Rives, approx 70 by 40 cm&lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/7198237752_bb93af9ee6_b.jpg" width="670" height="790" width_o="868" height_o="1024" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/7198237752_bb93af9ee6_b_o.jpg" data-mid="22795530" caption="3. Types of scribbling, rows of loops, edges cropped and re-arranged. &lt;i&gt;7 A4 drawings drawn together, spread out and re-arranged. &lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/7204632440_3c1259a4d2_b.jpg" width="670" height="756" width_o="907" height_o="1024" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/7204632440_3c1259a4d2_b_o.jpg" data-mid="22795538" caption="4. Types of scribbling, curling lines, a shape minus its boundary region. &lt;i&gt;7 A4 drawings drawn together and then spread out.&lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/7496373834_3f4ccfef05_b.jpg" width="670" height="488" width_o="1024" height_o="747" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/7496373834_3f4ccfef05_b_o.jpg" data-mid="22795562" caption="5. A cross of lines scribbled with a fat brush, the paper cut in four pieces and each piece rotated 180°, the background filled in with short sweeping pencil strokes. &lt;i&gt;4 sheets of etching paper, a total size of 108x78cm, gouache and negro pencil." border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/8026390620_c5d1b42a34_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/8026390620_c5d1b42a34_b_o.jpg" data-mid="22795570" caption="6. Open loop scribbling in the center of the page, feedback correction towards end positions in the corners of the page, in fat black and thin white strokes. &lt;i&gt;Digital finger painting, approx A5&lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/8055950119_52ca756e71_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/8055950119_52ca756e71_b_o.jpg" data-mid="22795586" caption="7. Repeated corner drawing. &lt;i&gt;Digital finger painting.&lt;/i&gt;" border="0" align="left"/><img src="http://payload100.cargocollective.com/1/7/253978/4315518/8053506304_9a9c43d19b_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload100.cargocollective.com/1/7/253978/4315518/8053506304_9a9c43d19b_b_o.jpg" data-mid="22795580" caption="8. Four corner drawings overlaid. &lt;i&gt;Digital finger painting.&lt;/i&gt;" border="0" align="left"/> And the inbetween. Go across a divide. Avoid the edge. Turn a corner. Swing around and hover. http://www.erwinkeustermans.com/Outlining-shapes http://www.erwinkeustermans.com/following/erwinkeustermans.com/Outlining-shapes Thu, 09 Aug 2012 07:48:37 +0000 erwin keustermans 3889392 In ''Licht Maal'' and ''Idilion,'' paper is not only used as ground, but also as cover, with semitransparent sheets veiling passages of thick paint like mist over a landscape. from "Cy Twombly At Pace" By ROBERTA SMITH, NYTimes Friday, January 22, 1988 <img src="http://payload79.cargocollective.com/1/7/253978/3889392/3331801620_d49c26afb5_o.jpg" width="670" height="670" width_o="1000" height_o="1000" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/3331801620_d49c26afb5_o_o.jpg" data-mid="20300716" caption="1. A picture of Peter Doig. Median filters layered." border="0" align="left"/> {image} <img src="http://payload79.cargocollective.com/1/7/253978/3889392/3426559717_972cf22d7f_o.jpg" width="670" height="670" width_o="1100" height_o="1100" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/3426559717_972cf22d7f_o_o.jpg" data-mid="20300724" caption="3. A drawing showing Arne. First level of detail" border="0" align="left"/> <img src="http://payload79.cargocollective.com/1/7/253978/3889392/5378463251_b636772be9_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/5378463251_b636772be9_b_o.jpg" data-mid="20300738" caption="4. Children's ape mask. Black and white gradations to represent local variations in depth. &lt;i&gt;The mask was cut by Dabila Ouattara from Sorobango, Côte d'Ivoire. Digital finger painting&lt;/i&gt;" border="0" align="left"/> <img src="http://payload79.cargocollective.com/1/7/253978/3889392/undermilkTbolfinal1.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/undermilkTbolfinal1_o.jpg" data-mid="20328384" caption="Sense of depth, mask 5, au naturel. &lt;i&gt;He says &quot;T&quot;. Yes, like that.&lt;/i&gt;" border="0" align="left"/> <img src="http://payload79.cargocollective.com/1/7/253978/3889392/4120200082_c32a1ee1ca_b.jpg" width="670" height="671" width_o="1022" height_o="1024" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/4120200082_c32a1ee1ca_b_o.jpg" data-mid="20300735" caption="5. Sense of depth, mask 4, durcharbeitung" border="0" align="left"/> <img src="http://payload79.cargocollective.com/1/7/253978/3889392/3743987392_2337131566_o.jpg" width="670" height="893" width_o="900" height_o="1200" src_o="http://payload79.cargocollective.com/1/7/253978/3889392/3743987392_2337131566_o_o.jpg" data-mid="20300729" caption=" Sense of depth, mask 1, inverse.&lt;i&gt;Whitened face with eyes and mouth closed. Composite picture. (all source pictures and make-up by Piffin)&lt;/i&gt;" border="0" align="left"/> In ''Licht Maal'' and ''Idilion,'' paper is not only used as ground, but also as cover, with semitransparent sheets veiling passages of thick paint like mist over a... http://www.erwinkeustermans.com/Redrawings http://www.erwinkeustermans.com/following/erwinkeustermans.com/Redrawings Fri, 20 Jul 2012 05:42:17 +0000 erwin keustermans 3697347 "Dicebat Bernardus Carnotensis nos esse quasi nanos, gigantium humeris insidentes, ut possimus plura eis et remotiora videre, non utique proprii visus acumine, aut eminentia corporis, sed quia in altum subvenimur et extollimur magnitudine gigantea." The Metalogicon of John Salisbury. University of California Press. p. 167. "Bernard of Chartres used to say that we are like dwarfs on the shoulders of giants, so that we can see more than they, and things at a greater distance, not by virtue of any sharpness of sight on our part, or any physical distinction, but because we are carried high and raised up by their giant size." <img src="http://payload69.cargocollective.com/1/7/253978/3697347/4430328876_cf73815c3e_o.jpg" width="670" height="543" width_o="1200" height_o="974" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/4430328876_cf73815c3e_o_o.jpg" data-mid="19257690" caption="1. Cy Twombly constant density re-drawing over a detail of &quot;The Rose&quot;, 2009." border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/5433813841_cf309c1deb_b.jpg" width="670" height="906" width_o="757" height_o="1024" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/5433813841_cf309c1deb_b_o.jpg" data-mid="19257727" caption="2. Maximum contrast drawing of &quot;Jemima nude&quot;, Maaike Schoor." border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/5196234596_37814ba2b8_b.jpg" width="670" height="1016" width_o="675" height_o="1024" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/5196234596_37814ba2b8_b_o.jpg" data-mid="19257711" caption="3. Maximum contrast drawing of a photograph of several Helen Frankenthaler paintings." border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/5187710599_08d417b96f_b.jpg" width="670" height="962" width_o="713" height_o="1024" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/5187710599_08d417b96f_b_o.jpg" data-mid="19257698" caption="4. Gerhard Richter constant density un-drawing of an un-painting, drawing over &quot;Abstract Painting, 1991&quot;." border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/4394394753_97eeef6b47_o.jpg" width="670" height="987" width_o="814" height_o="1200" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/4394394753_97eeef6b47_o_o.jpg" data-mid="20300083" caption="5. Pierre Bonnard constant density re-drawing, composition from &quot;La salle à manger sur le jardin&quot;." border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/4394396159_1fa44b4114_o.jpg" width="670" height="510" width_o="1200" height_o="915" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/4394396159_1fa44b4114_o_o.jpg" data-mid="20300101" caption="6. Pierre Bonnard constant density re-drawing, composition from &quot;La salle à manger à la campagne&quot;" border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/4398680085_62d0525962_b.jpg" width="670" height="480" width_o="1024" height_o="735" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/4398680085_62d0525962_b_o.jpg" data-mid="20300113" caption="7. Pierre Bonnard constant density re-drawing, composition from &quot;La Danse (l'été)&quot;" border="0" align="left"/> <img src="http://payload69.cargocollective.com/1/7/253978/3697347/4402304658_470561b5ce_b.jpg" width="670" height="951" width_o="721" height_o="1024" src_o="http://payload69.cargocollective.com/1/7/253978/3697347/4402304658_470561b5ce_b_o.jpg" data-mid="20300123" caption="8. Pierre Bonnard constant density re-drawing, composition from &quot;Le balcon à Vernonnet (le pommier fleuri)&quot;" border="0" align="left"/> "Dicebat Bernardus Carnotensis nos esse quasi nanos, gigantium humeris insidentes, ut possimus plura eis et remotiora videre, non utique proprii visus acumine, aut... http://www.erwinkeustermans.com/Small-numbers http://www.erwinkeustermans.com/following/erwinkeustermans.com/Small-numbers Fri, 20 Jul 2012 03:19:23 +0000 erwin keustermans 3785806 No way to know what is true, only a way to do it. When drawing in a particular way one can add lines repeatedly. Here we subdivide over and over a region in the plane. We use a counting rule, starting with a partition of a randomly chosen - preferably small, we do this by hand - number. Take 21. That is 7+7+7. So we start with a division by three, and each new cell we partition again, 3+2+2, so again divide by three, and two of these we divide by two and the last one we divide by three. Not very elegant to explain it this way. There are many, many ways to do this, but no way to know which is the true one. Only knowing we did it the right way. <img src="http://payload74.cargocollective.com/1/7/253978/3785806/4223434742_3ff88307df_o.jpg" width="670" height="691" width_o="1100" height_o="1135" src_o="http://payload74.cargocollective.com/1/7/253978/3785806/4223434742_3ff88307df_o_o.jpg" data-mid="19695280" caption="1. Overlay of 2 planar embeddings of a graph with three faces, with knots drawn at most intersections." border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785806/2060117708_be9df67f40_o.jpg" width="670" height="581" width_o="1000" height_o="868" src_o="http://payload74.cargocollective.com/1/7/253978/3785806/2060117708_be9df67f40_o_o.jpg" data-mid="19695476" caption="2. Preparing 2008" border="0" align="left"/>} <img src="http://payload74.cargocollective.com/1/7/253978/3785806/2202228970_735d81678d_o.jpg" width="670" height="235" width_o="1200" height_o="422" src_o="http://payload74.cargocollective.com/1/7/253978/3785806/2202228970_735d81678d_o_o.jpg" data-mid="20328827" caption="3x4x5, 6 permutations. &lt;i&gt;Commissioned by the reference for the boardroom. Picture of a pine board with chalk and pins on . Additional lighting and colour correction.&lt;/i&gt;" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785806/5257369640_fd8d13d838_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload74.cargocollective.com/1/7/253978/3785806/5257369640_fd8d13d838_b_o.jpg" data-mid="19695295" caption="4. 6x6x6x6, one layer" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785806/2353374559_304238cf17_o.gif" width="670" height="537" width_o="1000" height_o="802" src_o="http://payload74.cargocollective.com/1/7/253978/3785806/2353374559_304238cf17_o_o.gif" data-mid="19695271" caption="5. 9 etc. final. &lt;i&gt;Detail of 800+ little clay spheres and dry-air clay background relief, acrylics. Actually, just now I sat on it. Literally. So it's broken.&lt;/i&gt;" border="0" align="left"/> No way to know what is true, only a way to do it. When drawing in a particular way one can add lines repeatedly. Here we subdivide over and over a region in the... http://www.erwinkeustermans.com/Expo-at-galerie-Wetering http://www.erwinkeustermans.com/following/erwinkeustermans.com/Expo-at-galerie-Wetering Fri, 20 Jul 2012 02:47:27 +0000 erwin keustermans 3740025 "Some children artists are patterners; that is, they are interested in patterns, and characteristics such as colors, size, and shape. They enjoy exploration and experimentation but often are not particularly interested in social interaction. Other children artists tend to be what Gardner (1980) calls dramatists. They tend to be more interested in actions and adventures, and dramatic stories and tales. These children artists like to pretend through storytelling and enjoy social contacts with peers and adults." ( "The hunters and the gatherers", Erwin Keustermans, 2010, a textwork adapted from "Understanding Children's Drawings", Cathy Malchiodi, 1998 ) <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4682844097_4383281436_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4682844097_4383281436_b_o.jpg" data-mid="19468127" caption="1. 6x6, with a hint of the next division. Blue colour pencil on Torinoko Kozu." border="0" align="left"/> <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4683475032_afeb6713c4_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4683475032_afeb6713c4_b_o.jpg" data-mid="19468129" caption="2. 6x6x6x. Blue colour pencil on Torinoko Kozu." border="0" align="left"/> <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4697190750_2075bdc76c_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4697190750_2075bdc76c_b_o.jpg" data-mid="19468132" caption="3. 8x8, with a hint of the next division; Dark red colour pencil on Torinoko Kozu." border="0" align="left"/> <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4707417614_59bed60fd0_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4707417614_59bed60fd0_b_o.jpg" data-mid="19468138" caption="4. 8x8x8x8. Madder Carmine colour pencil on Torinoko Kozu." border="0" align="left"/> <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4717646927_fdb07961c9_b.jpg" width="670" height="670" width_o="1024" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4717646927_fdb07961c9_b_o.jpg" data-mid="19468140" caption="5. 5x5, with guides and a hint of the next subdivision. Plain green colour pencil on Torinoko Kozu." border="0" align="left"/> <img src="http://payload72.cargocollective.com/1/7/253978/3740025/4809719552_9777249a27_b.jpg" width="670" height="709" width_o="967" height_o="1024" src_o="http://payload72.cargocollective.com/1/7/253978/3740025/4809719552_9777249a27_b_o.jpg" data-mid="19468143" caption="6. 5x5x5, with guides and a hint of the next division. Plain green colour pencil on Torinoko Kozu." border="0" align="left"/> "Some children artists are patterners; that is, they are interested in patterns, and characteristics such as colors, size, and shape. They enjoy exploration and... http://www.erwinkeustermans.com/Fixed-at-the-elbow http://www.erwinkeustermans.com/following/erwinkeustermans.com/Fixed-at-the-elbow Fri, 20 Jul 2012 02:47:24 +0000 erwin keustermans 3785704 At first I thought there were too many possibilities using your body + your shoulder + your wrist + your fingers holding a marking stick (whether there be a swiping extension or not). But now I am relieved finding out that there are preciously few right moves. <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6170273402_4cb99bd116_b.jpg" width="670" height="497" width_o="1024" height_o="760" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6170273402_4cb99bd116_b_o.jpg" data-mid="19694882" caption="1. Drawing made with drawing machine #2 in mind" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6335892873_160a33cf85_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6335892873_160a33cf85_b_o.jpg" data-mid="19694884" caption="2. Drawing a man from memory with drawing machine #2 in mind" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6344190858_8d031a8d49_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6344190858_8d031a8d49_b_o.jpg" data-mid="19694886" caption="3. Cadavre exquis. &lt;i&gt;Combination of right hand, left hand, right hand drawing keeping the elbow in a fixed position. Digital drawing.&lt;/i&gt;" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6368986683_fcfe19a0d9_b.jpg" width="670" height="490" width_o="1024" height_o="750" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6368986683_fcfe19a0d9_b_o.jpg" data-mid="19694887" caption="4. Conventional drawing keeping the elbow at a fixed point (56x76cm). &lt;i&gt;The head is drawn using proportionally more of the the working space, in the direction orthogonal to the easiest sweep.&lt;/i&gt; " border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6642682491_3c603d6b0f_b.jpg" width="670" height="934" width_o="734" height_o="1024" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6642682491_3c603d6b0f_b_o.jpg" data-mid="19694889" caption="5. Hierarchical scribbles, no loops, no intersections, A4 size, fixed elbow. &lt;i&gt;Encre de chine brush drawing and something white pencilish from Koh-I-Noor.&lt;/i&gt;" border="0" align="left"/> <img src="http://payload74.cargocollective.com/1/7/253978/3785704/6686180425_27ff78a328_b.jpg" width="670" height="893" width_o="768" height_o="1024" src_o="http://payload74.cargocollective.com/1/7/253978/3785704/6686180425_27ff78a328_b_o.jpg" data-mid="19694893" caption="6. The elbow and the index finger do their part. &lt;i&gt;4 layers of digital drawing. The large curvature is the movement of the lower arm with the elbow fixed, the hatches orthogonal to that curvature are flicks of the index finger&lt;/i&gt;." border="0" align="left"/> . At first I thought there were too many possibilities using your body + your shoulder + your wrist + your fingers holding a marking stick (whether there be a swiping...